# Selig Film News | Film Festival Coverage, Indie Reviews & Interviews

> Contact: blog@seligpolyscope.com

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#### ¡Viva Figueroa!: The Academy to Honor Iconic Mexican Cinematographer Gabriel Figueroa
 

	Writer-director Gregory Nava, actor Gael García Bernal, cinematographer Rodrigo Prieto and Gabriel Figueroa Flores will celebrate the life and career of the renowned Mexican cinematographer Gabriel Figueroa on Tuesday, September 17, at 7:30 p.m. at the Academy of Motion Picture Arts and Sciences’ Samuel Goldwyn Theater in Beverly Hills.  The evening will feature an onstage discussion and excerpts from many of Figueroa’s greatest cinematic achievements.  The program serves as a prelude to the exhibition “Under the Mexican Sky: Gabriel Figueroa – Art and Film,” co-presented by the Academy and the Los Angeles County Museum of Art, which will open at LACMA later this month.

	Figueroa (1907–1997) is often referred to as “The Fourth Muralist” of Mexico, and his seminal work contributed to the establishment of a visual culture and national identity in post-revolutionary Mexico.  His films include such Mexican classics as “María Candelaria,” “Enamorada,” “La perla” and “Víctimas del pecado,” which stand alongside works for such diverse directors as John Ford (“The Fugitive”), Luis Buñuel (“Los olvidados”), Don Siegel (“Two Mules for Sister Sara”) and John Huston (“The Night of the Iguana”).  Figueroa’s dazzling black-and-white cinematography for the latter film earned him an Oscar® nomination in 1964.  

	Tickets for “An Academy Tribute to Gabriel Figueroa” are $5 for the general public and $3 for Academy members and students with a valid ID.  Tickets may be purchased online at www.oscars.org or by mail.  The Samuel Goldwyn Theater is located at 8949 Wilshire Boulevard in Beverly Hills.  Doors open at 6:30 p.m.  Ticketed seating is unreserved.  For more information and guest updates, call (310) 247-3600 or visit www.oscars.org.

	The exhibition “Under the Mexican Sky: Gabriel Figueroa – Art and Film” will open on Sunday, September 22, at LACMA’s Art of the Americas building.  The exhibition examines Figueroa’s prolific career through film clips, paintings, photographs, prints, drawings, posters and archival documents.  It also includes a range of works by contemporary artists and filmmakers that reflect on Figueroa’s legacy.  For more information, visit www.lacma.org.

#### ’71
‘71

	By Gary Murray

	Starring Jack O’Connell, Sam Reid and Sean Harris

	Written by Gregory Burke

	Directed by Yann Demange

	Running time 99 min

	MPAA Rating R

	Selig Film Rating FULL PRICE           

	 

	‘71 is a war film.  ‘71 is a political thriller. ‘71 is an action picture.  ’71 is a film about religion.  ’71 is a film about humanity.  ’71 is a film about inhumanity.  ’71 is one of the best films of 2015.

	The story is of a soldier Gary Hook played by Jack O’Connell.  He is a soldier for Queen and Country but one feels that it is more of a job than something he believes in with his heart and soul.  The platoon gets their orders that they are to go to Belfast.  They are to keep the peace in Northern Ireland. 

	In 1971, Northern Ireland was a war zone.  The Irish Republican Army was the freedom fighter/terrorist of the area.  The British were trying to keep the land and keep the peace.  Northern Ireland was mostly Protestant while the rest of the country was fiercely Catholic. 

	The police had dual loyalties, they were sworn to protect Queen and country but they also feel a loyalty to their fellow countrymen.  And everybody was afraid of crossing the IRA.

	Gary is just a private who is sent to keep the peace.  A skirmish breaks out and some of the soldiers are hurt.  They evacuate but Gary falls behind and he is left. 

	Members of the IRA begin to hunt him down.  It is a chase where the soldier is befriended first by a tough little street kid and eventually by a former military medic.  Not everybody in Ireland supports the IRA but all are afraid of them. 

	The film is of how different groups are involved in the rescue of Gary and how politics sometimes trumps morality.  At times, the film becomes a cat and mouse game between the different combatants and one is never sure where loyalties lie. 

	The film‘71is an intense experience mainly due to the acting of young Jack O’Connell.  He gives a wide-eyed reading of the material and the audience feels his fear and pains as he traverses across this alien territory.  We are just as lost and scared as he is and everyone fears for his life.

	The film is directed by Yann Demange who is basically a television director who is making his big screen debut.  He holds the audience in tension for a good 90 minutes, never letting up on the suspense.  The film becomes a thrill ride in his hands but he never looses sight of the political ramifications that the production holds.  It is tightrope balance that he handles with artists aplomb. 

	I know that some people will find it hard to follow some of dialect tones of Irish English.  The inflection is hard on American ears.  Also, one has to understand both the English/Irish conflict as well as the Catholic/Protestant conflict to truly understand the depths of hatred portrayed in the film.   

	Those points aside, ’71 is an important film that works both as a historical document and an action thriller.  It is one of the few must see films of the young year. 

#### ‘Boyss Toh Boyss Hain’ movie new look unveiled, to release on 12th July
‘Boyss Toh Boyss Hain’ is a story of four youths grappling with their own unique situations that make their life a thrilling roller coaster ride. From impotency to socially dysfunctional girlfriends and from selling sex to fending off materialistic parents and eventually a rape charge, this not-so-awesome foursome live through the most hilarious, embarrassing and even thought-provoking moments onscreen.  

	With an ensemble cast that includes the super-talented Raj Kumar Yadav, Anshuman Jha, Dhruv Ganesh and debutant Aarya Kumar in the lead, other than these Aadil Hussain, Divya Dutta, Manu Rishi Chadha are also performing.

	This slice of life film is the season’s most rib-tickling laugh riot. Produced by Anup Jalota and Chaitannya Swami and directed by Amit Vats, ‘Boyss Toh Boyss Hain’ will leave you wondering if boys ever evolve into men…! So this July, get ready for the Boyss!

#### ‘Deadpool’ And ‘This Is Us’ Publicity Campaigns Wins Top Honors at The 54th Annual ICG Publicists Awards
TV Presenter Renee Bargh arrives at the 54th Annual ICG Publicists Awards at The Beverly Hilton Hotel on February 24, 2017 in Beverly Hills, California. (Photo by Mathew Imaging/WireImage)

	 

	The International Cinematographers Guild (ICG, IATSE Local 600) Publicists today announced winners of its 54th Annual ICG Publicists Awards at the Beverly Hilton Hotel. Deadpool (20th Century Fox) won the top honors for Best Publicity Campaign for Motion Pictures and This Is Us (20th Century Television) won the Best Publicity Campaign in Television. The awards, chaired by Henri Bollinger and co-chaired by Tim Menke, took place before an audience of more than 900, including guild members, Hollywood public relations and marketing executives, producers, studio and network executives, celebrities and press.

	Jeffrey Katzenberg, Founder of DreamWorks Animation and WndrCo, received a Lifetime Achievement Award from actress Kate Hudson (Deepwater Horizon) and PMK-BNC Vice Chairman Brad Cafarelli. Denzel Washington was presented the Motion Picture Showman of the Year Award by producer Jerry Bruckheimer (the CSI series, the Pirates of the Caribbean movies). Writer/director/producer Ryan Murphy received the Television Showman of the Year Award from Sarah Paulson (American Horror Story, The People v. O.J. Simpson: American Crime Story). In an emotional presentation, Renée Zellweger (Bridget Jones’s Baby) presented longtime publicist and B|W|R Public Relations co-founder Nanci Ryder with the President’s Award.

	Additional presenters of this year’s awards included Gabrielle Carteris (SAG-AFTRA President), Keltie Knight (The Insider), Tony Denison (Major Crimes), Brenton Thwaites (Pirates of the Caribbean: Dead Men Tell No Tales) and Stacy Keach (The Life and Death of John Gotti).

	Andrew Schwartz (Motion Picture) and John Johnson (Television) received awards for Excellence in Still Photography, respectively. The Les Mason Award was presented to Rosalind Jarrett Sepulveda. The Press Award went to Grae Drake of Rotten Tomatoes, and the International Media Award was bestowed upon Brent Simon (China).

	Henri Bollinger said in his opening remarks, “These awards demonstrate the impact that publicists have on the success of movies and television shows. It’s significant that they coincide with the Oscars since both help bring positive attention to the people responsible for popularizing the art of entertainment.”

	THE WINNERS OF THE 54th ANNUAL ICG PUBLICIST AWARDS ARE:

	Maxwell Weinberg Publicist Showmanship Motion Picture Award

	Deadpool

	Maxwell Weinberg Publicist Showmanship Television Award

	This Is Us

	Excellence in Unit Still Photography for Motion Pictures Award:

	ANDREW SCHWARTZ

	Excellence in Unit Still Photography for Television Award:

	JOHN JOHNSON

	Les Mason Award, the highest honor publicists can bestow on one of their own:

	ROSALIND JARRETT SEPULVEDA

	Press Award:

	GRAE DRAKE, Rotten Tomatoes

	International Media Award:

	BRENT SIMON, China

	The sponsors for the 54th Annual ICG Publicists Awards are 20th Century Fox, Twentieth Century Fox TV, FX Networks, Warner Bros., Paramount Pictures, Universal, DreamWorks Animation, CBS Films, Deadline, Junket Productions Inc., Sony Pictures, The Walt Disney Studios, The Hollywood Reporter, Variety, Creative Handbook, NBC Entertainment, Will Rogers Motion Picture Pioneers Foundation, City National Bank, Step & Repeat.com, Below The Line, SHOOTonline, Warner Bros. Photo Lab.

#### ‘Digimon Adventure: Last Evolution Kizuna’ Hits Theaters on March 25
 
This spring the DigiDestined returns to the big screen in a final adventure with their Digimon. Toei Animation Inc. and Fathom Events announced today that the new feature film “Digimon Adventure: Last Evolution Kizuna” will screen March 25 as a special one-night-only theatrical event across the United States.
Moviegoers will get to experience a 15-minute pre-show that provides an exclusive fan experience that can only be found in theaters. The pre-show will include interviews with the film’s Director, Tomohisa Taguchi and Chief Animation Director, Seiji Tatsukawa.
Beginning Friday, February 7, tickets for “Digimon Adventure: Last Evolution Kizuna” will be available for purchase at www.FathomEvents.com and participating theater box offices.
Toei Animation and Fathom Events will present “Digimon Adventure: Last Evolution Kizuna” in select U.S. theaters on Wednesday, March 25 at 7:00 p.m. (local time) through Fathom’s Digital Broadcast Network (DBN). For a complete list of theater locations, visit the Fathom Events website (theaters and participants are subject to change).
“Digimon Adventure: Last Evolution Kizuna” takes place five years after the events of “Digimon Adventure tri,” the six-part film series released in 2015. Now on the cusp of adulthood, Tai and his DigiDestined friends discover that with age their bonds with each of their Digimon will ultimately break. How does it end for Tai, Agumon and the others? Fans must watch “Digimon Adventure: Last Evolution Kizuna” to find out the answer.
“We are excited to continue our partnership with Fathom Events and present ‘Digimon Adventure: Last Evolution Kizuna’ to U.S. audiences this spring,” said Masayuki Endo, president and CEO of Toei Animation Inc. “This special 20th anniversary feature film is sure to excite the generation of fans who have grown-up watching this beloved anime series.”
“The Digimon Franchise has been a staple in our anime offerings and will continue to be a large draw for fans across the country,” Fathom Events CEO Ray Nutt said. “This event is going to be a great way to kick off a strong 2020 lineup and give audiences an exclusive inside look that they cannot experience anywhere else.”
Film Synopsis
Tai is now a university student, living alone, working hard at school, and working every day, but withhis future still undecided. Meanwhile, Matt and others continue to work on Digimon incidents and activities that help people with partner Digimon. An unprecedented phenomenon occurs and the DigiDestined discovers that when you grow up, your relationship with your partner Digimon will come closer to an end. As a countdown timer activates on the Digivice, they realize that the more you fight with their Partner Digimon, the faster their bond breaks. Will you fight for others and lose your partner? The time to choose and decide is approaching fast. There is a short time before “chosen children” will become adults. This is the last adventure of Tai and Agumon.

#### ‘MONTY PYTHON AND THE HOLY GRAIL’ IN THEATRES FOR 50TH ANNIVERSARY ON SUNDAY, MAY 4, 2025 AND WEDNESDAY, MAY 7, 2025
The comic masterpiece Monty Python and the Holy Grail will be returning to movie theatres nationwide on Sunday, May 4, and Wednesday May 7, 2025, from Shout! Studios and Fathom Entertainment in celebration of the revered film’s 50th anniversary.
Grossing the highest box-office of any British film in the US when released in 1975, this “cult classic” comedy from the Monty Python team loosely follows the legend of King Arthur (Graham Chapman), along with his squire (Terry Gilliam) and his Knights of the Round Table (John Cleese, Eric Idle, Terry Jones and Michael Palin), as they embark on a fearless quest in search of the elusive Holy Grail. A hysterical, historical tour-de-force from Terry Gilliam and Terry Jones.
Tickets for “Monty Python and the Holy Grail 50th Anniversary” can be purchased beginning Friday, April 4 at www.FathomEntertainment.com and participating theatre box offices.(theatres and participants are subject to change).
The comedy troupe of Monty Python was formed in 1969 by Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones, and Michael Palin. Their dry humor and comedic genius propelled them to international stardom and through decades of performances, which became quintessential symbols of the zeitgeist. Monty Python’s Flying Circus, the original surreal sketch comedy showcase for the Monty Python team was one of the most ingenious and imaginative comedy shows ever to grace British television. A hysterical, historical tour-de-force loosely based on the legend of King Arthur, Monty Python and the Holy Grail grossed the highest box-office of any British film in the US when released in 1975. Notorious religious satire, Monty Python’s Life of Brian tells the story of Brian (Graham Chapman), a reluctant would-be messiah who rises to prominence as a result of a series of absurd and truly hilarious circumstances.

#### ‘Oh My Disney’ and Mondo Present Galley Event Celebrating Classic & Contemporary Films at SXSW
Mondo, the collectible art division of Alamo Drafthouse Cinema, is partnering with Disney's "Oh My Disney" blog to unveil "Nothing's Impossible," a gallery event at this year's South by Southwest Film Festival, from March 7 – March 11, 2014.  The gallery will open to the public on March 7 from 3:00-10:00 p.m. with regular hours to follow for the show's duration.  The Mondo Gallery is located at 4115 Guadalupe St. in Austin, TX.

	After partnering last year to debut limited edition artwork inspired by DuckTales and The Little Mermaid, Oh My Disney and Mondo invite fans to explore decades of beloved Disney films and characters like never before through original and fresh artwork from some of Mondo's most renowned artists like Martin Ansin, Jeff Soto, Jason Edmiston, Mike Mitchell  Ken Taylor and Rich Kelly. Oh My Disney, a new pop culture blog on Disney.com, brings classic and current Disney characters to life for digital audiences through humorous and heartfelt original artwork, stories, articles and videos.

	"Disney has a special way of bringing out the magic in all of us and we're very excited to bring that feeling to Austin at this year's gallery event," said Mondo CEO Justin Ishmael.  "Having worked with Oh My Disney over the last year, we know the site celebrates reinventing timeless stories and we hope our work sparks the imagination of both Disney and Mondo fans."

	Oh My Disney and Mondo will release posters digitally every week leading up to the gallery's opening on March 7th.

	

	 

#### ‘The Legend of Bullett Raja’ – Chapter 1 – Ek Seeti ka Jawaab.
Presenting the very cool very earthy very dhaasu Bullett Raja graphic novel series : The Legend of Bullett Raja

	Who is Bullett Raja? What is he all about? Equally loved and feared, quirky and temperamental in his own way, each chapter from the series charts out the experiences of all those who have been influenced, interacted or purely had their asses kicked by this man… Fun to read, Dhamekedaar dialogues and just a cool attitude : all in these novels.

	So watch out for them as we release the first one of many to come – all through September and November.

	
			
				
			
			
				
			
			
				
			
			
				
			
			
				
			
			
				
			
		

	 

#### ‘Allegiance’ Starring George Takei Returns to U.S. Cinemas February 19 Only
 

	After an unprecedented cinematic premiere resulting in the highest-grossing one-night Broadway musical event to date for Fathom Events, George Takei’s (“Star Trek,” “Heroes”) Broadway musical Allegiance returns to cinemas nationwide for an encore on Sunday, February 19 at 12:55 p.m. local time. This date is the 75th anniversary of Executive Order 9066, known as the Day of Remembrance, which marked the beginning of the forced relocation and internment of 120,000 Japanese Americans during WWII.

	“George Takei’s Allegiance: The Broadway Musical On The Big Screen” will begin with an exclusive introduction from Takei and immediately move into the musical’s presentation. After the feature, audiences will also be treated to behind-the-scenes footage and interviews with the cast and creators.

	Tickets for “George Takei’s Allegiance: The Broadway Musical On The Big Screen” can be purchased beginning Wednesday, January 25, 2017, online by visiting www.FathomEvents.com or at participating theater box offices. Fans throughout the U.S. will be able to enjoy the event in select movie theaters through Fathom’s Digital Broadcast Network (DBN). A complete list of theater locations will be available via the Fathom Events website (theaters and participants are subject to change). For more information about Allegiance, please visit www.AllegianceMusical.com

	“At a time when echoes of the interment ring once again far too loud in our political discourse, there’s never been a better moment for the story of Allegiance to find new audiences,” said star Takei. “It is a true testament to the power and the relevance of this story that so many people attended its premiere in December, and it is only appropriate that even more people will be able to witness it on such an important day as February 19, 2017. The Day of Remembrance is a day of commemoration, of reflection, and of learning, and I hope Allegiance can play an important role in its celebration, this year, and for many years to come.”

	Allegiance illuminates one of American history’s lesser known chapters as it tells the story of Sam Kimura (Takei), transported back nearly six decades to when his younger self (Telly Leung, Godspell, “Glee”) and his sister Kei (Tony Award®-winner Lea Salonga, Miss Saigon, Mulan) fought to stay connected to their heritage, their family and themselves after Japanese Americans were wrongfully imprisoned during World War II.  An important story told with great resonance and intimacy, Allegiance explores the ties that bind us, the struggle to persevere and the overwhelming power of forgiveness and, most especially, love. 

	“Fathom is thrilled to bring this wonderful Broadway show back to movie theaters nationwide one more time following its successful debut and to continue to extend its relevant message beyond the stage to the big screen,” Fathom Events Vice President of Programming Kymberli Frueh said.

	“The response from the audience who attended the premiere has been overwhelming. While its Broadway run may have been cut short, the story of Allegiance truly speaks to audiences everywhere and we are honored that its legacy continues, through this encore with Fathom Events and beyond,” said Allegiance producer Lorenzo Thione. “Moreover, we are truly excited that the story, music and message of Allegiance will expand its reach to more people, cities, and even countries, continuing to move, educate and inspire, truly fulfilling George’s legacy.”

#### ‘CAR 24’ NOMINATED FOR BEST FEATURE NARRATIVE AT 25TH ANNUAL ARPA INTERNATIONAL FILM FESTIVAL
 
 
The Arpa International Film Festival (Arpa IFF) recently announced, Car 24, directed by Matias Desiderio, has been nominated in the “Best Feature Narrative” category for the 25th annual Festival. Awards will be announced on Sunday, November 20th at the Beverly Hilton Beverly Hills. This is the first nomination Desiderio receives as a first-time director.
“I’m honored to receive this nomination from the prestigious Arpa International Film Festival. Writing, acting and directing this film was a big challenge and it could not have been possible without the support of my amazing team, especially Salvatore di Costanzo who co-wrote, co-produced and co-starred with me. We are all very grateful for the nomination and for the opportunity to share our film with the public,” said Desiderio.
Matias Desiderio is an Argentinian actor with an extensive career in film and television with more than 30 titles to his credit. He’s been nominated and has won several awards in his country including lead roles in films like Palermo Hollywood (World Cinema – Dramatic, Sundance International Film Festival), El Ultimo Zombie (Official Selection, Sitges Film Festival 2022) and El Hincha, which is currently airing on streaming platform Flow and has broken audience records.
Car 24 tells the story of Toto, a mercenary Sicilian man and Walter a Latino assassin, who are hired by a crime boss to kill a trader. They meet for the first time inside a parked car on a sketchy downtown Los Angeles street awaiting orders from the Boss. The two will endure an endless, suspenseful and confrontational, round the clock stand-by until the target eventually shows up, 24 long hours later. While the Boss will try to keep them focused and disciplined, the hitmen will face each other in an unexpected journey full of emotional challenges, personal matters, egotistical behaviors, violent reactions and professional differences. Walter and Toto will encounter many different characters and situations that will ultimately change the entire direction of their mission, leading them to an unpredictable, unusual and violent ending.
Car 24 counts on a stellar cast to deliver excellent performances throughout the intense 90-minute runtime with standout performances by Matias Desiderio, Salvatore di Costanzo and Lexy Panterra as Angela, Toto’s daughter in the film. Rounding out the cast are Cody Renne Cameron, Tony Panterra, Ciera Foster, Tony Tanelli, and Frank Trenado. Car 24 is written by Matias Desiderio and Salvatore Di Costanzo and produced by Desiderio, Di Costanzo, Sergio Bruna, Tony Pantera, Tony Tanelli Oliver and Antonio Gullo who also served as Director of Photography. Car 24 is currently available for viewing via Arpa’s virtual screening platform Eventive.
The Arpa International Film Festival (Arpa IFF) is dedicated to cultivating cultural understanding and global empathy by creating a dynamic forum for international cinema. Over the past 24 years, the festival has bridged cultural divides by fostering dialogue among people of diverse backgrounds. By showcasing local and international films that explore critical issues such as war, genocide, diaspora, dual identities, exile and multiculturalism. Arpa IFF has solidified its role in safeguarding films that continue to make a social impact. For more information about Arpa International Film Festival, please visit: www.arpafilmfestival.com

#### ‘Disney’s Newsies: The Broadway Musical!’ Carries the Banner Again, Returning to Cinemas Nationwide on August 5 and 9 for Special Two-Day Summer Encore
 

	Due to an immensely successful and record-breaking cinematic debut, “Disney’s Newsies: The Broadway Musical!” returns to movie theaters nationwide for a two-day encore presentation. Captured live at the Hollywood Pantages Theatre early last year, the event features Jeremy Jordan, who currently stars in the television series “Supergirl,” reprising the role he created as “Jack Kelly.”

	Fathom Events partners with Disney Theatrical Productions to bring this spectacular stage show back to the big screen on Saturday, August 5 at 12:55 p.m. and Wednesday, August 9 at 7:00 p.m. (all local times), including special behind-the-scenes footage and interviews with the cast and creators.

	Tickets for “Disney’s Newsies: The Broadway Musical!” can be purchased at www.FathomEvents.com or participating theater box offices. Fans throughout the U.S. will be able to enjoy the event in more than 630 select cinemas. For a complete list of locations visit the Fathom Events website (theaters and participants are subject to change).

	Joining Jordan are original Broadway cast members Kara Lindsay as “Katherine,” Ben Fankhauser as “Davey” and Andrew Keenan-Bolger as “Crutchie,” and NEWSIES North American Tour stars Steve Blanchard as “Joseph Pulitzer,” Aisha de Haas as “Medda Larkin,” and Ethan Steiner as “Les.” Since opening on Broadway in 2011, NEWSIES has played 1,711 performances between Broadway and the North American tour, to more than 2.5 million audience members in 65 cities across the country.

	Set in New York City at the turn of the century, NEWSIES is the rousing tale of Jack Kelly, a charismatic newsboy and leader of a ragged band of teenaged ‘newsies,’ who dreams only of a better life far from the hardship of the streets. But when publishing titans Joseph Pulitzer and William Randolph Hearst raise distribution prices at the newsboys’ expense, Jack finds a cause to fight for and rallies newsies from across the city to strike for what’s right. 

	NEWSIES, the new American musical, features a Tony Award-winning score with music by eight-time Academy Award®-winner Alan Menken and lyrics by Jack Feldman, a book by four-time Tony Award-winner Harvey Fierstein and is produced by Disney Theatrical Productions. NEWSIES is directed by Tony nominee Jeff Calhoun and choreographed by Christopher Gattelli, who won a 2012 Tony Award for his work on the show. The entire creative team was reunited to bring the break-out smash musical to audiences across North America. 

	“It's with great excitement that we're partnering with Disney Theatrical Productions once again to bring NEWSIES back to the big screen for audiences to enjoy this summer,” said Fathom Events CEO John Rubey. “The tremendous success of the last event further proves the appetite and excitement the fansies have for NEWSIES!”

#### ‘Main Hoon Surya Singham II’ special police screening & premiere
The roar of Singham was loud and clear as ‘Main Hoon Surya Singham II’ starring south megastar Surya premiered at multiplex in suburban Mumbai. What made the screening truly special was the fact that it was attended by top ranking police officers including DCP Sunil Bharadwaj, Inspector General Mohan Rathore and DIG Ramrao Panwar among others.

	Speaking to the media persons at the premiere DCP Sunil Bhardwaj emphasized on the need for such films. “Producers should make such films that show police in the right light and audience should also encourage films like Main Hoon Surya Singham II,” he added.

	Singham II opened to rip-roaring success across south states earlier and August 2 the Hindi version has hit the screens across India with much anticipation and excitement among the audience.

	Clearly, one of the most awaited films of 2013, ‘Main Hoon Surya Singham II’ is directed by Hari, and toplines Anushka Shetty, Hansika Motwani along with south super star Surya, who reprises  his role of a fiery and righteous police officer from the Singham’s first installment.

	 

	 

#### ‘PUNK ROCK VEGAN MOVIE’ Premiering at Slamdance Film Festival Jan 20
 
‘Punk Rock Vegan Movie’, a new documentary written and directed by Moby, will have its world premiere and be the Opening Night film for the 2023 Slamdance Film Festival on January 20 in Park City, Utah. The film, which is Moby’s directorial debut, is a passionate and stylistically idiosyncratic look at the ongoing relationship between the worlds of punk rock and animal rights. It includes interviews with some of the biggest names in punk and rock history, like Ian Mackaye, HR, Dave Navarro, Ray Cappo, Andrew Hurley, Tony Kanal, Tim McIlrath, Water Schreifels, Dave Dictor, Derrick Green, Steve Ignorant, Theo Kogan, Doyle Wolfgang von Frankenstein, Amy Lee, and Captain Sensible.
Moby tells the story of how punk rock became such a fertile and surprising breeding ground for vegan activism. It’s also a call to action, unapologetically reminding people that in a deeply broken world it’s incumbent upon each of us to stand up and fight intelligently, passionately, and loudly against injustice.
In the spirit of punk rock, Moby will be giving the film away for free following the Slamdance premiere.
“’PUNK ROCK VEGAN MOVIE’ was created to shine a light on the surprising and inspiring history of punk rock and animal rights, but also to remind people of the importance and desperate urgency of adopting the uncompromising ethics and actions of the original punk rock activists,” said Moby. “After it makes its world premiere at Slamdance, it’s yours. It’s my goal to give the movie away, as I can’t in good conscience try to profit from what is essentially a labor of love and activism.”
A panel discussion with opening and closing night filmmakers Moby, and OFF! members Dimitri Coats (Burning Brides) and Keith Morris (Black Flag & Circle Jerks), covering the history and intersectionality between the LA punk scene, filmmaking, and activism will launch on January 23 on the Slamdance Channel. Virtual passes are available at https://slamdance.com/passes. Moderated by Slamdance Alum and keyboardist/vocalist of LA punk band The Paranoyds Laila Hashemi.
Learn more about the film’s premiere at Slamdance Film Festival by visiting: www.slamdance.com
 
 

#### ‘Stand By Me’ Returns to Cinemas Nationwide for 35th Anniversary
Fathom Events is set to bring Sony Pictures Entertainment’s Stand By Me to select movie theaters nationwide on Sunday, May 23rd at 3 p.m. and 7 p.m. and Wednesday, May 26th at 3 p.m. and 7 p.m. (all times local) for the celebrated 1986 coming-of-age classic’s 35th anniversary. Starring Wil Wheaton, River Phoenix, Corey Feldman, Jerry O’Connell, Kiefer Sutherland and directed by Rob Reiner, and based on the novella “The Body” by Stephen King, with a screenplay by Raynold Gideon and Bruce A. Evans, Stand By Me is a rare and special film about friendship and the indelible experiences of growing up.
This special 35th anniversary event will also include the featurette “Walking the Tracks: The Summer of Stand by Me” with Stephen King as he recalls what led him to write the stories of his childhood, how they impacted the development of the movie, and Rob Reiner as he reminisces about the casting of the four leads. View the event trailer here: https://youtu.be/FidWnmtO8eE
Tickets for the Stand By Me 35th Anniversary are on sale now at www.FathomEvents.com and through participating cinemas’ box offices. For the most updated list of exhibiting movie theaters, visit the Fathom Events website. (Theaters and participants are subject to change). 
Filled with humor and suspense, Stand By Me is the tale of four boys on a two-day journey. In a treehouse at the edge of Castle Rock, a small, woodsy Oregon town, a budding 12-year-old writer named Gordie LaChance (Wheaton) is about to begin an extraordinary trek into the heart of the northwestern forest, an experience that will alter the course of his life forever. His best friend Vern (O’Connell) has overheard his older brother and a friend talking about their discovery of a dead body in the woods. Hoping they can get credit for finding the body, Gordie sets off with insecure, frightened Vern, tough guy Chris (Phoenix), and daredevil Teddy (Feldman) on an adventure that becomes an odyssey of self-discovery. Their journey begins innocently with a dream of becoming town heroes, but before it is over, Gordie, Chris, Teddy, and Vern will be tested in ways they had never imagined.
“Stand By Me on its 35th anniversary is still as touching and as fresh as it was when first released back in 1986,” said Tom Lucas, VP of Studio Relations at Fathom Events. “Whether seeing it for the very first time on the big screen, or revisiting it as a favorite, movie fans will be moved by Stand By Me at their local theater.”

#### ‘Stripes’ Returns to Select Cinemas Nationwide for 40th Anniversary
 
“That’s The Fact, Jack!” The 1981 Columbia Pictures comedy “Stripes” is returning to movie theaters nationwide this fall as the box-office hit film celebrates its 40th anniversary. Starring Bill Murray as John Winger, who loses his job, his car, his apartment, and his girlfriend — all in one day — decides he has only one option: volunteer for the army and talks his friend Russell (Harold Ramis) into enlisting with him. “Stripes” will play in select movie theaters on Sun., Aug. 29 at 3 p.m. and 7 p.m. and Thurs., Sept. 2 at 7 p.m. (all times local).
In addition to the full feature, attendees will see a special never-before-seen featurette before the film. Audiences will join Murray and director Ivan Reitman as they sit down together 40 years later and give fans an inside look at their time filming “Stripes.”
Tickets for “Stripes 40th Anniversary” can be purchased online at www.FathomEvents.com or at participating theater box offices. A complete list of theater locations is available on the Fathom Events website (theaters and participants are subject to change).
Where else, besides the army, can military misfits John and Russell help save the world for democracy… and meet girls? Together, they find basic training a snap: they are arrested twice, have endless run-ins with drill sergeant Hulka (Warren Oates), and get into a bit of a mess at a female mud wrestling match. They even manage to steal a top-secret government vehicle and accidentally wind up behind the iron curtain. Bill Murray has joined the army, and the army will never be the same.
“The on-screen antics and comedic genius of Murray and Ramis are turned on full force in this fan-favorite comedy-adventure classic,” said Tom Lucas, Fathom Events Vice President of Studio Relations. “Full of expertly crafted irreverent wit, sardonic humor, and retro-scripted ad-lib, audiences are in for a night of laughs while revisiting one of the ‘80s most hilarious films.”

#### ‘The K-LOVE Fan Awards: Ignite Hope’ Brings the Best of Christian Music Entertainment to Center Stage in Cinemas Nationwide on June 13 Only
 

	The only fan-voted awards show in Christian entertainment comes to U.S. cinemas, for the first time ever on the big screen, with hosts Matthew West and Elisabeth Hasselbeck for “The K-LOVE Fan Awards: Ignite Hope.” Hosted live on May 28 at the Grand Ole Opry House in Nashville, Tennessee, cinema audiences will get exclusive access to this inspirational event on the big screen for one night this summer.

	Presented by Fathom Events and John Sanders LLC, “The K-LOVE Fan Awards: Ignite Hope” will be shown in movie theaters nationwide on Tuesday, June 13 only at 7:00 p.m. local time.

	Tickets for “The K-LOVE Fan Awards: Ignite Hope” can be purchased online by visiting www.FathomEvents.com or at participating theater box offices. Fans throughout the U.S. will be able to enjoy the event in more than 500 select movie theaters through Fathom’s Digital Broadcast Network (DBN). For a complete list of theater locations visit the Fathom Events website (theaters and participants are subject to change).

	“The K-LOVE Fan Awards,” in cinemas for the first time ever, creates the ultimate fan experience celebrating the most influential artists, athletes, authors and entertainers who engage and impact Christian pop culture. The fifth annual star-studded event will include appearances by Danny Gokey, Jeremy Camp, Britt Nicole, Matthew West, Jesus Culture, Crowder, Mandisa, MercyMe, for KING & COUNTRY, Sadie Robertson and more. Keeping spirituality at the center of the event, the ceremony provides time for audiences to reflect and challenges believers to embrace their faith. Viewers will learn who the fans voted for, enjoy musical performances from their favorite artists and be inspired by their favorite songs.

	“Fathom is pleased to be a part of bringing ‘The K-LOVE Fan Awards’ and extending its reach from an exclusive live audience to the cinemas for the first time ever,” Fathom Events CEO John Rubey said. “This event will give fans a chance to come together and enjoy their favorite artists with fellow fans and connect with their Christian communities.”

	"We are so excited to bring for the first time ever, the experience of the K-LOVE Fan Awards to our listeners in theaters nationwide with our friends at Fathom!” shares David Pierce, Chief Creative Officer for K-LOVE. “It’s going to be an awesome night!”

#### ‘The Price of Fame’ Explores Life of Professional Wrestling Legend Ted ‘Million Dollar Man’ DiBiase Outside the Ring
 

	Ted DiBiase is known by scores of fans as the “Million Dollar Man” – the larger-than-life character that helped launch pro-wrestling into the international spotlight and one of the greatest villains in pro-wrestling history. But the price of fame took DiBiase away from his family into an egocentric world of self-fulfillment and desire, where he spiraled out of control. In the documentary, “The Price of Fame: The Story of Ted ‘Million Dollar Man’ DiBiase,” audiences will witness DiBiase’s story and learn about his inspiring search for meaning, which changed him from a self-absorbed, jet-setting wrestler into a devoted Christian, family man and ordained minister.

	Fathom Events and Engage Media Partners present “The Price of Fame” in U.S. cinemas for special one-night event on Tuesday, November 7 at 7:00 p.m. local time.

	Tickets for “The Price of Fame: The Story of Ted ‘Million Dollar Man’ DiBiase” can be purchased online by visiting www.FathomEvents.com or at participating theater box offices. Fans throughout the U.S. will be able to enjoy the event in more than 600 select movie theaters through Fathom’s Digital Broadcast Network (DBN). For a complete list of theater locations visit the Fathom Events website (theaters and participants are subject to change).

	“’The Price of Fame’ shows that fame, money, power and prestige are not what’s really important in life. Devotion to family and friends, giving of yourself to others and building strong character and integrity – these are life’s priceless commodities, and are far more rewarding than anything money can buy,” said DiBiase. “Although I appreciate my time in wrestling, I don’t want to be remembered as a wrestling legend, but someone who, through much grace and mercy, overcame many mistakes. I want to be known as a husband, father, grandfather and friend who left a legacy of selfless love and devotion.”

	Peter Ferriero directorial debut will undoubtedly stir nostalgia in wrestling fans everywhere, as “The Price of Fame” explores the life of DiBiase and his family, from his pro-wrestling father to his pro-wrestling son. They built a legacy in the ring, but their lasting impact will be felt for generations outside of that ring. Audiences will discover what the price of fame was for DiBiase, and the priceless faith he found that changed everything.

	“There’s no doubt that professional wrestling has made an impact on the world, particularly during its huge rise in the ‘80s,” Fathom Events VP of Programming Kymberli Frueh said. “DiBiase’s story encompasses fame, fortune, faith and family, and begs the question, ‘Is the price of fame worth it all?’”

	“Engage Media Partners is excited to join forces with Peter Ferriero in his directorial debut to bring the story of Ted ‘Million Dollar Man’ DiBiase to life!” said Jason Ellerbrook of Engage Media Partners. “This historical account of the rise of professional wrestling through the eyes of the DiBiases provides a ‘behind the curtain’ look that pro-wrestling fans have been waiting for. It also delivers a transformational message of life, love and hope that will encourage all viewers to never give up!”

#### “Agents on a Mission” in Dallas
CARS 2 TOUR
 
By Gary Murray 
 
The sun beat down on the asphalt parking lot outside of the Northpark Mall, as the line grew and grew.  The hard wind was a slight comfort for the massive throng of parents and kids waiting to take part of one of the biggest media event of the season.  The cars from Cars 2 were coming to town.
 
On a world-wide “Agents on a Mission” tour to promote the new Pixar Pictures release were three of the most anticipated stars from the film—Lightning McQueen, Tow Mater and Finn McMissile.  It was not the actors who voice the new film, but real full-size replicas of the computer generated feature.   
 
Cars 2, the movie, is a continuation of the massively successful 2006 film.  The story is of Lightning McQueen and his faithful sidekick Mater on a World Grand Prix Race.  This race becomes more complicated when Mater is mistaken for a super spy.  It is a story of high speed racing and international espionage that will appeal to every family.
 
The Imaginers from Disney have constructed three full size autos from Cars 2 that are out promoting the film.  According to the people in charge of the event, the Dallas stop has been the most successful so far.  
 
At 1PM when the event started, they estimated that the wait was going to be almost three hours.  The crowd started gathering at 9 AM, with little tykes dressed not only in Cars t-shirts, but some in full Lightning McQueen costumes. One grandfather I talked to said that they had drove two hours just to be here.  By 1:30, the line had almost wrapped around the entire parking lot.  
 
These electric cars are true marvels to behold.  Not just fiberglass props, they are fully functioning remote control cars, with R/C hand controls.   The people in charge said that they could be driven around like their toy isle counterparts, just on a closed track.  
 
The studio, along with State Farm Insurance, has gone all out on this promotion.  There were character key chains and pens for those in line, as well as posters and coloring books.  To one side of the event, there was a giant ‘racing stunt course’ that was much more of an air-inflated bounce house with slides and poles.  The kids jumped and played in and around the massive structure.  On the other side of the lot were interactive ‘fuel pumps’ that showed different scenes from the movie.  
 
The biggest part of the event was free photos for everyone in line.  The digital cameras shot picts of kids and families in front of all three of these autos.  The parents could use a code and digitally download the snaps of their tykes with the giant four-wheeled beasts.  Those photos were the biggest reason the line was so arduous.   
 
As the Texas heat came down on the families, one father said aloud with a laugh, “The things we do for our kids.”  It was a trying day for the parents, but a memory the little ones will remember for a lifetime.  
 

#### “AMAN” LAUNCHED
Jabbar Films maiden venture AMAN was mount the set on 28th April 2013, at Future Studio Goregaon (East), Mumbai. The films muhurat was followed by one day shooting and the unit is leaving to Kashmir for three songs picturisation in mid May.

	The film introduce Aman Khan in title role opposite Shayna Sharma along with Avtar Gill, Irfan Razaa Khan, Arafat Khan, Govind Namdev & Yashpal Sharma.

	Banner : Jabbar Films
	Producer : Dr. Abdul Jabbar
	Director : Shailesh Shrivastava
	Writer : Salim Ahmed
	DOP : Javed ALi
	Exe. Producer : Asif Khan
	Music : S. Sen & CL John
	Lyrics : Jamil Ahmed & Israr Ansari
	ALL FIVE SONGS RECORDED IN THE VOICES OF Shaan, Alka Yagnik, Ritu Pathak, Pakistani Shujat Ali & Shabab Sabri.

	
			
				
			
				
				Irfan Razaa Khan & Avtar Gill
				
			
				
			
				
				Shayna
				
			
				
			
				
				Aman Khan
				
			
				
			
				
				Aman & Shayna
				
			
				
			
				
				Aman & Shayna
				
			
				
			
				
				Director Shailesh Shrivastava
				
			
				
			
				
				Avtar Gill, Irfan & Salim Khan
				
			
				
			
				
				Shayna & Avtar Gill
				
			
				
			
				
				Shayna Sharma
				
			
				
			
				
				Shayna & Avtar Gill
				
		
        

	 

	
	 

#### “Bienvenidos a Los Angeles” Wins at Stage 32’s 8th Annual Short Film Contest
 
Stage 32 recently announced multi-award-winning short film, Bienvenidos a Los Ángeles, is among the winners of their 8th Annual Short Film Contest. Written and directed by Lisa Cole, the film aims to open hearts and minds by putting a face on the humanity behind the issue of immigration. Bienvenidos a Los Angeles, and other Stage 32 winning films, will be screened opening night at the 19th annual HollyShorts Film Festival taking place on August 10th at the TCL Chinese Theater in Hollywood.
Inspired by a true immigration story, Bienvenidos a Los Angeles tells the story of Imani, a 24-year-old Nigerian single mother living and working in Los Angeles who gets the devastating news that the Muslim ban has jeopardized her green card application and she must leave the country. On her shared-ride home, she meets Elizabeth, an undocumented Mexican woman on her way to LAX to reunite with her 6-year-old son whom she hasn’t seen since she left him behind five years ago in search of a better future for her family. Reeling from the total loss of control in her own life, Imani offers to help Elizabeth, not realizing that this simple act of kindness carries immense risk.
“I believe everyone has a story and deserves to be seen. But, when society is driven by fear, people are often relegated to stereotypes. When one takes the time to see beyond labels, complex human beings come into focus and a kinder world emerges,” said Cole.
Lisa Cole is a creative activist, writer, producer and director, who amplifies diverse underrepresented voices and exposes social injustices. Having lived with 201 host families across 12 countries in just three years, Cole’s diverse background fuels her storytelling. She has several feature films in development including working with producers Laura Bickford and Nathan Ross. In addition, Cole has directed and produced documentaries for The Gates Foundation, Sundance Institute, Viacom, BET, and A&E, focusing on women’s health and safety in the Democratic Republic of Congo and Kenya.
Among the many accolades Bienvenidos a Los Ángeles has received, the film recently won the 2023 Diversity in Cannes Short Film Showcase, the independent film movement promoting inclusion at the Festival de Cannes. Presented by Diversity in Cannes founder, Yolonda Brinkley, with support from Julius Tennon and Academy Award Winner Viola Davis’ JuVee Productions, the showcase featured uniquely themed films from America, Asia, New Zealand, Nigeria and points in between.
As part of the film’s community-centered immigrant rights impact initiative, Bienvenidos a Los Ángeles has partnered with the Refugee Children Center, a Los Angeles-based non-profit supporting unaccompanied minors seeking asylum in the United States. The film is raising awareness and financial support for the organization by hosting community screenings and Q&A’s to spark dialogue about complicated issues surrounding immigration and vulnerable populations. The Center was recently recognized as an organization by the Recognition and Accreditation Program (R&A) from the United States Department of Justice.
“I see the story of Bienvenidos a Los Angeles reflected in each mother and caregiver at the Center,” said Mayra Medina-Nuñez, Executive Director at the Refugee Children Center. “Bienvenidos a Los Angeles highlights the humanity and the solidarity amongst human beings regardless of their legal or socio-economic status. It touches on the complexity of immigration laws in the United States while focusing on the strong love of a mother for their children.”

#### “Good Fortune” The Inspirational Life Story Of John Paul DeJoria, Hits The Big Screen
 

	Good Fortune, the new documentary chronicling the "rags-to-riches" story of entrepreneur and philanthropist John Paul DeJoria, affectionately known as JP, opens today.

	JP is best known for building not just one, but two iconic billion-dollar businesses—John Paul Mitchell Systems and Patrón Spirits—and he now adds John Paul Pet and ROK Mobile to that roster as well. His professional accomplishments include several additional global enterprises, but what's most important to him is staying true to his mantra, "Success Unshared is Failure."

	DeJoria moves purposefully and energetically through life, rallying his employees, spearheading back-to-work programs for the homeless, helming a high-seas ship in the Arctic to protect whales from poachers, racing a motorcycle in a charity ride, and working indefatigably on behalf of over a hundred philanthropic ventures. His joyous and hands-on approach to everything he does inspired acclaimed documentarians Josh and Rebecca Tickell to make Good Fortune, a film about the subject's storied evolution, from a man who has been homeless, to his current status as a billionaire and the charismatic proponent of a pioneering and impactful form of philanthropy he calls "conscious capitalism."

	Through a series of flashback footage and interviews with friends, fellow entrepreneurs, and business partners, including Arianna Huffington, Cheech Marin, Danny Trejo, and Michelle Phillips, Good Fortune is an uplifting, inspiring portrait full of wit, humor and substance. Narrated by Dan Aykroyd, JP's dear friend and business partner, Good Fortune follows one of the world's most celebrated business icons as he shares his ultimate secret of success: giving back.

	"The film's subject is an extraordinary individual who started life with no material possessions and built a self-made fortune which has enabled him to act as one of the world's most contributive and effective leaders in philanthropy," says Aykroyd. "Sharing his good fortune and giving back,he continuously encourages others to do the same, and has created a network of positive influencers and initiators all over the planet."

	JP believes that people, the planet and profit are closely intertwined, and he's on a mission to find innovative ways to share his good fortune with others. He uses resources and relationships to fund and promote causes that help the greater good. He radiates empathy, optimism, good will,and a sense that we should walk in each other's shoes. DeJoria's humility, wisdom, and captivating personality endear him to everyone he meets.

	Good Fortune is distributed by Lionsgate and Paladin and produced by Big Picture Ranch. The film opens to the public in New York City on June 23rd and in Los Angeles on June 30th, with release to follow in select cities nationwide. Good Fortune is also available for pre-order on iTunes and Amazon and will be available for download on August 1st.

#### “Habima” National Theater Transferred to Ownership of Tel Aviv-Yafo Municipality
 
After reaching a deficit of more than NIS 100 million and prior to its collapse, Israel’s national theater – “Habima” – has been rescued by a joint initiative of the Ministry of Culture and Sports, Tel Aviv-Yafo Municipality, the Histadrut, and Shaham – The Israeli Actors Guild.
Following an approach by Minister of Culture and Sports Hili Tropper to Tel Aviv-Yafo Mayor Ron Huldai, the latter agreed to the minister’s request to transfer the activities of Habima national theater to the municipality – amid a feeling of civic responsibility and due to Tel Aviv-Yafo’s status as the cultural center of the State of Israel.
The municipality has developed a mutually agreed plan to absorb the theater as a new municipal subsidiary, promising its balanced management for the years to come following administrative work with the government, trustees and employees.
As part of the plan, the Histadrut, Shaham, Habima workers and actors associations, the Ministry of Culture and Sports, Habima management and Tel Aviv-Yafo Municipality reached a set of agreements regarding the future employment of workers and actors.
In parallel, and following court decisions and operation of the theater by its trustees, the municipality has submitted a request to the Interior Ministry to establish a new municipal subsidiary, tasked with continued responsibility for operations at Habima national theater. Following receipt of approval from the ministry, the new subsidiary will be established, and employ workers and actors in accordance with agreements and understandings reached following an intensive and dedicated effort by all involved parties.
The agreements and understandings embody the will of the parties to enable an appropriate transaction, given the crisis faced by the theater and the crisis faced by the culture sector in general. This will enable the theater to return to its routine of staging performances and continue its long tradition of theater which commenced in Moscow in 1918, and which has accompanied the people and the state for more than a century.
Tel Aviv-Yafo Municipality has appointed a new board of directors for the national theater, headed by Ziva Patir, who served for more than a decade as CEO of the Standards Institute of Israel, and currently serves on many boards of directors. Noam Semel has been appointed to lead the transition as director-general of the theater.
MK Hili Tropper, Minister of Culture and Sports: “After years of financial crisis and real existential danger, I am glad that we have been able to help the national theatre and help continue its important and valued activities. At the end of a long process, and in partnership with Tel Aviv-Yafo Municipality, we have succeeded to safeguard the existence of this cultural institution, including its unique status. The new agreement will ensure the continued creation of the theater’s unique content and the employment of its workers. The enormous cultural work dating back more than a century will continue to develop courtesy of the new arrangement, and the threat of closure of Habima theater has been removed. I thank Tel Aviv-Yafo Municipality, the Histadrut, Shaham, the trustees appointed by the court, the Finance Ministry and all the partners to this solution.”
Ron Huldai, Mayor of Tel Aviv-Yafo: “The civic responsibility of Tel Aviv-Yafo did not allow us to leave the national theater to close down. Courtesy of the establishment of the new Habima as a municipal subsidiary, the century-old theater will continue to exist and serve as a key actor in the Israel cultural sector. I am pleased and proud by the move, and we will do our utmost so that Habima theater will flourish and create fine productions.”
Gershon Gelman, Chairman of the Histadrut’s Tel Aviv-Jaffa Regional Labour Council: “Following long negotiations lasting six intensive months, we have reached an initial agreement between the Histadrut, workers union and the CEO of the Bureau of Municipal Companies. We initially approached the agreement with serious concerns when we learned that the state had decided to shun Israel’s national theater. On a personal note, I saw it as a top priority to save the national theater – one of the primary cultural figures in the State of Israel throughout the 102-year history since its founding. I am grateful for the initiative of Tel Aviv-Yafo Mayor Ron Huldai, who took on this important national mission, together with a dedicated team and all the relevant bodies who all came together – even during the COVID-19 outbreak – to hold intensive meetings and lead the national theater, with great hope, toward a new path and safer shores. Personally, this was one of the most important and great challenges that I met this year.”
Noam Semel, Director-General of Habima national theater: “On behalf of the ‘Habima’ family and millions of spectators since 1918 and until today, we thank Tel Aviv-Yafo Municipality and its head for the Zionist decision to adopt ‘Habima’ and embrace it for the sake of Israel’s national theater.”
Ori Reshtik, Director of Operations at Shaham: “We are happy and excited ahead of the reopening of the theater, and thank Tel Aviv-Yafo Municipality for the step which cannot be taken for granted. The collective agreement signed between the municipality and Shaham is a breakthrough agreement that will ensure the fair and proper employment of all the actors at the theater.

#### “IT’S A MAD, MAD, MAD, MAD, WORLD” Screenings in 70MM in Beverly Hills on July 5th 2026
This 70mm screening of Stanley Kramer’s epic, 1963 Oscar- winning classic ” It’s A Mad, Mad, Mad, Mad, World” at the Fine Arts Theatre in Beverly Hills will be screened in ULTRA-PANAVISION and is presented in association with “Kat Kramer’s Films That Change The World” as part of the 2nd Sunday 70mm PLUS Series. The screening event is hosted by actress/performer Kat Kramer and Karen Sharpe-Kramer, daughter and widow of Stanley Kramer and producing partners with their KNK Productions, Inc.
Actor/comedian Jeff Garlin (Curb Your Enthusiasm) will be in attendance as “It’s A Mad, Mad, Mad, Mad, World” is a favorite movie of his, and made a deep impression, as he was greatly influenced by the brilliant performance of Jonathan Winters, and the cast of legends that include Spencer Tracy, Milton Berle, Sid Caesar, Ethel Merman, Edie Adams, Mickey Rooney, Buddy Hackett, Phil Silvers, Terry-Thomas, Barrie Chase, Dick Shawn, Jimmy Durante, Dorothy Provine, Marvin Kaplan, Carl Reiner, Jim Backus, Jack Benny, Buster Keaton, Peter Falk, Don Knotts, Jerry Lewis, Leo Gorcey, Eddie “Rochester” Anderson, Sterling Holloway, Andy Devine, Joe E. Brown, The Three Stooges, Minta Durfee, and more.
The United Artists release was nominated for six Academy Awards, winning one for Walter Elliott, Best Sound Effects.  The movie boasts a rousing score and popular theme song composed by Ernest Gold. The stunt work and car chases alone are the stuff of legend, as are the Southern California locations including Agoura, Kernville, Long Beach, Malibu, Oxnard, Palm Springs, Palm Desert, Palos Verdes Estates, San Pedro, Santa Ana, Santa Barbara, Santa Monica, Twentynine Palms, Universal City and Yucca Valley.
Barrie Chase, the iconic actress/dancer who is the last living cast member from the film will be in attendance.  Sandy Hackett, comic and actor son of Buddy Hackett, Josh Mills, host of the “Rareified Heir” podcast, and son of Edie Adams will also be in attendance plus many more.
According to Kat Kramer: “I decided to present my late father’s comedic masterpiece as the 15th installment for “Kat Kramer’s Films That Change The World” because the timing is relevant with the greed that is currently escalating in our government, and on our planet today. Also, watching it in 70mm on the big screen, with a live audience, is a much needed “experience.” Of course people can view it on their iphones, or watch on a blu- ray at home, but there’s nothing like laughing at the same time with friends and family. The first time I ever presented Stanley Kramer’s films for my cinema series was November 2025, a Stanley Kramer “double-feature” of “Judgment At Nuremberg” and “On The Beach,” both social justice films. Plus, this Fourth of July weekend celebrates the 250th Birthday of the United States. There are scenes in this 1963 epic comedy (made way before my time) that reference the differences between America and England, clever jokes and dialogue that are still relevant, written by the brilliant team William and Tania Rose. I want all ages to enjoy the 70mm screening, and the goal is to introduce this landmark movie to the next generation.
The special screening will also feature a trivia contest giveaway, Q and A with special guests, and a book signing with author James Curtis for his highly anticipated new book “Comedy Is a Grim Business: The Making Of It’s A Mad, Mad, Mad, Mad, World.” The over 300-page book will be available on June 30th, and the July 5th event will be the first LA area book signing upon release. Curtis is best known for his acclaimed book “Buster Keaton: A Filmmakers Life.”  .
“It’s A Mad, Mad, Mad, Mad, World” originally had the world premiere at the Cinerama Dome in Hollywood on November 7, 1963, and the general release date was July 25th, 1964.  The Fourth of July weekend and celebration of the 250th Birthday of the United States is a perfect way to spend the holiday weekend with the movie classic presented in 70mm on the big screen.
The movie and book are on a mini tour that includes MoMI New York on August 30th Presented by MUBI, as part of MoMI Presents the 11th edition of See It Big:70mm. “It’s A Mad, Mad, Mad, Mad, World” and James Curtis “Comedy Is A Grim Business” will make impact at the newly restored Palm Springs Plaza Theatre on November 1st, 2026 also presented by “Kat Kramer’s Films That Change The World” and KNK Productions, Inc.
Arrivals at 12:30pm, Introductions and film screening at 1pm, followed by panel/Q and A with book signing with author James Curtis on the Fine Arts stage. Tickets are $10 available on the Fine Arts website: www.fineartstheatrebh.com

#### “IU CONCERT: THE WINNING” IN CINEMAS WORLDWIDE BEGINNING FEBRUARY 5
 
K-pop sensation IU is bringing her electrifying “HEREH World Tour” to cinemas worldwide beginning February 5 with the release of IU CONCERT: THE WINNING. Captured live from her Seoul World Cup Stadium concert, this cinematic experience will immerse audiences in a breathtaking visual and auditory spectacle. From her unforgettable performances of hits including “Love wins all,” “Holssi,” “Shopper,” “Celebrity, “Last Fantasy,” and more, to the spectacular drone show that illuminated the Sangam night sky, IU CONCERT: THE WINNING offers a front-row seat to one of K-pop’s most beloved artists. With IU’s ever increasing global appeal and critical acclaim, this film is poised to captivate both longtime fans and newcomers alike.
Additionally, the release of IU CONCERT: THE WINNING will be exhibited in the premium formats of SCREENX, 4DX, and Ultra 4DX, alongside traditional 2D screenings.
Tickets for IU CONCERT: THE WINNING are on sale now at iuconcertthewinning.com.
IU, dubbed “an icon in South Korea” by the LA Times, continues to captivate audiences worldwide. Her recent tour, hailed as “pop perfection” by NME, showcased her undeniable talent and stage presence. A testament to her influence, IU was selected as the representative from Korea in Billboard’s “Global No. 1 Artist Series,” and hailed as “irreplaceable.” Also, her hit song “Good Day” topped Billboard’s “100 Greatest K-Pop Songs of the 2010s” list. Moreover, her recent accolades, including the Best Female Solo Artist award at the 2024 Melon Music Awards (in Korea), solidify her status as one of K-pop’s most celebrated and enduring stars.”
Marc Allenby, CEO of Trafalgar Releasing said, “Following the success of IU Concert: The Golden Hour in 2023, we’re proud to partner once again with this truly international artist to bring her first world tour to cinemas around the globe. This release also offers fans the opportunity to experience the film in multiple premium formats, ensuring an unforgettable big-screen experience.”
Jun Bang, CEO of producers CJ 4DPLEX, said, “At CJ 4DPLEX, we are thrilled to bring IU’s groundbreaking CONCERT: THE WINNING to cinemas worldwide, offering fans an unprecedented opportunity to experience her performance in our state-of-the-art SCREENX, 4DX, and ULTRA 4DX formats. This collaboration exemplifies our commitment to redefining the way audiences engage with live entertainment, pushing the boundaries of immersive cinematic experiences. We are proud to deliver a concert film that will truly captivate viewers across a variety of premium formats. It’s a privilege to support IU’s artistry and connect her with her fans globally in such an innovative and impactful way.”
 
Title: IU CONCERT: THE WINNING
Event dates: Limited screenings beginning worldwide February 5. Note: screenings in South Korea take place from January 24.
Running Time: 124 min
Cast: IU
Production Company: CJ 4DPLEX, SCREENX Studio
Director: Yeji Lee, Yoondong Oh
Producer: David Tu Sun Song
Distribution: Global – Trafalgar to distribute in all markets excl. Korea & Japan
Country of Origin: Republic of Korea
Website URL: iuconcertthewinning.com

#### “IVE THE 1ST WORLD TOUR In CINEMA” Coming to Big Screens Worldwide Feb. 26 & Mar. 1
 
After traveling to 19 countries during their first world tour in 2024, IVE made a triumphant return to the KSPO DOME in Seoul for an encore performance of their “SHOW WHAT I HAVE” concert. On Wednesday, February 26 and Saturday, March 1, 2025, fans in select countries worldwide can experience the dreamlike excitement of IVE’s world tour on the big screen with IVE THE 1ST WORLD TOUR in CINEMA. Capturing the energy and the emotion of the concert, this thrilling film features a rich set-list filled with hit songs with dazzling stage performances, candid band interviews, and exclusive behind-the-scenes videos.  This is a special opportunity to dive into IVE for the first time or to relive special memories from the live concert.
Tickets for IVE THE 1ST WORLD TOUR in CINEMA go on sale from January 30 at 8AM KST / January 29 @ 3PM PT / 6PM ET at www.iveincinema.com.
IVE burst onto the K-pop scene in 2021 with their single album, ELEVEN, instantly capturing attention and achieving popularity. Their debut track, “ELEVEN,” earned them the prestigious Rookie of the Year award, setting the stage for a string of hits, including “LOVE DIVE,” “After LIKE,” “I AM,” and “HEYA.” These hits garnered Grand Prizes and major accolades, cementing IVE’s status as a “4th-generation representative girl group.”
Marc Allenby, CEO of Trafalgar Releasing said, “We are delighted to partner with Lotte Entertainment for the first time. K-Pop continues to captivate global audiences, and this film will provide fans with an unforgettable cinematic experience, allowing them to feel the electrifying energy of the concert and strengthen the existing bond with the band.”
Hana CHOI, Head of International Business at Lotte Entertainment said, “We are honored to distribute the first film of the rising K-Pop band IVE in collaboration with Trafalgar Releasing. I am confident that many audiences will be captivated by IVE’s charm through this film, marking a significant step towards band’s goal of expanding overseas.”
 
Title: IVE THE 1ST WORLD TOUR in CINEMA
Running Time: 112mins
Event Dates: Wednesday, February 26 and Saturday, March 1. Note: some exhibitors will run the event for the entire week.
Cast: IVE (AN YUJIN, GAEUL, REI, JANG WONYOUNG, LIZ, LEESEO)
Presented by: LOTTE CULTUREWORKS
Production Company: GRAMFILMS
International Sales: LOTTE ENTERTAINMENT
Director: JO Yoon-soo
Distributor: Trafalgar Releasing
Distribution:  Australia, Brazil, Cambodia, Canada, France, Germany, Indonesia, Mexico, Malaysia, New Zealand, Philippines, Singapore, United Kingdom, United States of America and Vietnam
Country of Origin: Republic of Korea

#### “KANGDANIEL: MY PARADE” Coming to Movie Theaters Worldwide Aug. 30 & Sept. 2 Only
 
Following his explosive career as a member of one of Korea’s hottest K-pop groups, the multi-million-selling Wanna One, KANGDANIEL (aka Kang Daniel) chose to walk down a path all his own. With the release of his first studio album in 2022, KANGDANIEL stood before fans for his first solo concert in Seoul, which also marked the start of his epic “FIRST PARADE” world tour. On Wed., Aug. 30 and Sat., Sept. 2, movie audiences worldwide can experience KANGDANIEL’s “FIRST PARADE” tour like never before with documentary film KANGDANIEL: MY PARADE. The exciting concert doc chronicles Kang Daniel’s time in rehearsals, intimate discussions with the people closest to him, heartfelt interviews, behind-the-scenes moments, and show-stopping live performances on stage.
Tickets for KANGDANIEL: MY PARADE go on sale beginning Tues., Aug. 1 at 4 p.m. PT / 7 p.m. ET at www.kangdanielmyparade.com.  KANGDANIEL: MY PARADE is presented in select cinemas worldwide by Trafalgar Releasing and WYS En Scene. Visit the event website for the most up-to-date information about ticketing and participating theaters globally.
Marc Allenby, CEO of Trafalgar Releasing said, “We are excited to join forces once again with the WYS En Scene team to present KANGDANIEL: MY PARADE in cinemas worldwide. As a sensational solo artist, KANGDANIEL has widespread appeal and a dedicated global fanbase, and we believe MY PARADE is a perfect fit for the event cinema experience and a welcomed addition to the K-pop genre on the big screen.”
KANGDANIEL: MY PARADE is Trafalgar Releasing’s third collaboration with WYS En Scene including the upcoming MAMAMOO: MY CON THE MOVIE in movie theaters worldwide August 9 and 12 and Astro’s Stargazer Astroscope in 2022.

#### “Main Hun Surya SINGHAM 2” Releasing 26th of July
“Main Hoon Surya Singham II” a film that kept audiences all over the country enthralled for days and weeks, Singam was Hari's magnum opus. The director is coming with the sequel of the 2010 film, “Main Hoon Surya Singham II”, is releasing in Hindi, Tamil and Telugu.

	Suriya, Anushka Shetty are playing the lead roles in the movie which also stars Vivek, Santhanam, Vijayakumar, Nassar, Radha Ravi – who are reprising their original roles, while Hansika Motwani comes on board in a pivotal role.

#### “MIKE AND DAVE NEED WEDDING DATES” A REVIEW BY HAYDEN PITTMAN
While a film such as this will naturally have its funny moments, overall “Mike and Dave Need Wedding Dates” suffers from the same over-the-top vulgarity and absurd party-sex humor as the film writers’ previous work, “Neighbors” (1 and 2), and in the end isn’t worth a trip to the theaters. The cast, made up of Zac Efron, Adam DeVine, Anna Kendrick, Aubrey Plaza, and Stephen Root go all in on their comedic performances, but it's not enough to save the film from poor dialogue and nothing but dirty humor.

	Wild brothers Michael (DeVine) and David Stangle (Efron) have a bad habit of spoiling their family get-togethers. When they receive the invitation for their sisters wedding in Hawaii, their family requests that they bring dates in the hopes of keeping them calm for a change. The brothers quickly post on Craigslist and find their way on "The Wendy Williams Show" after getting a great deal of feedback from their offer.

	At the same time, wild and unstable girls, Tatiana (Plaza) and Alice (Kendrick) are looking for an adventure, and when they see the brothers on TV, they quickly scheme and pretend to be nice, normal girls in order to win the job. Everything seems great until they get to Hawaii and the brothers start to realize they may have met their matches, at least party wise. If two people can ruin an event, how destructive will four people be?

	In this film, I’ll admit there is some comedy that is extremely funny, but there is also more than enough cheap and stupid material. Efron plays a role that’s extremely dumbed down and continues to explore his comedic side, which has its moments, and DeVine again portrays a funny yet loud and excessive character. Kendrick plays a sort of crazy person who was left at the wedding alter and is a bit loony as a result, and Plaza, like some of her other recent films, yet again provides the female version of dirty comic relief.

	The thing about movies like this is a viewer’s tolerance level for extremely crude humor and mindless gags will largely determine whether they like this film or not. Like in the “Neighbors” films, there’s a ton of one liners, various comedic bits, hit and miss dialogue and attempts at humor that all revolve around sex, partying, drugs, indecent language, etc. Here, some things work and much doesn’t work, but the cast appears to give a strong effort, even though the material isn’t as strong.

	It’s pretty generic, but it’s also very simple – some people like this stuff and some people don’t. Personally I didn’t care for the film as a whole and didn’t think the few quality jokes would be worth the price of a ticket, but perhaps it could be a good home movie. Never know, the same large audience the allowed “Neighbors” to have a sequel could very well come out this weekend to see this film.

	2 out of 5 stars.

	“Mike and Dave Need Wedding Dates” is rated R for crude sexual content, language throughout, drug use and some graphic nudity. Running time is 1 hour and 38 minutes.

	Director: Jake Szymanski

	Selig Rating: Cable/Freebie

	The Selig Rating Scale:

	FULL PRICE – Excellent movie, well worth the price

	MATINEE – Good movie

	DOLLAR – OK movie

	CABLE – No need to rush. Save it for a rainy day.

	FREEBIE – Good that I saw it on the big screen but wish I hadn't paid for it.

	COMMERCIAL TV – Commercials and cutting to the allotted time will not hurt this one.

	FORGET IT! – Bad. If you see this one, do yourself a favor and keep it to yourself.

	GET YOUR TORCHES – BAD! – Burn the script, the writer, the director and maybe even the actors!

#### “Pretty Guardian Sailor Moon: The Super Live,” A 2.5D Musical Entertainment, to launch a premiere North American Tour playing 18 cities
 
Producers Makoto Matsuda (appare) and Kumiko Yoshii (Gorgeous Entertainment) announced today that following its sensational month-long engagement in London, Pretty Guardian Sailor Moon: The Super Live, the world-wide smash hit 2.5D musical sensation based on the wildly popular manga (comic book), will launch a North American tour this March with technical rehearsals and previews held in Pittsburgh, PA and an official opening on March 15 in Austin, TX and in partnership with SXSW (South by SouthWest). www.sailormoonsuperlive.com. With book, lyrics and direction by Kaori Miura (Musical: The Prince of Tennis, Tokyo Revengers The Musical), choreography by Satomi Toma, and music by Go Sakabe and KYOHEI, the visually stunning show follows the stories of Usagi Tsukino, a teenage girl who transforms into the heroic Sailor Moon. Together, with her fellow Sailor Guardians, she battles many dark forces to protect the Earth from evil.
With a mix of action, heartfelt moments, and iconic music, this production sees the manga characters brought to life on stage, in an epic story-telling live show experience guaranteed to wow audiences night after night, creating an unforgettable experience for fans and newcomers alike. Pretty Guardian Sailor Moon: The Super Live will be performed in Japanese with English subtitles.
Tickets for the North American tour will go on sale to the general public at 10am ET on Friday, January 31st. Exclusive presales will be available for Pretty Guardian Sailor Moon: The Super Live in the days leading up to Jan 31st through the show’s Official Fan Group. Ticket access and on sale timing may differ in some markets so please visit the venue’s web site for exact on sale information. To sign up for the mailing list, please visit www.sailormoonsuperlive.com
“At its very basic, ‘Pretty Guardian Sailor Moon’ is about 5 girlfriends banding together to fight for what they believe in… that’s timely,” said writer and director Kaori Miura. “Sailor Moon and her fellow guardians are equipped with powers that help them defeat evil and the characters are imbued with the self-determination to have agency and make their own confident decisions. In short, they are the ultimate example of ‘girl power.’”
The show’s North American engagement of Pretty Guardian Sailor Moon: The Super Live, is strictly limited, with previous engagements in New York City and Washington, D.C. selling out in record time. Ticket prices range from $30-$120 (and will vary from city to city) including a VIP package designed to create enchanting fan experiences.
One of the most popular mangas of all time, “Pretty Guardian Sailor Moon” is a global cultural phenomenon. Created by Naoko Takeuchi, Sailor Moon began as a manga in 1991 in Japan in a girls’ comic magazine published by Kodansha and has since sold over 46 million copies world-wide and has been translated into over 17 languages. It has been adapted as an anime and a live-action tv series which has aired in over 40 countries.
 

#### “Scared to Death” Available Across North America on TVOD May 5th, 2026
Award-winning music video and feature director Paul Boyd turns up the volume with the irreverent, high-voltage horror-comedy SCARED TO DEATH, starring horror icons Lin Shaye (Insidious) and Bill Moseley (The Devil’s Rejects, The Texas Chainsaw Massacre 2), alongside rock frontman Kurt Deimer (Halloween:2018), in a genre-bending horror-comedy thrill ride packed with supernatural chaos and sharp humor, debuting across North America on TVOD/Digital release MAY 5, 2026.    Available on all the major digital platforms, the film blends supernatural scares with dark comedy, tapping into classic haunted-house tradition while embracing a contemporary, irreverent edge—inviting audiences to laugh, jump, and react in equal measure.
In Scared to Death a group of filmmakers attend a séance at an abandoned children’s orphanage to do research for a horror movie. Soon, supernatural events begin to manifest, in both horrific and darkly comical fashion. That’s their first mistake…
Alongside Shaye and Moseley, with Deimer delivering a breakout performance as the scene-stealing “Grog,” Scared to Death unites an eclectic, high-profile ensemble including Victoria Konefal (Days of Our Lives), Rae Dawn Chong (The Color Purple), Olivier Paris (The Wrong Tutor), B.J. Minor (Grey’s Anatomy), Jade Chynoweth (The Last Ship), and Lucinda Jenney (Practical Magic).
Scared to Death’s origins are rooted in Boyd’s own real-life experiences in a reportedly haunted Hollywood home, which inspired the film’s central theme of “believing is seeing.” That concept carries through the production itself, which was shot entirely on location inside the historic Woodbury-Story House in Altadena, California—an 1882 Victorian mansion whose authentic architecture, attic, basement, and séance room provided a fully immersive backdrop for the film’s eerie tone and practical effects-driven set pieces.
Film Synopis
Jasper is an opportunistic young filmmaker eager to climb the Hollywood ladder. While working as a low-level production assistant, he seizes an opportunity to step into the director’s chair by convincing his cantankerous boss to take their cast and crew to a real séance for research on their upcoming horror film. The chosen location is an abandoned children’s orphanage, shuttered decades earlier after the mysterious deaths of five children—each reportedly scared to death.
Once the séance begins, the group finds themselves trapped inside the house as unexplained and increasingly terrifying events unfold. As the line between performance and reality blurs, the filmmakers are forced to confront supernatural forces far beyond anything they imagined—along with their own fears, beliefs, and survival instincts.
KURT DEIMER IS ‘THE GROG’
The film’s digital debut also aligns with rising momentum around Kurt Deimer, whose highly anticipated new album, A Grog Is Born, will be released on May 8, 2026, further spotlighting the multi-hyphenate artist as both a recording performer and emerging genre presence.  Deimer not only stars in the film but also helped shape the creation of “The Grog,” a character already generating early audience attention as a potential new horror-comedy mainstay.
Scared to Death was written and directed by Scottish filmmaker Paul Boyd and the filmmaking team also features producers Eric Barrett and Todd Slater of Convoke Media.  Executive Producers Kurt Deimer, Peter Tochet, Lin Shaye, and Steven Poster, ASC, casting by Lindsay Chag, CSA, edited by Ed Shiers, cinematography by Steven Poster, ASC, music composer Misha Segal, Production Design by Scott Campbell and featuring original songs by Kurt Deimer.  The film comes to theaters in a deal that was negotiated by Todd Slater of Convoke Media on behalf of the filmmakers, with Harmon Kaslow representing Atlas Distribution Company.

#### “STATE FAIR” (1962) Production Still
The motion picture "State Fair" was filmed at Fair Park one month prior to the opening of the 1961 State Fair of Texas!

 
 
Source : State Fair of Texas – bigtex.com

#### “STATE FAIR” Billboard – 1962
Texans rushed to see “State Fair” when it was released in 1962.

 
Source : State Fair of Texas – bigtex.com

#### “STATE FAIR” Production Still – 1962
A Timeless Tradition: Looking Back 50 Years
	Big Tex put in an early appearance that year. Workmen set him up in September for his role in the movie “State Fair,” but tailing winds from Hurricane Carla tore his clothes. The production crew was forced to shoot around him until repairs could be made.

	
 
Source : State Fair of Texas – bigtex.com

#### “TCM Movie Locations Tour” Set to Return to Los Angeles on June 26
 

	The "TCM Movie Locations Tour" is coming back to Los Angeles. As a result of the tour's overwhelming success during the 2014 TCM Classic Film Festival, Turner Classic Movies (TCM) is going to take fans on the ultimate ride through movie history year-round, beginning Thursday, June 26. TCM is partnering with Starline Tours, the leader in Hollywood sightseeing tours, to produce the three-hour "TCM Movie Locations Tour." The oldest tour organization in Los Angeles, Starline Tours is synonymous with celebrity homes and lifestyles, having pioneered the original tours of movie stars’ homes in 1935.

	Originally created for TCM's 20th Anniversary celebration, the tour is a fun and engaging excursion that brings movie history alive by pairing modern and classic film clips with visits to the locations where they were filmed. The tour begins at the historic TCL Chinese Theatre IMAX® in Hollywood and carries passengers throughout Hollywood, downtown Los Angeles and surrounding areas, a route that tells the history of the region through the story of the movies. This summer, the "TCM Movie Locations Tour" is scheduled to run Mondays and Thursdays at 1:30 p.m. and Fridays, Saturdays and Sundays at 9:30 a.m. and 1:30 p.m.

	"After enjoying such tremendous success with our 'TCM Classic Film Tour' in New York and the limited run of the Los Angeles tour during the TCM Classic Film Festival, there's no better way for us to thank our loyal TCM fans for their devotion than by running the tour on both coasts year-round," said Dennis Adamovich, senior vice president of digital, affiliate, lifestyle and enterprise commerce, TCM, TBS and TNT. "The 'TCM Movie Locations Tour' is a great chance to celebrate classic film in the very heart of the motion picture industry."

	The "TCM Movie Locations Tour" features such sites as Echo Park (Chinatown), the 2nd Street Tunnel (Blade Runner, The Terminator), Ambassador Hotel (The Graduate), The Biltmore Hotel (Independence Day, Ghostbusters) and the Gilmore Gas Station (L.A. Story), to name a few. It will also include the Roosevelt Hotel, home of the very first Academy Awards and host hotel for the TCM Classic Film Festival, and Hollywood High School, which turned out such stars as Lana Turner and Judy Garland. In addition, the tour makes stops at two exciting and historic filming locations: the Bradbury Building (Blade Runner, The Artist) and Union Station (Bugsy, Catch Me If You Can).

	A veteran Hollywood Starline tour guide provides the kind of expert commentary and behind-the-scenes insights that TCM is known for, with numerous film clips and photos to help visitors envision historic downtown, the original locations of the first movie studios and other film sites of interest. Multiple video segments featuring TCM host Ben Mankiewicz, whose family has a long and illustrious connection to the movie industry, provide additional insights and a true insider's view.

	The "TCM Movie Locations Tour" takes place on a brand-new, state-of-the-art bus with stadium-style seating and a 65-inch HDTV. The bus also features skylight windows and retractable side windows to allow better viewing of the Los Angeles cityscape and movie locations. This marks TCM's second sightseeing bus tour. In August 2013, the network launched the "TCM Classic Film Tour" in New York, which continues to delight fans with its three-hour tour of some of New York's greatest filming locations.

	Fans can book reservations for the "TCM Movie Locations Tour" online at http://tcm.com/tours.

#### “THE FUTURE OF THEATER”: TEL AVIV-YAFO LAUNCHES INCUBATOR FOR EMERGING PLAYWRIGHTS
 
Tel Aviv-Yafo Municipality is proud to present a new and impactful initiative for the culture sector and theater-lovers alike: “The Future of Theater.”
Combining Tel Aviv-Yafo’s prominent culture sector and world-renowned innovation scene, four incubators for young and up-and-coming playwrights will be launched in 2021 at the city’s four repertory theaters.
The initiative will lead directly to 16 stage projects, written by young playwrights – residents of the city and under 40 years old – for Habima Theater, Beit Lessin Theater, Gesher Theater and Cameri Theater.
All the writers sponsored by the project will receive payment for their playwriting and dramaturgical work, with every theater undertaking to stage at least one project from its incubator in 2022 – for at least a 30-play run. The artistic directors of the theaters reserve the right to choose from the various projects.
The project will be funded by a budget amounting to approximately NIS 640,000 (approx. $195,000) – 50% from municipal funds and the remaining 50% from the theaters. Each playwright will receive NIS 30,000 (approx. $9,200) and each accompanying dramatist receiving NIS 10,000 (approx. $3,060).
For the first time, the theaters and municipality aim to openly cultivate a new generation of writers for the Israeli stage, targeting results which will bring a young crowd of a similar age to the theater. Selected projects will deal with the most contentious topics faced by the new, young generation of playgoers: economic survival in the city; the job race; societal rifts; and sexual identity conflict.
Giyora Yahalom, Director of the Tel Aviv-Yafo Municipality Department of Cultural Affairs: “In the 1970s and 80s, a new generation of playwrights burst onto the Israeli stage. The works of Hanoch Levin, Hillel Mittelpunkt, Edna Mazia, Joshua Sobol and Miriam Kainy echoed the audience of their own age, and founded a new generation of Israeli playgoers who fell in love with theater forever. “The Future of Theater” aspires to give birth to the next generation of Israeli playwrights. The list of plays in development is unparalleled and instills hope that we are helping to advance a new golden age that will further enrich the spirit of the city.”
The project represents the latest in a long list of initiatives and assistance granted by Tel Aviv-Yafo Municipality to artists since the outbreak of COVID-19.
These include: a grant program for self-employed Tel Avivian artists working in disciplines including visual art, dance and music; an assistance fund worth NIS 700,000 (approx. $215,000) established by Mayor Ron Huldai; a wide range of outdoor exhibitions and festivals; broadcasts of artistic entertainment from the city’s cultural institutions; and intimate open-air performances at cafes, restaurants and museums.

#### “THE MYSTERIOUS DEATH OF EAZY-E” INVESTIGATIVE DOCUSERIES ANNOUNCED BY WE TV
 
WE tv debuts groundbreaking original investigative docuseries, “The Mysterious Death of Eazy-E” on Thursday, August 12th at 10pm. Featuring never-before-seen footage and interviews, the four hour-long installments explore the extraordinary impact Eric Wright, aka “Eazy-E,” had on the music industry and his daughter’s quest for answers to the perplexing circumstances surrounding the 1995 death of the gangsta rap icon.
Did Eazy-E truly die from AIDS? If so, how did he contract it? Are there people who wanted this pioneer and father dead? The investigative series uncovers these questions and more. “The Mysterious Death of Eazy-E” follows rap legend Eazy-E’s daughter, Ebie, on a personal journey to examine the unexplained circumstances surrounding her father’s death 26 years ago. Ebie teams up with her mother, Eazy’s ex, Tracy, as well as hip-hop journalist, Jasmine Simpkins, to seek the truth. Unravelling this intricate story through tracking down eyewitnesses to Eazy-E’s last days, revealing unseen footage and testing long-held theories around his untimely death. The investigation attempts to give the family, and his fans, clarity and the closure that they all crave…what really happened to Eazy-E?
“The Mysterious Death of Eazy-E” is executive produced by Ebie, Tracy Jernagin, DJ Skee, Thao Dipolito, and John Halterman. Tom Forman, Jon Beyer and Jeff Dawson for Critical Content. And Lauren P. Gellert, David Stefanou and Lauren Lazin for WE tv.
 

#### “Van Gogh: The Immersive Experience,” a 360-degree Digital, VR Exhibition at AREA15
 
Global sensation, Van Gogh: The Immersive Experience, is now showing to the public at AREA15 – the dynamic, new art, events and entertainment district located minutes from the Las Vegas Strip. Tickets are on sale now and may be purchased here.
Debuting in Las Vegas after international stops in Asia, the Middle East and Europe, its arrival at AREA15 marks the first time a digitally immersive and virtual reality experience of this magnitude and complexity featuring the art of Vincent Van Gogh will be seen in the United States. In advance of its wider North American release in at least eight cities this year, including Atlanta, New York and Boston, Van Gogh: The Immersive Experience is now exclusively showing inside The PORTAL, AREA15’s 360-degree, projection-mapped room designed for events, performances and digital art installations.
“This unforgettable exhibition is about stepping into a 21st century portal into the world of a 19th century painter,” said Michael Beneville, chief creative officer, AREA15. “I have to believe Van Gogh—a passionate, visionary artist who didn’t achieve fame until after his death—would be pleased knowing people today can enjoy his work this way.”
On view now through July 5 at AREA15, Van Gogh: The Immersive Experience is a timed 35-minute experience mapped specifically to fit the nearly 7,000-square-foot PORTAL. General admission tickets include lounge seating where guests are enveloped in sensational artistry, while VIP tickets include general admission plus VR goggles to experience “A Day in the Life of the Artist in Arles, France,” a virtual stroll alongside Van Gogh himself exploring the countryside settings that inspired his artwork.
Captivating a worldwide audience for more than four years in cities such as Brussels, Naples, Tel Aviv, Beijing and Antwerp, Van Gogh: The Immersive Experience is an awe-inspiring 360-degree experience making visitors feel as though they have stepped into the famous artist’s masterpieces. The immersive experience invites guests to revel in a transcendent display of this 19th century artistic genius’ life, work and secrets as never before – all seen through high-resolution digital projections and an accompanying original VR experience. The uniquely atmospheric light and sound show features dazzling animations of more than 300 of Van Gogh’s works set to a custom score and punctuated by voice actors sharing poignant quotes from Van Gogh’s letters to his brother, Theo.
The production, brought to life by European entertainment producer, Exhibition Hub, which has produced more than 70 experiences around the world, and presented by U.S.-based Immersive Hub, is a culturally enlightening, educational experience appropriate for all ages. All attendees will abide by prevailing public health and safety protocols.
Van Gogh: The Immersive Experience will be on view Sundays, 10 a.m. to 10 p.m., Monday through Thursday, 3 to 10 p.m. and Saturdays, 10 a.m. to 6:30 p.m. The experience is closed Fridays. Adult tickets start at $35 with 20 percent off for military and seniors; children’s tickets are $19. Nevada residents receive additional discounts. VIP tickets, which include the VR experience, can be added to the general admission ticket for $10 more. Family-friendly ticket bundles are available at $80 for 2 adults and 2 children.
PUBLIC HEALTH NOTICE
AREA15 and all its experiences follow the latest recommendations of leading health experts and government authorities, including the World Health Organization and Centers for Disease Control and Prevention. And true to the insatiable hunger for all things inventive and groundbreaking, AREA15 uses cutting-edge, state-of-the-art technology to help implement these recommendations, including an AI-driven thermal scanning platform that screens temperature accurately and non-invasively, detects the absence of a mask, and alerts staff when social distancing thresholds are not being met.
 

#### “BE OUR GUEST” FOR THE ACADEMY’S 25TH ANNIVERSARY CELEBRATION OF “BEAUTY AND THE BEAST”
 

	Eight-time Oscar®-winning composer Alan Menken and three-time Oscar nominee and Honorary Academy Award® recipient Angela Lansbury will join voice actors Paige O’Hara, Richard White and Robby Benson, supervising animators Andreas Deja, Mark Henn and Glen Keane, key story artist Brenda Chapman, Oscar-nominated producer Don Hahn, and director Gary Trousdale onstage for a 25th anniversary celebration of “Beauty and the Beast” on Monday, May 9, at 7:30 p.m. at the Academy of Motion Picture Arts and Sciences’ Samuel Goldwyn Theater in Beverly Hills. 

	Part of the Academy’s Marc Davis Celebration of Animation, the event will include a screening of the 1991 film from a pristine 70mm original theatrical release print from the Academy Film Archive.  There will also be an onstage discussion about the film’s lasting impact and its place in motion picture history as the first animated feature to be nominated for Best Picture.  The film won two Oscars®, for its original score by Menken and the original song “Beauty And The Beast,” music by Menken and lyric by Howard Ashman.  It also received two additional nominations in the Original Song category for “Be Our Guest” and “Belle,” as well as a nomination for Sound.

	Tickets for the “25th Anniversary Screening of Beauty and the Beast: A Marc Davis Celebration of Animation” are $5 for general admission and $3 for Academy members and students with a valid ID, and may be purchased online at www.oscars.org.  The Samuel Goldwyn Theater is located at 8949 Wilshire Boulevard in Beverly Hills.  For more information, call (310) 247-3600 or visit www.oscars.org.

#### “C.I.APE” and “Joey and Ella” Complete Production in Oklahoma
 
C.I.APE, LLC, and Joey and Ella, LLC, in association with the Oklahoma Film + Music Office (OF+MO), are proud to announce the completion of principal photography on two feature films, “C.I.APE” and “Joey and Ella”. The productions filmed back to back for six weeks in June and July in central Oklahoma.
Both films were directed by Steve Shimek (“Nocturne”) and produced by Brian Vilim (“Opus of an Angel”) and Zeus Zamani (“Opus of an Angel”). The family-friendly films hired 45 Oklahoma cast and crew members, as well as 80 Oklahoma extras. Shimek, Vilim and Zamani all worked together on a previous Oklahoma rebate film, “The Adventures of A.R.I. My Robot Friend”, which was released on DVD and digital platforms in March 2020.
The production team used several Oklahoma locations that were first-time film locations. “We are so grateful for the hospitality of the numerous locations that hosted us for the shooting of ‘C.I.APE’ and ‘Joey and Ella’,” said Zamani. “A lot of these had never had any filming at their spaces and we’re glad and excited to be able to showcase their potential as film locations to audiences by way of these films!”
One of these sets was a former power plant now owned by Liberty Church International. “Working with Zeus on ‘C.I.APE’ was amazing! We learned so much from Zeus and his whole crew about film production,” said Jeffrey Rydell, a representative of the church. “Also we were able to teach him how to more efficiently construct sets. As for our facility, we discovered that the various firewalls and in some cases blast walls (18-inch thick concrete) provides more than ample sound dampening allowing for eight or more scenes to be produced at once. The entire production experience was a blast, and I am looking forward to the next production.”
“It is rewarding to see newer, untapped locations in communities around the state that are proudly taking on a film-friendly role,” said OF+MO Director Tava Maloy Sofsky. “Every community is uniquely different, which not only provides high production value to the varied projects, but communities also receive a tremendous economic benefit.”
For more information on Oklahoma’s film infrastructure, workforce and other resources, visit okfilmmusic.org.

#### “Centuries Collide” Mini-Series Starts Production in Oklahoma
 
Tulsa’s own Impact Productions, in association with the Oklahoma Film + Music Office (OF+MO), is proud to announce the beginning of principal photography of the television mini-series “Centuries Collide”, which will start production on July 7, 2020.
“Centuries Collide”, a mini-series developed by Impact Productions, will be uncovering the surprising Christian origins of modern products, ideas, or technology that shape our world today. The pilot for “Centuries Collide” was filmed in Tulsa in December 2019, and focused on Martin Luther’s “95 Theses” and its lasting impact in the digital age. The full series will include other historical figures such as Joan of Arc, Johannes Gutenberg and St. Patrick, and will explain how their actions helped create our modern world.
“After months of quarantine and lockdown, it’s exciting to finally be in pre-production on our new show, ‘Centuries Collide’,” said producer Micah Barnard. “It’s especially great knowing we can make a positive impact on the local economy by basing our production here in Tulsa and working with such an amazing team of Oklahomans.”
“We are so excited to be shooting episodic content in Oklahoma. It’s a great opportunity to show off our state for the industry.” said Jonathan Coussens, writer/director at Impact Productions.
“We are always thrilled when a successful pilot blossoms into a full series,” said OF+MO Director Tava Maloy Sofsky. “It is even more exciting that this mini-series is entirely crewed by Oklahomans and Oklahoma expatriates. This project is one of the reasons the Oklahoma film economy is bouncing back even stronger than before.”
For more information about the Oklahoma Film Enhancement Rebate Program, visit okfilmmusic.org.
 

#### “Centuries Collide” Wraps Production in Oklahoma
 
Tulsa’s own Impact Productions, in association with the Oklahoma Film + Music Office (OF+MO), is proud to announce the completion of principal photography of the television pilot “Centuries Collide”, which started production on December 19, 2019.
“Centuries Collide”, a miniseries that is in development by Impact Productions, will be uncovering the Christian origins of modern products, ideas or technology that shape our world today.
“Working with the Oklahoma Film and Music Office is always such a great experience,” said Micah Barnard, Producer at Impact Productions. “We are proud to be able to continue to do projects here in our home state through the incredible film incentive they provide. There’s a huge resource of amazingly talented crew in the TV and film industry here in Oklahoma that makes projects like this possible.”
“We’re excited about the opportunity to bring another project into our backyard and the Oklahoma Film and Music office gives us that opportunity.” said Jonathan Coussens, Writer/Director at Impact Productions.
“It’s always a pleasure to work with Micah and Impact Productions, a Tulsa-based production company, on another project,” said OF+MO Director Tava Maloy Sofsky. “It’s amazing to see local production companies and local talent working together to make projects that speak to the level of skill and experience available in the state.”
For more information about the Oklahoma Film Enhancement Rebate Program, visit okfilmmusic.org.

#### “Cheer for Your Life” Begins Production in Oklahoma
 
Deadly LL, LLC, in association with the Oklahoma Film + Music Office (OF+MO), is proud to announce the start of production on the feature film “Cheer for Your Life”. The film started principal photography August 26, 2020, with filming scheduled for multiple locations in and around the Oklahoma City area.
“Cheer for Your Life” is written by Lee Gorlitz, directed by Jared Cohn (“Street Survivors: The True Story of the Lynyrd Skynyrd Plane Crash”) and produced by Daniel Roth (“The Adventures of Sharkboy and Lavagirl 3-D”) and John Mehrer (“Street Survivors: The True Story of the Lynyrd Skynyrd Plane Crash”).
“Cheer for Your Life” is an independent feature thriller set in the world of high school cheerleaders and all that ensues. The film is the second project this team has produced in Oklahoma since the COVID-19 pandemic hit the U.S., and has hired over 20 local crew members.
“We had such a wonderful experience in Oklahoma back in June that we immediately made plans to shoot this film here as well,” said Roth. “The crews are quite experienced and the locals have been nothing but an asset in assisting production.”
“We are so happy to be working with this team once again,” said OF+MO Director Tava Maloy Sofsky. “They have pioneered the ‘new normal’ of film sets in Oklahoma, as they were on the first project that was able to film since our state entered the ‘Safer at Home’ phase in March. We are so proud of how they have not only continued to create work for many Oklahomans, but how they have done so with the safety of their entire cast and crew as the top priority.”
For more information about getting started in film and the Oklahoma Film Enhancement Rebate Program, visit okfilmmusic.org.

#### “Climate of the Hunter” Now Filming in Oklahoma
 
Betmar-Heliand LLC, in association with the Oklahoma Film + Music Office (OF+MO), is pleased to announce production is underway on the upcoming feature film “Climate of the Hunter” in Oklahoma.
Directed by Mickey Reece, “Climate of the Hunter” is a visual interpretation of The Jesus and Mary Chain’s 1985 debut album, “Psychocandy”, under the guise of two sisters and their battle for the affection of a man who may or may not be Dracula. The film, which is utilizing the Oklahoma Film Enhancement Rebate Program administered by OF+MO, began principal photography in Welling, Oklahoma on January 26, 2019.
The feature film marks Reece’s 25th feature film as director. The script was written by Mickey Reece and John Selvidge, the latter of whom co-wrote the script for Reece’s “T-Rex” (2014) and “Suedehead” (2015). Producers of the film include Mikey Bill Taylor, Ron Sutor, Beth Alonso, George Adams and Jacob Ryan Snovel.
“It’s exciting for our production company to finally reach a point where we can utilize the Oklahoma Film Enhancement Rebate Program,” said longtime Reece-collaborator and Producer Snovel. “One of the major factors in being able to scale up with the size and scope of our features is the rebate program. We are just a small business employing people from the industry, but the rebate will continue to help us grow, increasing the amount of jobs we create here in the state. The future is bright for us in the industry as a homegrown company.”
The film will feature an all-Oklahoma cast and crew, including cinematographer Samuel Calvin, who describes the visual approach of the film as similar to the classic independent film and personal favorite “Boondock Saints”.
“We have the best team we could possibly ask for on this project,” said Director Reece. “I’m stoked to see what we can do when we get into our element.”
For more information about the Oklahoma Film Enhancement Rebate Program, visit okfilmmusic.org.

#### “CMT’s Nashville Squares” Hosted by Comedian Bob Saget to Premiere on Friday, November 1st at 8p/7c
 
CMT today announced that its new gameshow series, “CMT’s Nashville Squares,” will kick off with a two-episode premiere on Friday, November 1st at 8p/7c. Hosted by comedian Bob Saget, the all-new series puts a country music twist on the classic game show “Hollywood Squares,” following in the footsteps of hit series “VH1’s Hip Hop Squares,” by staying true to the beloved tic-tac-toe format and infusing it with some of the most influential and charismatic personalities in country music, pop culture, entertainment, sports, fashion, comedy and more.
Celebrity contestants and squares include Bill Engvall, Caroline Rhea, Carson Cressley, Chris Sullivan, Deana Carter, Devin Dawson, Fortune Feimster, Gary Busey, Jana Kramer & Mike Caussin, Jimmie Allen, Kenya Moore, Kyle Busch, Mark Ballas & BC Jean, Marie Osmond, Melissa Peterman, Mickey Guyton, Mitchell Tenpenny, Sara Evans, Tanya Tucker, and Ty Pennington. “CMT Nashville Squares” will feature exciting musical moments, fun and unpredictable competition, dance choreography from the Dallas Cowboys Cheerleaders: All Stars, and much more.
 
Additional celebrity guests this season include:
Adam Richman
Catherine Bach
Cheslie Kryst
Curtis Rempel & Brad Rempel
Dusty Slay
Hayley Orrantia
High Valley
Jon Reep
Josef Newgarden
Keifer Thompson & Shawna Thompson
Leah Turner
Lindsay Czarniak
Loni Love
Presley Tucker
Sara Tiana
Tom Wopat
WWE professional wrestler, Mickie James
“CMT’s Nashville Squares” is executive produced by Jesse Collins and Dionne Harmon from Jesse Collins Entertainment (also “VH1’s Hip Hop Squares”). Neal Konstantini serves as executive producer/show runner. The series is directed by Ivan Dudynsky. Candida Boyette-Clemons and Trevor Rose are executive producers for CMT with Leslie Fram as executive-in-charge of music. The format is licensed from CBS Television Distribution.
Follow Nashville Squares on social and use #NashvilleSquares to join the conversation!
Instagram: @cmtnashvillesquares
Twitter: @CMTSquares
Facebook: @CMTNashvilleSquares

#### “Impropriety” Begins Production in Oklahoma
 
Formula Features, LLC, in association with the Oklahoma Film + Music Office (OF+MO), is proud to announce the start of principal photography on the feature film “Impropriety”, which began August 14. The production will shoot for three weeks in Oklahoma City and the surrounding area, including Norman, El Reno and Edmond.
“Impropriety” is being produced by Anoop Rangi and directed by Nadeem Soumah who have worked together on several previous films, with this being their first time to film in Oklahoma.
“We have worked with casting director Ricki Maslar for many years, and she is the one who initially brought Oklahoma to our attention,” said Rangi. “The locations here have not only fit our needs, but provided things that could not be found so readily in California. Additionally, we’ve been impressed with the depth of skill and enthusiasm of the local crew.”
Over 20 Oklahoma crew members were hired to work on the film. Among them, Jada Merritt is working as the second assistant director; Jonah Schoenborn is working as the first assistant camera; and Diane LeCrone is working as the production designer.
“We are always grateful when our industry brings new business to our state, especially the ‘Impropriety’ team who have been diligent about hiring locally,” said OF+MO Director Tava Maloy Sofsky. “We hear time and time again that incoming productions have great experiences working with our professional crew members and support services, which we agree are some of the best in the business.”
For more information about the Oklahoma Film Enhancement Rebate Program, visit okfilmmusic.org.

#### “KING OF GAMES” A SHORT BY TYLER CINO -MARADIAGA TO MAKE LOS ANGELES PREMIERE AT DANCES WITH FILMS ON JUNE 22ND
“King of Games”, a multi-layered short centered on a young child amidst a life-changing day for him and his family, will make its LA Premiere on Monday June 22nd at the 28th edition of Dances With Films at 6:15 pm at the TCL Chinese 6 in Hollywood.
King of Games is a domestic drama and a late 1990s period piece that places the audience in the perspective of an eight-year-old, Hector, on the day he moves out of his home. Right before he and his family need to leave, he realizes he lost his prized deck of “King of Games” cards – a game based on his favorite television show. As he begins to search his home and interacts with members of his multigenerational household, from his edgy rocker older brother to his faith-loving great-abuela, the audience discovers this is not just any ordinary move, but that this is the final time this family will be together as his parents are getting divorced.
The film is directed by Tyler Cino-Maradiaga, written by Gabriella Bartley and Cino-Maradiaga and produced by Nicole Fernandez, Yuanwei Wang, and Cino-Maradiaga. The film stars Emperor Kaioyus (Run Nixon, The Equalizer), Mildred R. Gil, (To B., Loved and Lost), Annie Henk (Ponyboi, Alma’s Way), Joshua Garcia (In the Heights, Mike), Bryan Fitzgerald (13 Reasons Why, What Breaks the Ice), Rigo Garay (Crumbcatcher, Blackout), Brandy Ochoa (Director’s Cut) and Miriam Cruz (Alma’s Way, Dora the Explorer).
“As a child of divorce, I’ve noticed many divorce narratives are not usually told from the point of view of a child and are not about families of color. Not only did I want this film to tackle this subject from an underrepresented viewpoint, but I wanted to present the universal idea that growing up is learning to cope with loss. Whether it is a deck of playing cards, a home, or even a family, change is not “a problem to be solved”; it is just an inevitable part of life,” says Cino-Maradiaga.
Tyler Cino Maradiaga (Director, Producer, and Story by) is a Nicaraguan American writer, director and producer based in Brooklyn. Tyler has carried a passion for social justice since their undergraduate years at UC Berkeley and through a decade of working in the Diversity, Equity and Inclusion field. Believing storytelling is a catalyst for change, Tyler obtained a Master of Fine Arts in film directing at the Feirstein Graduate School of Cinema. Tyler’s work utilizes drama, comedy, and fantastical genres to explore themes of identity and social issues. Their films have shown at Austin Film Festival, Chelsea Film Festival, and New Filmmakers Los Angeles, amongst others.
Nicole Fernandez (Producer) is a Colombian filmmaker based in New York City. As a creative producer, she is passionate about telling stories that raise awareness of social issues and explore the ways we interact as humans. She has experience producing documentaries, independent films, and music videos. In 2019, she founded Somondoco Films, the production company under which she signs her work. She graduated from the MFA program in producing at Feirstein Graduate School of Cinema and works as a visual artist at ID Studios, a theater company in the Bronx that serves Latino and immigrant communities.
Yuanwei Wang (Producer) is a New York–based Chinese American screenwriter and producer. A graduate with a B.A. in Screenwriting and an M.F.A. in Film Producing, he has worked in Film Development at Intrinsic Value, contributing to feature projects Out of Order and The Oath. Yuanwei has produced and production-managed numerous short films, currently making their festival rounds in 2025. As Studio Manager at 100 Sutton Studios in Brooklyn, he supports commercial and film productions. An advocate for Asian representation, Yuanwei helps bring to life stories about the Asian diaspora, focusing on culture, personal struggles, and identity challenges.
Gabriella Bartley (Screenplay by) is a filmmaker based in Staten Island, New York. She earned her production degree at the College of Staten Island and her M.F.A at the Feirstein Graduate School of Cinema. Her passion lies in writing animations, but also live-action films revolving around coming of age, comedy, and mental health. She’s written and directed several films, including the short Lotus Green, which won the 2023 National Board of Review Award, Best Narrative at the Washington DC Film Festival, and Best Student Narrative Short at the CUNY Film Festival. Her most recent film, Lemon Bars, will soon enter the festival circuit.

#### “Run With the Hunted” Now Filming in Oklahoma
 

	The Oklahoma Film + Music Office (OF+MO) and the Tulsa Office of Film, Music, Arts & Culture are pleased to announce that production has started in Tulsa, Oklahoma, on the upcoming feature film “Run With the Hunted”.

	Written and directed by former Tulsan John Swab, “Run With the Hunted” is his second film to utilize the Oklahoma Film Enhancement Rebate Program, which is administered by OF+MO. The production will span four weeks and is being filmed in Tulsa, where Swab directed his first feature film, “Let Me Make You a Martyr” in 2016. The producers of “Run With the Hunted” have been working closely with OF+MO as well as the Tulsa Office of Film, Music, Arts & Culture over the last year in preparation for their filming.

	“It’s been a great experience working with John Swab again, as well as the entire production team,” said Abby Kurin, director of the Tulsa Office of Film, Music, Arts & Culture, a division of Tulsa Regional Tourism. “We’re grateful to our local partners for their warm welcome of the crew in Tulsa. We’ve been able to highlight Tulsa as a film destination through our work with the production, which utilized Tulsa for locations, lodging, crew and creative support services.”

	Ron Perlman (“Hellboy”) and Michael Pitt (“Boardwalk Empire”) star in “Run With the Hunted” which also features William Forsythe (“The Rock”), Mark Boone Jr. (“Sons of Anarchy”), Brad Carter (“The Scent of Rain and Lightning”), Dree Hemingway (“Starlet”), Slaine (“Gone Baby Gone”), Kylie Rogers (“Miracles from Heaven”), alongside Sam Quartin and Gore Abrams (“Let Me Make You a Martyr”).

	"The diverse cast we’ve assembled each brings something different to the film, and we’re thrilled to be able to tell the story with this group of people that includes both veteran actors and newcomers,” says Swab via The Hollywood Reporter. Swab is also producing the film alongside Jeremy M. Rosen’s Roxwell Films. BondIt Media Capital and Three Point Capital will finance the film with representation by VMI Worldwide.

	For more information about the Oklahoma Film Enhancement Rebate Program, visit okfilmmusic.org.

#### “Southland” Now Filming in Oklahoma
 
Lucidity Entertainment, SSS Entertainment and Southland Movie, LLC, in association with the Oklahoma Film + Music Office (OF+MO), are pleased to announce production is underway for “Southland”, an independent feature film utilizing the Oklahoma Film Enhancement Rebate Program administered by OF+MO.
Written and directed by Joshua Caldwell (“Layover”), “Southland” is a gritty, crime drama that tells the story of two young lovers who rob their way across the southland, posting their exploits to social media and gaining fame and followers along the way. The film stars Bella Thorne (“Famous in Love”, “Assassination Nation”), Jake Manley (“The Order”, “A Dog’s Journey”), Amber Riley (“Glee”, “Nobody’s Fool”) and Michael Sirow (“Jack Goes Home”, “Above the Shadows”).
“I could not have shot ‘Southland’ anywhere but in Oklahoma. Its geographical diversity allows it to stand in for a multitude of other locations, including Florida and Texas, and the land on which this state rests is both haunting and beautiful,” said Writer/Director Caldwell. “Furthermore, I have found in the people here a warmth and desire to help and contribute. They have opened their homes and their businesses to us, lending the film an authenticity you could never fake, and for that I am forever grateful.”
“Southland” began principal photography in Guthrie on July 12, 2019, and will continue throughout the month filming in multiple communities in the central Oklahoma region.
“For many producers who are unfamiliar with filming in Oklahoma, it’s simply a matter of getting them to our state to see firsthand the diversity of our locations, the hospitality of our communities, and the skilled talent of our local industry members,” said OF+MO Director Tava Maloy Sofsky. “These valuable factors, paired with the necessity of the Oklahoma Film Enhancement Rebate Program, provide the ideal setting for films such as ‘Southland’ to work in our state, and we’re incredibly grateful to all who have graciously accommodated the production thus far.”
For more information about the Oklahoma Film Enhancement Rebate Program, visit okfilmmusic.org.

#### “Street Outlaws” Gears Up for New Season in Oklahoma
 
Pilgrim Media Group, in association with the Oklahoma Film + Music Office (OF+MO), is pleased to announce that production is underway in Oklahoma for the Discovery Channel series “Street Outlaws”.
Discovery’s hit “Street Outlaws” continues to take viewers on a wild ride through the underground world of street racing in Oklahoma with fan-favorite local racers like Farmtruck and AZN. The successful series has been a staple of programming for the Discovery Channel since first premiering in 2013. “Street Outlaws” is produced by Pilgrim Media Group, a Lionsgate Company, a leader in the unscripted space with credits including “American Chopper”, “Dirty Jobs”, “The Ultimate Fighter”, and “Ghost Hunters”.
“Oklahoma has been the perfect home for the “Street Outlaws” world since the show’s inception six years ago. Communities across the state have embraced us and made it possible to produce this phenomenal, high-quality series. We’re looking forward to expanding our relationship with the Oklahoma Film + Music Office and continuing to make great television,” said Sean Alvarez, Pilgrim Media Group’s SVP of Production.
“It’s been wonderful to build a relationship with Pilgrim Media Group, and we look forward to their commitment to continue filming ‘Street Outlaws’ in Oklahoma, as well as future shows for which Oklahoma can help set the scene,” said OF+MO Director Tava Maloy Sofsky.
“Street Outlaws” will utilize the Oklahoma Film Enhancement Rebate Program administered by OF+MO for the first time with the filming of its latest installment. Principal photography began on July 24, 2019 and will intermittently film through next year.
For more information about the Oklahoma Film Enhancement Rebate Program, visit okfilmmusic.org.

#### “Stuck Out of Love” Begins Filming in Oklahoma
 

	Dawn’s Light, LLC, in association with the Oklahoma Film + Music Office (OF+MO), is pleased to announce the start of principal photography in Oklahoma on the upcoming feature film “Stuck Out of Love”.

	Richard Switzer and Colin Edward Lawrence serve as the film’s producers marking their second feature film to utilize the Oklahoma Film Enhancement Rebate Program administered by OF+MO. The duo recently completed production on “A Deadly Romance” earlier this month, and are happy to be producing their second feature film in Oklahoma.

	“I’m very excited to be producing this second film here in Oklahoma,” said Switzer. “We had such a great experience with ‘A Deadly Romance’, and I look forward to another successful shoot – and hopefully many more projects here.” 

	Directed by Peter Foldy from a screenplay by John Burd, “Stuck Out of Love” is a romantic comedy that tells the story of Amber, a newly single young woman whose life is sent into a tailspin when she begins re-living the same day over and over again.

	“Stuck Out of Love” stars Jen Lilley (“Days of Our Lives”), Andrew Lawrence (“Hawaii Five-O”), Jonathan Bennett (“Mean Girls”) and Kassandra Clementi (“Unreal”). Lead casting for this film, as well as “A Deadly Romance”, was facilitated by Casting Society of America (CSA) Casting Director Ricki Maslar, an expatriate who recently returned back to Oklahoma after spending decades working in Los Angeles.

	"I am thrilled to be part of these projects that are filming here in Oklahoma,” said Maslar. “It raises the profile of the state in the entertainment industry as well as provides jobs and a positive boost to the economy. Due to the efforts of the Oklahoma Film + Music Office, the message is getting out to the industry at large and educating people on what a wonderful state this is to work in."

	“Stuck Out of Love” began its two and a half week shoot on August 15, 2018, and will be filmed throughout the City of Guthrie. Of his experience filming on-location in Oklahoma thus far, Director Peter Foldy said, “Making our film in Oklahoma has been an amazing experience. The unique, timeless locations and the friendly people – such as Leroy Alsup from Guthrie City Hall who has gone above and beyond the call of duty to accommodate us – make Oklahoma, and Guthrie in particular, a town to definitely keep in mind for our future projects.”

	Producer Colin Edward Lawrence seconds Foldy’s positive impression of filming in Oklahoma adding, “There’s something special about this place. Not just the picturesque locations, perfectly preserved historical architecture and beautiful pastel sunsets; it’s the people. Everyone’s been so helpful and accommodating. We’re incredibly thankful for the opportunity to film here, work with local craftsmen and women, and to be welcomed into this community with open arms.”

	For more information about the Oklahoma Film Enhancement Rebate Program, visit okfilmmusic.org.

#### “Tenkiller” Completes Production in Oklahoma
 
Blood Relative Films, in association with the Oklahoma Film + Music Office (OF+MO), is proud to announce the completion of principal photography on the feature film “Tenkiller”. The film began principal photography in Tahlequah on July 6 and employed an all-Oklahoma crew over the course of twenty days. The film also used locations in the surrounding area such as Cookson, Keys, Park Hill and Vian.
Written by Jeremy Choate and directed by him and his wife, Kara Choate, “Tenkiller” is inspired by the Italian neorealism movement, as the story is set among the working class, filmed on-location and features non-professional actors. This is the first full-length feature film produced by the husband and wife team under their local production company, Blood Relative Films.
“The state of Oklahoma provided the ideal locations for us to shoot ‘Tenkiller’,” said director and cinematographer Kara Choate. “We’re so thankful to have made it through the filming process, especially in the middle of a worldwide pandemic. Our close-knit group of cast and crew made this experience incredible. We’re grateful for them, along with local musicians, our family, friends and the Oklahoma Film + Music Office for supporting us.”
“It is so rewarding to see Oklahomans building upon the film infrastructure that has been growing for the past two decades,“ said OF+MO Director Tava Maloy Sofsky. “The number of new local businesses being created to work in this industry continues to grow. We are excited to see Blood Relative Films join the host of talented production companies that are local to the state.”
For more information about the Oklahoma Film Enhancement Rebate Program, visit okfilmmusic.org.

#### “THE CHEF” SEASON 2 ARRIVES EXCLUSIVELY ON CHAIFLICKS SUNDAY, FEBRUARY 15
For fans of this exquisitely filmed kitchen drama, “The Chef” Season 2 is here. And while audiences wait for the next season of “The Bear” the ChaiFlicks Season 2 exclusive of “The Chef” serves up the perfect alternative. Hailed by The New York Times as “…an ambitious restaurant kitchen without overdoing the psychodrama….” and the series “…exhibits a visual and tonal sensibility that is both casual and cinematic,” the Israeli TV program precedes the Hulu phenomenon. Season 2 of “The Chef” will begin streaming on ChaiFlicks, with episodes dropping each Sunday.
The new season continues the drama, set in the high-pressure environment of a top restaurant kitchen, by following the ongoing relationship between hedonistic, single chef Dori (Gal Toren, Apple TV’s “Losing Alice,” Netflix’s “Hit & Run”) and his employee Nimrod (Guri Alfi, Netflix’s “Black Space,” the critically acclaimed film, “The Human Resources Manager”), a family man just trying to get by. The conflicts continue as we revisit the show’s lead characters two years after season 1 concluded. Dori is now a TV star who presumably has it all. In fact, he has nothing and yearns to open a new restaurant. Nimrod, now a Chef de Partie (station chef), works at a flourishing restaurant whilst withering under the fierce obstacles posed by entering the business later in life. Nimrod incessantly hits the glass ceiling for that very fact.
Following a personal breakdown and a fateful encounter with Maya, a businesswoman and daughter of one of Israel’s wealthiest families, Dori becomes inspired and decides to dive back into the game. He makes a splash by launching a new restaurant that will redefine the fine-dining experience through a showcase of his unique culinary approach.
Nimrod joins Dori’s venture as his sous chef, as Maya partners with Dori both professionally and romantically. Dori and Nimrod’s rekindled friendship sets ablaze new and old demons, forcing the pair to push their boundaries further than ever before – way past a point they could have ever anticipated. The season will follow the journey of opening the restaurant; the expectations, the experimentation, building the menu, tastings, and more, all whilst the characters fight to maintain the balance. However, as momentum builds with the new restaurant, its very existence reveals its threatening nature, which could ultimately lead the characters’ lives to collapse.
Season 1 of “The Chef”, which is currently streaming on ChaiFlicks, won Best Lead Actor at the Berlin TV Series Festival and was a part of the Special Program at the Toronto Jewish Film Festival, an Official Selection at the Zurich Film Festival, and in the Official Competition at Seriencamp Film Festival. Each of the 9 episodes in Season 2 runs 40 minutes.

#### “The Met: Live In HD” Summer Encore Series Heats Up at U.S. Cinemas
 

	Beginning Wednesday, June 19, the Metropolitan Opera and NCM Fathom Events will once again present Summer HD Encores, a series of encore performances from the groundbreaking Live in HD series, in nearly 400 select U.S. cinemas nationwide through NCM’s exclusive Digital Broadcast Network. This summer’s encore series offers four popular Live in HD events, including the most-attended event in the program’s history, Bizet’s “Carmen” (June 19), followed by Verdi’s “Il Trovatore” (June 26), Rossini’s “Armida” (July 10), and Verdi’s “La Traviata” (July 17).

	Tickets for The Met: Live in HD Summer 2013 Encores, shown in cinemas Wednesday evenings at 7:00 p.m. in all time zones, are available at www.FathomEvents.com or at participating theater box offices.

	This will be the fifth series of Summer HD Encores, following a successful seventh season of The Met: Live in HD series which featured 12 live operas including five new productions.

	“This summer’s Encore series features four passionate and romantic opera performances that are sure to heat up cinemas across the country,” said Shelly Maxwell, executive vice president of NCM Fathom Events. “The series kicks off with the sizzling fan favorite ‘Carmen’ which was last featured in the Met: Live in HD series in 2010. Definitely a must-see for anyone who experienced – or missed – any of these performances during their first run.” 

	The Met: Live in HD Summer 2013 Encores Schedule:

	Carmen – Wednesday, June 19 (originally broadcast live on January 16, 2010)

	Called “a gripping and brilliant production” by The New York Times, “Carmen” stars Elīna Garanča as the seductive gypsy, opposite Roberto Alagna as the obsessed soldier Don José. Acclaimed rising Canadian conductor Yannick Nézet-Séguin leads the Met’s production by Olivier Award-winning British director Richard Eyre, which features Barbara Frittoli as Micaëla and Teddy Tahu Rhodes as the toreador Escamillo. Christopher Wheeldon, artistic director and founder of Morphoses/The Wheeldon Company, created the choreography for what remains the Met’s most popular HD presentation to date.

	 

	Il Trovatore – Wednesday, June 26 (originally broadcast live on April 30, 2011)

	Starring four of the world’s most celebrated interpreters of the leading roles, David McVicar’s critically acclaimed production stars Marcelo Álvarez as the heroic troubadour of the title. In the role of Leonora, Sondra Radvanovsky is “remarkable…a spirited, feisty heroine” (Variety); Dolora Zajick is "a force of nature” (The New York Times) as Azucena, the gypsy with a dark secret; and Dmitri Hvorostovsky's "vivid presence and rich baritone emphasize Count di Luna's swings between hell-bent vengeance and romantic obsession" (Variety). Marco Armiliato conducts.

	 

	Armida – Wednesday, July 10 (originally broadcast live on May 1, 2010)

	Directed by Tony Award winner Mary Zimmerman, “Armida” stars celebrated American soprano Renée Fleming as the mystical sorceress in one of the greatest virtuoso roles from the bel canto repertory. Fleming is joined by Lawrence Brownlee, who sings Armida’s chief love interest, Rinaldo, and four more tenors in the roles of the crusader knights. Barry Banks portrays Rinaldo’s rival Gernando. John Osborn sings Goffredo, and Banks, Kobie van Rensburg, and Yegishe Manucharyan are the knights Carlo, Ubaldo, and Eustazio, respectively. Riccardo Frizza conducts.

	 

	La Traviata – Wednesday, July 17 (originally broadcast live on April 14, 2012)

	Natalie Dessay stars as the tragic courtesan Violetta Valéry in Willy Decker’s innovative modern-dress staging of “La Traviata,” which “delivers style, sparkle, and stirring drama” (Los Angeles Times). Met Principal Conductor Fabio Luisi leads the tragic love story, which also stars Matthew Polenzani as the lovesick Alfredo and Dmitri Hvorostovsky as his disapproving father, Giorgio Germont.

#### “The Met: Live in HD” Summer Encores Series Begins with Verdi’s RIGOLETTO
 

	In his acclaimed new production that was the talk of the opera world when it premiered in 2013, Tony Award-winning director Michael Mayer (“Spring Awakening”) moves the opera's tragic events from a decadent 16th-century Italian court to the glitzy, depraved setting of the Las Vegas strip circa 1960. As featured on 60 Minutes, this bold new vision stars Polish tenor Piotr Beczala as the Duke, an amoral lounge singer whose entourage includes the world-weary comedian Rigoletto, sung by Serbian baritone Željko Lučić. German soprano Diana Damrau sings the role of the innocent Gilda, Rigoletto's daughter and the victim of the predatory Duke. Slovakian bass Štefan Kocán is the assassin-for-hire Sparafucile and Belarusian mezzo-soprano Oksana Volkova makes her Met debut as his seductive sister, Maddalena. Italian conductor Michele Mariotti leads the Verdi masterwork, which features one of the most famous arias in all of opera, "La donna è mobile." (Running time: approximately 2 hours and 30 minutes)

	WHEN:  Wednesday, June 18, 2014 at 7:00 p.m. local time.

	Click here for a list of participating U.S. cinemas and ticketing links. Ticket prices vary. More information is available at www.FathomEvents.com or http://www.metoperafamily.org/hdlive.

#### “Treasure Lies” Wraps Production in Oklahoma
 
ii Films, in association with the Oklahoma Film + Music Office (OF+MO), are pleased to announce the successful completion of principal photography on the feature film “Treasure Lies”, which wrapped production on July 6, 2019, in Yukon after several weeks of filming throughout central Oklahoma.
Written and produced by award-winning filmmaker Scott A Peterson (“The Current”, “Miles Between Us”) of ii Films, “Treasure Lies” is a faith-based, family film that tells the story of a hardworking, all-American teenager who, after feeling let down by life, learns a lesson in faith, character, contentedness and integrity through an unexpected windfall. The film is directed by Emmy Award winner Brett Varvel, and welcomes lead performances by newcomers Caleb Milby and Rachel Cameron as well as strong supporting turns from Cameron Arnett (“Champion”, “Overcomer”), Brooks Ryan (“Unplanned”) and Dariush Moslemi (“Miles Between Us”, “Catching Faith”).
Utilizing the Oklahoma Film Enhancement Rebate Program administered by OF+MO, principal photography began on June 7, 2019. The City of Yukon served as the primary production hub with additional filming in the communities of Edmond and Oklahoma City. Peterson was first drawn to bringing his production to Oklahoma by familial ties as his daughter and son-in-law live in Yukon and own the local business Bath Sorbet, which has operations in the area as well as Edmond. Peterson’s decision was cemented by the benefits offered by the state’s film incentive program and his first hand experiences of the hospitality the production received in the region’s film-friendly communities.
“We’ve been absolutely overwhelmed by the hospitality, kindness and enthusiasm that has greeted us”, said Peterson. “It’s not only made this project so much easier, it’s made it a lot of fun and given us new friendships and connections we’ll want to continue. We couldn’t have asked for a better place to be.”
Founded by Scott and Diane Peterson, ii Films is a faith-based production company based out of Minnesota whose previous credits include “Miles Between Us” and “The Current”. Their third feature film, “Treasure Lies”, is the first production from the company to film in Oklahoma utilizing the state’s film incentive.
“The Oklahoma Film Enhancement Rebate Program welcomes filmmakers from across the globe to bring their productions to our state,” said OF+MO Director Tava Maloy Sofsky. “We’re so incredibly happy that Oklahoma could help set the scene for ‘Treasure Lies’ as we continue welcoming new, diversified business opportunities for filmmakers that positively impact our state’s economy and continue to grow our film industry.”
For more information about the Oklahoma Film Enhancement Rebate Program, visit okfilmmusic.org.

#### “What Josiah Saw” Completes Production in Oklahoma
 
WhatJosiahSawFilm, LLC, Randomix and Gemini Girls Productions, in association with the Oklahoma Film + Music Office (OF+MO), are proud to announce the completion of principal photography on the feature film “What Josiah Saw”. Principal photography began in mid-November and lensed for four weeks in Central Oklahoma.
A psychological horror film, “What Josiah Saw” is about a family with buried secrets who reunite at a farmhouse after two decades to pay for their past sins.  The film stars Robert Patrick, Nick Stahl, Scott Haze, Kelli Garner, Tony Hale and Jake Weber. Directed and produced by Vincent Grashaw (“And Then I Go”, “Coldwater”) and written by Robert Alan Dilts, the production hired over 60 local industry members to work as cast or crew.
“The locations we acquired greatly surpassed my expectations,” said Grashaw. “Sometimes it can be difficult marrying a location in your mind to a place that actually exists — in most cases it’s never perfect — but from the locals helping point our little film in the right direction and everyone at the film commission, it was surprisingly very easy! Fantastic incentives aside, Oklahoma’s landscape is exactly what I was looking for in executing this film.”
“We are happy to hear that the ‘What Josiah Saw’ team found success in Oklahoma and even more excited that they utilized a couple of untapped communities around the state,” said OF+MO Director Tava Maloy Sofsky. “The variety and quality of our locations allow productions to find the creative look they’re searching for, and our talented local industry members are more than willing and ready to help incoming productions bring that vision to life.”
For more information about the Oklahoma Film Enhancement Rebate Program, visit okfilmmusic.org.

#### “Woman in Motion: Nichelle Nichols, Star Trek and the Remaking of NASA” in Movie Theaters Nationwide on Feb. 2
Martin Luther King III
 
The inspiring true story of how renowned Star Trek actress Nichelle Nichols pioneered the NASA recruiting program to hire people of color and the first female astronauts for the space agency in the late 1970s and 1980s, Woman in Motion: Nichelle Nichols, Star Trek and the Remaking of NASA will open in movie theaters nationwide for one night only on February 2, 2021.
Directed by Todd Thompson (The Highwaymen, PRE FAB!), the film chronicles how Nichols transformed her sci-fi television stardom into a real-life science career when, in 1977, she embarked on a campaign to bring diversity to NASA.  Nichols formed the company Women In Motion, Inc. and recruited more than 8,000 African American, Asian and Latino women and men for the agency. Nichelle and her program continue to influence the younger generation of astronauts as well, including Mae Jemison, the first female African American astronaut in space. Despite an uphill battle against a bureaucracy that was hesitant to let her get involved, Nichols persevered and is credited by NASA for turning it into one of the most diverse independent agencies in the United States Federal Government.
In addition to Nichols, Woman In Motion features notable celebrities, activists, scientists and astronauts including Neil deGrasse Tyson, George Takei, Pharrell Williams, Martin Luther King III, Al Sharpton, Vivica A. Fox, Walter Koenig, Rod Roddenberry, Michael Dorn, Guy Bluford, Charles Bolden, Ivor Dawson, Frederik Gregory and Benjamin Crump.
For participating locations and tickets visit www.fathomevents.com. As movie theaters continue to set-up online ticketing, please check back often. (Theaters and participants are subject to change).
Following the feature presentation, fans will be treated to an exclusive behind the scenes documentary about the making of Woman in Motion, which includes additional interviews with Nichols and other notable guests from the documentary, deleted scenes and additional footage from the making of the film.
“We are thrilled that Woman in Motion will be getting its U.S. premiere and launching the Fathom Events Celebrates Black History Month series next month! This is a great American story with incredible global impact,” said director Todd Thompson. “Nichelle Nichols helped create the brighter future we are living in today by proclaiming that space exploration is for everyone. It’s a simple but very strong statement that opens doors and allows all humankind to boldly go!”
Fathom Events CEO Ray Nutt said, “We are proud to bring pioneer and role model Nichelle Nichols’ inspiring story in cinemas across the nation. It is an honor to have Woman in Motion as the debut film in the inaugural Fathom Events Celebrates Black History Month series.”

#### #TFIOS – Interviews with Author John Green and Stars Shailene Woodley & Nat Wolff.
The Fault in our Stars is Author John Green's extremely clever rewording of a famous line from Shakespeare's play Julius Caesar (act 1, scene 2). The nobleman Cassius says to Brutus: "The fault, dear Brutus, is not in our stars, / But in ourselves, that we are underlings."  John is an author and a video blogger that has become a real voice for those underlings.  John and the stars of the film stopped in Dallas for their recent press tour and granted us some wonderful interviews.  Click through for some really fun insightful chats with Author John Green, Actors Shailene Woodley and Nat Wolff.  Seriously click on through, we talk Incest, eggs, cancer, great authors and the magical power of email.

	

	Not only a great film but an awesome soundtrack!  Here are the Interviews:

	Author John Green on Red Carpet in Dallas, Tx.

	For me young Nat Wolff is a real sensation to keep an eye on.  We started our Red Carpet chat by talking about this being an important year.

	And finally my sitdown with John, Nat and Shailene Woodley.

#### #UNKNOWN – Interview with Writer/Director LazRael Lison
Filmmaker LazRael Lison talked with Selig Film News’  Gadi Elkon about LazRael’s latest film, his production company and so much more!

Years after a series of random murders took place in 2017, book author Michael Lane suddenly begins receiving haunting calls from the unknown. Instead of focusing on the encore to his successful debut book, he becomes obsessed with this mystery and spirals out of control as he unravels each victim caught in the web of a sadistic killer.
LazRael and Gadi talked about Summer House Pictures, #UNKNOWN, Master P connection, genre jumping, and much more!
Interview with Filmmaker LazRael Lison:

The film is now available on demand.
For more information about LazRael’s work, SUMMER HOUSE PICTURES.

#### #WASHED Roundtable Interview
#WASHED Season 2 Trailer from The Creative Couch on Vimeo.
The 48th Annual Daytime Emmy awards show is tonight and Dallas based web series #WASHED is a contender!  The indie series was created by regional Emmy award winner Jerod Couch and the web series is only the third Dallas based show to receive an Emmy nod of this kind.  Jerod along with his talented Director of Photography Jamarrio Washington, Producer and Lead Actor Byron Hardy, and Emmy nominated set designer and actress Yvonne Williams took part in a media roundtable to discuss the importance of the Daytime Emmy recognition and so much more!

“#WASHED is a unique take on the urban coming-of-age story. The half-hour dramedy/satire features a group of 30-somethings wondering if their dreams come with expiration dates. They are too old to just be dreamers, yet they are young enough to make those dreams a reality.

“My adolescent years were spent hopping from ‘hood to hood’ in Dallas, ultimately settling in the Wilmer-Hutchins area,” Couch said. “After returning home from a five-year producing stint at ESPN, I set out to create an indie TV series to tell the story of an aging millennial struggling to balance that former life in the ‘hood’ and current ‘#WASHED-up’ 30s lifestyle that doesn’t include the fame and fortune you had planned as a kid.”  CREATOR/DIRECTOR/PRODUCER JEROD COUCH.

Jerod with Jamarrio, Byron and Yvonne chatted with a group of Dallas media about the series, the hardships and rewards of filming locally, the tremendous recognition of a Daytime Emmy nomination and much more.

Part 1 of the interview includes Jerod’s introduction of his fellow interviewees as well as a brief history of how the show came from his real life experiences.  A look into the 4 aspects that define the second season and the advances from season 1 into what season 2 is about are also discussed.

https://seligfilmnews.com/wp-content/uploads/2021/06/Washed-Roundtable-Interview-Part-1.mp3

Part 2 dives into the importance of shooting locally and further enlightens about the elements of the second season.  We also talk about some of the local talent in the show.

https://seligfilmnews.com/wp-content/uploads/2021/06/Washed-Roundtable-Interview-Part-2.mp3

Part 3 has Jerod and the team talk about the Daytime Emmy nominations and other important key dates in the show’s future.  Jerod touches on the importance an Emmy can have on transitioning a web-series into being picked up by a major entity like HBO, Netflix or even a Studio.

https://seligfilmnews.com/wp-content/uploads/2021/06/Washed-Rountable-Interview-DayTime-Emmy-Info.mp3
For a lovely taste of the show check out the Daytime Emmy reel for the nomination.

The Daytime Emmys telecast is tonight at 7pm ct.  Stay tuned as, “Phase 2 of the 2021 Daytime Emmy Awards nominations, which #WASHED has submitted in 10 more categories, will be announced on June 28 and presented virtually on July 17 and 18.”
For more information check out THE CREATIVE COUCH.
*The Poster for the film.  A photo taken from the roundtable with Jamarrio Washington, Byron Hardy, Jerod Couch and Yvonne Williams.  Behind the Scenes shots with Jamarrio at the monitor and Jerod/Byron/Jamarrio and team members in downtown Dallas.
   
 

#### #WASHED SEASON 2 – A Review by Hollywood Hernandez
#WASHED SEASON 2 – A Review by Hollywood Hernandez
#Washed Season 2 is an independent TV series that was shot entirely in The Dallas-Fort Worth area and features an ensemble cast of primarily Dallas-area actors. Season one is currently playing on Amazon with season two due out on September 2nd. I had the opportunity to watch the first three episodes of the new season. So, the obvious question is, “Is it any good?”
I’d have to answer that question with a resounding, YES!
The show tells about the lives of both men and women. Most of them are on the verge of making their dreams come true. While some of them are living lives where their dreams never came true.
The show, directed by local award-winning director Jerod Couch, has a very good cast and the cast is very likable as millennials who are out in the world trying to find their way.
According to Couch, he experienced most of these same things himself. Couch is a native Dallasite and he puts the spotlight on this city. The series is called #Washed because most of the characters are washed up.
I enjoyed #Washed. It is not rated but the show does contain adult language and situations. I can’t wait to see the rest of the season. On my “Hollywood Popcorn Scale” I rate #Washed Season 2 a LARGE.

#### 1/1 – Interview with Director Jeremy Phillips & Lindsey Shaw
"Breathless, daring, and undone in a million pieces.  You are Lissa.  You are a 20-year-old girl trapped in rural Pennsylvania, who grapples with sex, drugs, love and loss."  From 1/1 website.

	Interview with 1/1  Director Jeremy Phillips and Lindsey Shaw.

	

	Here is our Interview with 1/1 Director Jeremy Phillips and Lindsey Shaw.

https://seligfilmnews.com/wp-content/uploads/2018/07/Jeremy-Phillips-and-Lindsey-Shaw.mp3

	The feature film debut from director Jeremy Phillips is an ambitious bold look at the depths of a character's full breakdown.  Tremendous performance from Lindsey Shaw as our Lissa.  Lindsey and Dendrie Taylor worked amazingly well and had some of the film's most pivotal moments.  Music by Liars is another bold addition that perfectly mirrors and leads us down Lissa's jumps. 

	

	1/1 will be released July 17 on VOD, DVD and Blu-ray. 

	(special features and unreleased Liars track available on Blu-ray)

	 

	For more information about the film, go to oneoveronemovie.com 

	 

	 

#### 10 Animated Shorts Advance in 2013 Oscar® Race
 

	The Academy of Motion Picture Arts and Sciences today announced that 10 animated short films will advance in the voting process for the 86th Academy Awards®. Fifty-six pictures had originally qualified in the category.

	The 10 films are listed below in alphabetical order by title, with their production companies:

	“Feral,” Daniel Sousa, director, and Dan Golden, music and sound design (Daniel Sousa)

	“Get a Horse!” Lauren MacMullan, director, and Dorothy McKim, producer (Walt Disney Feature Animation)

	“Gloria Victoria,” Theodore Ushev, director (National Film Board of Canada)

	“Hollow Land,” Uri Kranot and Michelle Kranot, directors (Dansk Tegnefilm, Les Films de l’Arlequin and the National Film Board of Canada)

	“The Missing Scarf,” Eoin Duffy, director, and Jamie Hogan, producer (Belly Creative Inc.)

	“Mr. Hublot,” Laurent Witz, director, and Alexandre Espigares, co-director (Zeilt Productions)

	“Possessions,” Shuhei Morita, director (Sunrise Inc.)

	“Requiem for Romance,” Jonathan Ng, director (Kungfu Romance Productions Inc.)

	“Room on the Broom,” Max Lang and Jan Lachauer, directors (Magic Light Pictures)

	“Subconscious Password,” Chris Landreth, director (National Film Board of Canada with the participation of Seneca College Animation Arts Centre and Copperheart Entertainment)

	The Academy’s Short Films and Feature Animation Branch Reviewing Committee viewed all the eligible entries for the preliminary round of voting at screenings held in New York and Los Angeles.
	Short Films and Feature Animation Branch members will now select three to five nominees from among the 10 titles on the shortlist. Branch screenings will be held in Los Angeles, New York and San Francisco in December.

	The 86th Academy Awards nominations will be announced live on Thursday, January 16, 2014, at 5:30 a.m. PT in the Academy’s Samuel Goldwyn Theater.

	Academy Awards for outstanding film achievements of 2013 will be presented on Oscar Sunday, March 2, 2014, at the Dolby Theatre® at Hollywood & Highland Center® and televised live on the ABC Television Network. The presentation also will be televised live in more than 225 countries and territories worldwide.

#### 10 CLOVERFIELD LANE – A Review By Gary “20 Thyme Meadow Street” Murray
 

	10 CLOVERFIELD LANE

	By Gary "20 Thyme Meadow Street" Murray

	Starring John Goodman, Mary Elizabeth Winstead and John Gallagher Jr.

	Written by Josh Campbell, Matthew Stuecken and Damien Chazelle

	Directed by Dan Trachenberg

	Running time 115 min

	MPAA Rating PG-13

	Selig Film Rating FULL PRICE        

	 

	The production company Bad Robot is basically a television icon that has been branching into films lately.  They were responsible for the re-boot of Star Trek, Mission Impossible, Super 8 and the newest episode of Star Wars.  If one is looking for sci-fi and thrill a minute action flicks, they are the go-to guys.  But they started with Joy Ride and Cloverfield.  As a tangent to that last film comes 10 Cloverfield Lane.

	The film starts with Michelle (Mary Elizabeth Winstead) a young woman who is packing a suitcase and leaving her engagement ring on the counter.  She is exiting her beau and ignoring his calls.  Just as she turns the phone off, a mysterious auto smashes into her car.  It rolls over and over.

	When she wakes up, she is chained to a pipe on the floor and intravenous fluid is being pumped into her arm.  A man comes in, drops off some food then leaves.  She is sure that she is being held captive and there is something definitely wrong with her captor.  Michelle plans her escape but fails to take down the man.  He tells her that she can’t leave.

	Eventually, she finds out that the man is Howard (John Goodman) and that they are inside his underground shelter.  He also tells her that something has happened on the surface and that no one survived.  They are basically the only ones who are not contaminated.  Then, she meets Emmett (John Gallagher Jr.) the young man who helped build the shelter. 

	When Emmett saw the bolt of something, he headed toward the shelter and forced his way inside.  The three of them make a surrogate family but no one truly trusts the others. 

	The more Michelle lives under the ground, the more questions she has about what happened up there.  The more she discovers about their plight, the more she questions everything. She is not sure that Howard is not lying for some nefarious means.  He makes references to another woman, his daughter.

	To give any more of the plot of 10 Cloverfield Lane would spoil the joy of experiencing all the thrills and spills.  Let’s just put it this way, nothing and no one is exactly what one would expect.  The screenplay twists and turns and twists yet again until it reaches its conclusion.  It never lets up until the ending credits

	With only three principal characters and a very limited set, one would expect the film to be stretching to make it interesting.  Actually, the confined space and limited characters give the experience of being closed in.  Like Night of the Living Dead, Buried and 127 Hours, the lack of cast and lack of open spaces give the film part of its feel.  It would never achieve the desired effect any other way.

	Director Dan Trachenberg has basically been working behind the scenes over the last few years.  This is his first big time directing gig and he doesn’t let up for a moment in keeping a taunt thread.  Not a moment is wasted by the young filmmaker in camera angle or cast motivation.  The audience feels as if he was channeling the ghost of Alfred Hitchcock in making this master work.  Remember, Hitchcock made films for the masses and was only later beloved by film historians.

	John Goodman is super creepy with the role of Howard.  Is he a crazed survivalist or the last sane man on the planet?  As the screenplay unfolds, the more answers he gives his two bunkmates, the more questions it eventually brings up. He can turn on a dime and rages at different moments.

	Mary Elizabeth Winstead becomes a parallel to ‘the good girl’ in the slasher flicks from the 1980s.  She is the person we relate to and we personify with her.  As she struggles with her situation, we struggle right along with her.  We jump out of our collective seats as she struggles with her captive situation.

	As hard as it is to believe, 10 Cloverfield Lane is one of my favorite flicks of this young year.  I doubt it will stay in the Top Ten but, who knows, stranger things have happened.  It has all the thrills that action junkies demand and some more esoteric flairs that those who crave something more than a pure popcorn chewing waste of time. Don’t miss this little gem.

#### 10 Contenders Remain in VFX Oscar® Race
The Academy of Motion Picture Arts and Sciences today announced that 10 films remain in the running in the Visual Effects category for the 86th Oscars®.

	The films are listed below in alphabetical order:

	         “Elysium”
	         “Gravity”
	         “The Hobbit: The Desolation of Smaug”
	         “Iron Man 3”
	         “The Lone Ranger”
	         “Oblivion”
	         “Star Trek Into Darkness”
	         “Thor: The Dark World”
	         “Warner Bros. Pictures and Legendary Pictures Pacific Rim”
	         “World War Z”

	The Academy's Visual Effects Branch Executive Committee determined the shortlist.  All members of the Visual Effects Branch will now be invited to view 10-minute excerpts from each of the shortlisted films on Thursday, January 9, 2014.  Following the screenings, the members will vote to nominate five films for final Oscar consideration.

	Oscars nominations will be announced live on Thursday, January 16, 2014, at 5:30 a.m. PT in the Academy’s Samuel Goldwyn Theater.

	Academy Awards for outstanding film achievements of 2013 will be presented on Oscar Sunday, March 2, 2014, at the Dolby Theatre® at Hollywood & Highland Center®, and televised live on the ABC Television Network.  The Oscar presentation also will be televised live in more than 225 countries and territories worldwide.

	 

#### 10 MUST SEE EVENTS AT DIFF 2016
In these first two weeks of April 2016 the North Texas area has been pelted by massive amounts of hail.  Two massive storms rolled through the Dallas suburbs destroying cars, roofs and many folks pride.  It appears the big man upstairs seems to enjoy chucking ice rocks at us good Texans.  What can you do?  Well that is where DALLAS FILM comes into to play.  Escape the fear of the falling rock and embrace the indoor comfort of film.  The 10th Annual Dallas International Film Festival opens tomorrow with over 160 films, panels and special events.  Some even venture out into the wide open, testing the fury of the rock tossing sky above.  Our hail storm vet (survived both storms while being protected by only the very thin roof of his Camry) and DIFF's official interview man, Gadi Elkon, shares his 10 Must See Events of DIFF 2016.  Click through if you want to survive the hail…

	

	This year's DIFF Star Award Honorees are two mavericks in the film world.  Cinematographer Ed Lachman and Filmmaker Monte Hellman's work in the industry will be highlighted and showcased throughout the festival.  These two gents lead our Must See Events for DIFF 2016.  So what are the other 9 must see events?  How about catching an International Film, Quality Documentary, Established Director's Latest, a Young Filmmakers Next Venture, A Short That Becomes A Feature, A Powerful Silver Heart Nominee, A Short Film Block, An Event at Klyde Warren Park, and also a film called WHITE GIRL.  Here are your Must See Events of DIFF 20216.

	International Films at DIFF 2016 –

	

	As an Israeli Born Texan I always search out the best international flavor at any film festival.  At this year's festival I really enjoyed Director Emre Sahin's latest film, TAKIM.

	Quality Documentaries at DIFF 2016 –

	https://vimeo.com/134988631

	Documentaries are our most important film resource as they tell us the truth behind our real world.  Keith Maitland's dynamic animated doc is one of many powerful intriguing docs at this year's festival.  Don't miss out on TOWER.

	Veteran Directors Latest – 

	Mysterious and Magical Michel Gondry's latest film ventures to our fair city and looks to tickle our youthful minds.  Don't miss out on Michel Gondry's MICROBE AND GASOLINE.

	Young Filmmaker's Newest –

	Back in 2013 Matt Johnson's film THE DIRTIES took home a special jury prize from DIFF.  The young filmmaker showcased a bold point of view and a ballsy take on film that seems to be fully awake in his newest film.  Don't miss out on OPERATION AVALANCHE.

	A Beloved Short Becomes A Feature Film – 

	

	Filmmaker Clay Liford's journey has been a real pleasure to watch over the last few years.  Clay caused a hilarious gut punch with his naughty short film SLASH, which I got to see back in 2012.  Now  I am super excited to see the growth of Clay's short film into a new vibrant feature.  Don't miss out on SLASH.

	Silver Heart Nominated Documentary at DIFF 2016 –

	https://vimeo.com/146108335

	DIFF's Silver Heart Nominees always impress.  Who isn't interested in an Iranian female rapper for instance!  Don't miss out on SONITA.

	A DIFF Short Film Block –

	https://vimeo.com/158429881

	I'm a huge fan of the short film programming that's been done at DIFF over this last decade.  This year's crop of short film blocks is stacked with fun treats and wild tales.  Any of the blocks is worth you're time, but if you need a nudge don't miss out on SHORTS 4.

	David Bowie's Magic Dance Takes Over Klyde Warren Park – 

	Who doesn't want to see David Bowie in his giant cod piece stealing babies at lovely Klyde Warren Park.  Don't miss out on this unique family friendly EVENT.

	And this raw film about a wild ass WHITE GIRL –  SEE YOU AT THE DIFF 2016!!!!

	

	 

	 

	 

#### 10 YEAR
 

	10 YEAR

	 

	By Gary Murray

	 

	Starring Lynn Collins, Channing Tatum, Jenna Dewan-Tatum, Ari Graynor, Oscar Isaac, Kate Mara, Justin Long,  Max Minghella and Rosario Dawson

	 

	Written and directed by Jamie Linden

	 

	Running time 105 min

	 

	MPAA Rating

	 

	Selig Film Rating Cable

	 

	I have a friend who is obsessed by the movie The Breakfast Club.  He thinks that it is one of the best films ever made and always complains that there was never a sequel.  I keep insisting that some movies just don’t need sequels and that sometimes going back and seeing those beloved characters years in the future could diminish the effect of the original work.  Proof of this idea that you can’t go back again is in the new Jamie Linden ensemble comedy 10 Year.

	 

	The story is of a ten year high school reunion.  Jake (Channing Tatum) is the former prom king who has a new girl Jess (Jenna Dewan-Tatum) whom he is dragging back to attend his reunion.  There will be many old friends and his high school sweetheart Mary (Rosario Dawson), a relationship that died when he went off to college.  Jake is in the financial industry but one feels that it is more of a job than a career.

	 

	The biggest success in the class is Reeves (Oscar Isaac) a musician with a hit single.  It seems that every person in the graduation class wants to take a picture with him.  There is still a soft spot in his heart for Elise (Kate Mara), the girl in school that he barely talked to. 

	 

	Marty (Justin Long) is a NYC success story and his best buddy AJ (Max Minghella) still both have the hots for uber babe Anna (Lynn Collins).  There are other stories, but one gets the gist of the plot.

	 

	The story is of this group of late 20 year olds getting drunk & high and reliving their glory days that have passed them by.  Plot threads come and go, with some people making connections and other just living the lie of being successful.  There are few surprises in the world of 10 Year.

	 

	The females in the film are some of the biggest performers in young Hollywood.  Rosario Dawson has been a darling of independent cinema for the last few years.  Here, she plays Mary, a woman coming back for one reason.  This is another fine but small reading from the actress.

	 

	Lynn Collins should be one of the biggest actresses on the planet.  She was in Wolverine, The Number 23 and John Carter.  The aspect about those performances is that she does such a great job of hiding in the character that no one remembers her.  As Anna, this is more of the same.  It is another great role that will not endear her face to the masses.

	 

	Ari Graynor and Aubrey Plaza are both comic performers and in this film they find moments to steal most of the laughs.  Ari plays a young mom who realizes that her husband can be as much of an embarrassment as he can be a good dad.  Aubrey finds that her husband was a much different person in high school.  They have the two big revelations of the film.

	 

	The big couple of 10 Year are also the big couple in real life.  Channing Tatum and Jenna Dewan-Tatum first worked together on Step it Up and have basically been a real life couple since then.  Playing young people in love, they have a true chemistry that is refreshing.   It is too bad that the material is not as fresh as the performances.

	 

	Most of the guys are so interchangeable that it almost becomes comic keeping them all straight.  Of all the guys Chris Pratt as Cully shines above his co-stars.  The comic actor from Parks and Rec knows how do deliver a comic line and does it time and time again in 10 Year.  His half heart-felt apologies to all the guys he terrorized in high school is funny in its insincerity.   

	 

	The problem with writer/director Jamie Linden’s film is that there is just too much going on.  If the screenplay were paired down and more focused it would have been more effective.  With so many characters, the final product is muddled down.  It almost becomes a form of short-hand in the writing.  Much like the films Valentine’s Day and New Year’s Eve, this is another ensemble dramatic comedy that has too much. 

	 

	In the final analysis, 10 Year is much like your high school reunion.  They are both something that happens that not many want to be a part of.  And after you have been to both, you know deep in your heart that you will never go there again.

	 

	 

#### 100 years of Indian Cinema: Raja Harishchandra (1913)
The date was May 3, 1913, and the location was the Coronation Cinema on Sandhurst Road in the Girgaon section of Bombay, India.  The event was the screening of the film Raja Harishchandra by Director and Producer Dhundiraj Govind Phalke, popularly known as Dadasaheb Phalke.  This would be the first full-length Indian feature film.  One print was made for this screening but because of the success that day many more prints were made to show the film in rural areas and thus the Indian film industry was born.  

	To celebrate the 100 years of the Indian film industry the Selig Polyscope Company and Selig Film News is proud to present the surviving scenes of Raja Harishchandra.  The film was originally in 4 parts on 3700 feet of film.  Only the first and last parts have been salvaged so far by the National Film Archive of India in Pune. 

	One hundred years later India cinema is one of the largest film industries in the world, producing more than 1300 films in 2012.  Here is to another 100 years!  Enjoy the film!

	httpvh://www.youtube.com/watch?v=9jwFoLClWao

	 

	 

	The video is part of the India Public Domain Movie Project and can be found at the link below.

	http://www.cuttingthechai.com/category/movies/india-public-domain-movie-project/

#### 1091 Acquires All Rights to STAR LIGHT
 
1091 has acquired all rights to STAR LIGHT. Directed by Mitchell Altieri (THE NIGHT WATCHMEN, HOLY GHOST PEOPLE) and Lee Cummings, the film stars Scout Taylor-Compton (THE RUNAWAYS, HALLOWEEN), Rahart Adams (PACIFIC RIM: UPRISING), Liana Ramirez (Power Rangers Beast Morphers), and Tiffany Shepis (12 Monkeys). STAR LIGHT will be available on digital and on demand August 4th.
A supernatural thriller, STAR LIGHT involves a kind hearted teenager, Dylan (Cameron Johnson), who crashes into a beautiful young woman (Scout Taylor-Compton) while skateboarding. She turns out to be a world famous popstar, who is on the run from her handlers. While he and his group of friends try to help this mysterious woman, unexplained events begin to occur within the home. When Bebe’s threatening handler, Anton, shows up demanding her return, the teenagers’ refusal makes him unleash a barrage of dire and otherworldly consequences that turns a fun graduation party into a night of living hell.
Written by Mitchell Altieri, Jamal M. Jennings, and Adam Weiss, the film was produced by Cheryl Staurulakis at Orama Filmworks, Jeffrey Allard at Indie Entertainment, and Altieri’s San Francisco Independent Cinema. Executive Producers were Stan Holland, and Leo Staurulakis.
“Lee Cummings and I made a film that we think delivers scares and a fun ride, with a talented, young cast. We are thrilled that 1091 will be bringing STAR LIGHT to a wide audience,” said Altieri.
“STAR LIGHT is a highly entertaining thriller of a film featuring an exciting, fresh young cast and a solid track record of inventive horror courtesy of Mitchell Altieri. We look forward to audiences around the world discovering the film,” said Lev Avery-Peck at 1091.
Cheryl Staurulakis of Orama Filmworks and Jeffrey Allard of Indie Entertainment negotiated the deal with Lev Avery-Peck of 1091.

#### 114 Original Scores in 2013 Oscar® Race
 

	One hundred fourteen scores from eligible feature-length motion pictures released in 2013 are in contention for nominations in the Original Score category for the 86th Oscars®, the Academy of Motion Picture Arts and Sciences announced today.

	The eligible scores along with their composers are listed below, in alphabetical order by film title:

	      "Admission," Stephen Trask, composer
	      "Ain't Them Bodies Saints," Daniel Hart, composer
	      "All Is Lost," Alex Ebert, composer
	      "Alone Yet Not Alone," William Ross, composer
	      "The Armstrong Lie," David Kahne, composer
	      "Arthur Newman," Nick Urata, composer
	      "At Any Price," Dickon Hinchliffe, composer
	      "Austenland," Ilan Eshkeri, composer
	      "Before Midnight," Graham Reynolds, composer
	      "The Best Man Holiday," Stanley Clarke, composer
	      "The Book Thief," John Williams, composer
	      "The Butterfly's Dream," Rahman Altin, composer
	      "The Call," John Debney, composer
	      "Captain Phillips," Henry Jackman, composer
	      "Closed Circuit," Joby Talbot, composer
	      "The Company You Keep," Cliff Martinez, composer
	      "The Conjuring," Joseph Bishara, composer
	      "Copperhead," Laurent Eyquem, composer
	      "The Counselor," Daniel Pemberton, composer
	      "The Croods," Alan Silvestri, composer
	      "Despicable Me 2," Heitor Pereira, composer
	      "Elysium," Ryan Amon, composer
	      "Ender's Game," Steve Jablonsky, composer
	      "Enough Said," Marcelo Zarvos, composer
	      "Epic," Danny Elfman, composer
	      "Ernest & Celestine," Vincent Courtois, composer
	      "Escape from Planet Earth," Aaron Zigman, composer
	      "Escape from Tomorrow," Abel Korzeniowski, composer
	      "Evil Dead," Roque Baños, composer
	      "47 Ronin," Ilan Eshkeri, composer
	      "42," Mark Isham, composer
	      "Free Birds," Dominic Lewis, composer
	      "Free China: The Courage to Believe," Tony Chen, composer
	      "Fruitvale Station," Ludwig Goransson, composer
	      "G.I. Joe: Retaliation," Henry Jackman, composer
	      "Gangster Squad," Steve Jablonsky, composer
	      "Gravity," Steven Price, composer
	      "The Great Gatsby," Craig Armstrong, composer
	      "The Hangover Part III," Christophe Beck, composer
	      "Hansel & Gretel Witch Hunters," Atli Örvarsson, composer
	      "Haute Cuisine," Gabriel Yared, composer
	      "Her," William Butler and Owen Pallett, composers
	      "The Hobbit: The Desolation of Smaug," Howard Shore, composer
	      "Hollywood Seagull," Evgeny Shchukin, composer
	      "Hours," Benjamin Wallfisch, composer
	      "How Sweet It Is," Matt Dahan, composer
	      "The Hunger Games: Catching Fire," James Newton Howard, composer
	      "Identity Thief," Christopher Lennertz, composer
	      "The Incredible Burt Wonderstone," Lyle Workman, composer
	      "Insidious: Chapter 2," Joseph Bishara, composer
	      "Instructions Not Included," Carlo Siliotto, composer
	      "The Internship," Christophe Beck, composer
	      "The Invisible Woman," Ilan Eshkeri, composer
	      "Iron Man 3," Brian Tyler, composer
	      "Jack the Giant Slayer," John Ottman, composer
	      "Jobs," John Debney, composer
	      "Kamasutra 3D," Sreejith Edavana and Saachin Raj Chelory, composers
	      "Labor Day," Rolfe Kent, composer
	      "Lee Daniels' The Butler," Rodrigo Leão, composer
	      "Live at the Foxes Den," Jack Holmes, composer
	      "Love Is All You Need," Johan Söderqvist, composer
	      "Mama," Fernando Velázquez, composer
	      "Man of Steel," Hans Zimmer, composer
	      "Mandela: Long Walk to Freedom," Alex Heffes, composer
	      "The Missing Picture," Marc Marder, composer
	      "Monsters University," Randy Newman, composer
	      "The Mortal Instruments: City of Bones," Atli Örvarsson, composer
	      "Mud," David Wingo, composer
	      "Murph: The Protector," Chris Irwin and Jeff Widenhofer, composers
	      "Now You See Me," Brian Tyler, composer
	      "Oblivion," Anthony Gonzalez and Joseph Trapanese, composers
	      "Oldboy," Roque Baños, composer
	      "Olympus Has Fallen," Trevor Morris, composer
	      "Oz The Great and Powerful," Danny Elfman, composer
	      "Pacific Rim," Ramin Djawadi, composer
	      "Pain & Gain," Steve Jablonsky, composer
	      "Percy Jackson: Sea of Monsters," Andrew Lockington, composer
	      "Philomena," Alexandre Desplat, composer
	      "The Place beyond the Pines," Mike Patton, composer
	      "Planes," Mark Mancina, composer
	      "Prisoners," Jóhann Jóhannsson, composer
	      "R.I.P.D.," Christophe Beck, composer
	      "Reaching for the Moon," Marcelo Zarvos, composer
	      "Romeo & Juliet," Abel Korzeniowski, composer
	      "Runner Runner," Christophe Beck, composer
	      "Rush," Hans Zimmer, composer
	      "Safe Haven," Deborah Lurie, composer
	      "Salinger," Lorne Balfe, composer
	      "Saving Mr. Banks," Thomas Newman, composer
	      "The Secret Life of Walter Mitty," Theodore Shapiro, composer
	      "Short Term 12," Joel P. West, composer
	      "Side Effects," Thomas Newman, composer
	      "The Smurfs 2," Heitor Pereira, composer
	      "The Spectacular Now," Rob Simonsen, composer
	      "Star Trek Into Darkness," Michael Giacchino, composer
	      "Stoker," Clint Mansell, composer
	      "Thor: The Dark World," Brian Tyler, composer
	      "Tim's Vermeer," Conrad Pope, composer
	      "Trance," Rick Smith, composer
	      "Turbo," Henry Jackman, composer
	      "12 Years a Slave," Hans Zimmer, composer
	      "2 Guns," Clinton Shorter, composer
	      "The Ultimate Life," Mark McKenzie, composer
	      "Unfinished Song," Laura Rossi, composer
	      "Wadjda," Max Richter, composer
	      "Walking with Dinosaurs," Paul Leonard-Morgan, composer
	      "Warm Bodies," Marco Beltrami and Buck Sanders, composers
	      "We Steal Secrets: The Story of WikiLeaks," Will Bates, composer
	      "We're the Millers," Theodore Shapiro and Ludwig Goransson, composers
	      "What Maisie Knew," Nick Urata, composer
	      "Why We Ride," Steven Gutheinz, composer
	      "The Wind Rises," Joe Hisaishi, composer
	      "Winnie Mandela," Laurent Eyquem, composer
	      "The Wolverine," Marco Beltrami, composer

	A Reminder List of works submitted in the Original Score category will be made available with a nominations ballot to all members of the Music Branch, who shall vote in the order of their preference for not more than five achievements.  The five achievements receiving the highest number of votes will become the nominations for final voting for the award.

	To be eligible, the original score must be a substantial body of music that serves as original dramatic underscoring, and must be written specifically for the motion picture by the submitting composer.  Scores diluted by the use of tracked themes or other preexisting music, diminished in impact by the predominant use of songs, or assembled from the music of more than one composer shall not be eligible.

	The 86th Academy Awards® nominations will be announced live on Thursday, January 16, 2014, at 5:30 a.m. PT in the Academy’s Samuel Goldwyn Theater.

	Academy Awards® for outstanding film achievements of 2013 will be presented on Oscar Sunday, March 2, 2014, at the Dolby Theatre® at Hollywood & Highland Center®, and televised live on the ABC Television Network.  The Oscar presentation also will be televised live in more than 225 countries and territories worldwide.

#### 12 STRONG: THE DECLASSIFIED TRUE STORY OF THE HORSE SOLDIERS – A Review by Cynthia Flores
 

	12 STRONG: THE DECLASSIFIED TRUE STORY OF THE HORSE SOLDIERS – A Review by Cynthia Flores

	 

	 

	This film is based on real events, and boy is it gritty in the battle scenes.  It’s based on the book by Doug Stanton, titled Horse Soldiers, which tells the story of the CIA paramilitary officers and the U.S. Special Forces sent to Afghanistan immediately after the 9-11 terrorist attacks against us in 2001.

	 

	Task Force Dagger, US Army Special Forces Green Berets Operational Detachment Alpha 595 (ODA 595) headed by Captain Mitch Nelson (Chris Hemsworth) worked with CIA paramilitary officers to join forces with General Abdul Rashid Dostum (Navid Negahban) of the Northern Alliance to help conduct unconventional warfare against the Taliban forces.  They were the first team from the US to respond to the 9-11 attack.  They rode on horses with General Dostum and his fighters into the cities held by the Taliban with our Green Berets calling in the coordinates to drop bombs.   

	 

	The casting on this is really good.  Michael Shannon as Chief Warrant Officer Spencer and Michael Pena as Sergeant First Class Diller are standouts from the crowded team of supporting characters.  The fact that the 12 men had to ride horseback in order to go far enough into enemy territory with General Dostum and his men was what made this assault that much more amazing.  This team and the locals were going head-to-head against men with tanks.  They had to get up close and personal in order to give the best coordinates for bombs being dropped from 30000 feet to be effective.  It was their efforts that allowed other Special Forces and the rest of the conventional military to begin the war we watched on TV.

	 

	12 Strong is a bit predictable but makes up for it with great action sequences and a lot of well-earned patriotic moments.  It’s good to see that the stories coming from declassified files are not all bad or shameful.  In fact, what these 12 men did on horseback was so astounding that there is a statue commemorating the men at the 9-11 monument in NYC.

	 

	I give this film a solid B+ rating and hope you take the time to see it.

	 

	Directed by Nicolai Fuglsig

	Written By Ted Tally, Peter Craig,

	Rated R

	Selig Rating B+

	Running Time 2h 10min

	Drama / Action / History

	Wide Release January 19th

	Starring:  Chris Hemsworth, Michael Shannon, Geoff Stults, Michael Pena, Trevante Rhodes, Jack Kesy, Austin Stowell, Navid Negahban

	 

	Movie Site: 12strongmovie.com

	 

	 

	The Selig Rating Scale:

	 

	A – Excellent movie, well worth the price.

	B – Good movie

	C – OK movie

	D – No need to rush. Save it for a rainy day.

	F – Good that I saw it on the big screen but wish I hadn't paid for it.

#### 12 YEARS A SLAVE
12 YEARS A SLAVE

	By Gary Murray

	Starring Chiwetel Ejiofor, Michael K. Williams, Michael Fassbender, Paul Dano and Paul Giamatti

	Written by John Ridley

	Based on the book by Solomon Northup

	Directed by Steve McQueen

	Running time 133

	MPAA Rating R

	Selig Film Rating FULL PRICE

	 

	The ravages of slavery still haunt the American psyche.   The owning of another human to work the fields and tend to their masters still reverberates in our modern society.  It is a festering wound that seems to never heal.  British director Steve McQueen takes on this American shame with the film 12 Years a Slave.

	Solomon Northup is a free black man in New York, living a middle class existence as a violinist.  He is offered a job in Washington D.C. with a pair of magicians.  The three get drunk in a hotel and pour Solomon to his bed that nigh.  He awakes in chains.  Two men claim that he is a runaway slave.  Even though Solomon protests, property cannot object and he has no rights.

	Before he can do anything to better his situation, Solomon is on a slave ship headed back to the deep South.  The slaves on the boat warn Solomon to keep silent.  If the slave masters find out Solomon can read and write, they will kill him.  Even though he looks for a means to escape, there are no options.

	Solomon is taken to a slave auction (run by Paul Giamatti) and sold into bondage.  His first master takes kindly to Solomon, even giving him a violin.  The owner treats the slave with a degree of respect.  The man reads the Gospel to his slaves, saying that their bondage is a part of God’s plan. 

	Solomon makes a mistake by showing up a work boss Tibeats played by Paul Dano.  Tibeats, in a fit of rage strings up Solomon.  As the man struggles for air and life, the other slaves go about their work, too afraid to help the man.  It is another horrifying scene that reflects the normality of the situation.    

	Eventually, Solomon is sent to a different farm run by Edwin Epps (Michael Fassbender).  He is a harsh taskmaster, using the whip with a manic relish.  He demands his slaves pick at least 200 pounds of cotton and punishes the lowest performers. 

	His best slave is Patsey (Lupita Nyong’o).  She is Epps favorite in more than one way.  The house mistress (Sarah Paulson) knows something is going on, but basically ignores her hated husband.   At this farm he also meets Bass (Brad Pitt) a Canadian abolitionist who realizes the injustice that has befallen Solomon. 

	The film is about the hopelessness of an individuals situation and the ultimate truth coming through.  It is an odyssey of struggles that shows the resiliency of the human spirit.   It is also the strongest films of the year.

	It has been said that casting is 90% of directing.  Director Steve McQueen picks a perfect cast.  Paul Dano, Brad Pitt and Paul Giamatti have small roles that are brilliantly executed.  Each bring their A-game to these little roles, especially Paul Dano.  His Tibeats is a simpleton who believes that he is a better man just because of the color of his skin.  His bitter ogre performance stuns with full vile.

	Michael Fassbender gives the performance of his career in 12 Years a Slave.  Epps is a crazed character who fights every emotion.  He hates slaves but is attracted to Patsey.  His is the ultimate conflicted character, a man who is just as much a slave of circumstance as the actual slaves he commands.  Another brilliant reading in a brilliant film.

	There is a lot of buzz in media circles about Lupita Nyong’o and it is all justified.  This is a raw performance, burning with passions.  She is the most trapped individual of the entire work, a slave with no way out.  There are moments of heartbreak and cruelty that she endures, beatings to a point of near death.  This is a Supporting Actress Nomination performance.

	Chiwetel Ejiofor also delivers an Oscar worthy performance.  As Solomon, he is a man over his head.  Trapped in a world he does not understand, the man is treated as a beast.  At every turn, he tries to get out of his bondage, never letting on about the true nature of his existence.  At every turn, there is disaster as he struggles just to survive.

	Steve McQueen brings to the screen a hard film to watch.  As honest as it is, it is also just as brutal.  The selling of human flesh is unsettling, the mistreatment of another man in the guise of religious superiority.  The world he paints on his cinematic canvass is very hard to understand in our modern world, but it is a world that we much understand.  We cannot deny our history, just learn from it.

	12 Years a Slave is easily the best film I’ve seen in 2013.  Even though it is early in the Oscar race, it is definitely at the top of the heap in the Best Picture category.   This is the kind of film that no one should miss.

#### 127 HOURS – A Review by Gary Murray
127 HOURS
By Gary Murray 
Starring James Franco, Amber Tamblyn, Kate Mara, Clemence Poesy, Kate Burton and Lizzy Caplan
Directed by Danny Boyle
Written by Danny Boyle and Simon Beaufoy
Running time 94 min
MPAA Rating R
Selig Film Rating Matinee
The true story of Aron Ralston was a major headline on the talk-news stations a few seasons back. The tale of a man trapped in a canyon with his arm caught between a canyon edge and a massive boulder was the driving discussion of those ‘What would you do?’ segments. The story is told in fictional fashion with the new Danny Boyle film 127 Hours.
When we first meet Aron (James Franco), he is a rather cocky athletic young man with a zest for adventure. He’s the kind of a guy to go out in the desert and not tell his friends or family where he is traveling. As an amateur guide, the knows every crevice and curve in the Utah park he frequents. Riding his bike to a dangerous limit, the idea that he is his own man gets a solid cinematic footing.
Soon he meets a couple of hikers (Amber Tamblyn and Kate Mara) showing them an underwater swimming hole with a shear drop to splashdown. The girls confirm that Aron is the kind of guy who can attain just about any woman he wants. After the swimming jaunt, Aron takes off for more adventures but promises to meet the young ladies later in town. 
Then Aron takes off for more exploring. On top of a outcropping, he loses his footing and falls down in a deep crevasse with a massive rock following him. Once the debris settles, it is obvious that Aron’s hand is caught between the two solid pieces of Mother Earth. A clock appears. We know that the countdown is on.
The rest of the film is struggle and realizations, where Aron has to come to the inevitable conclusion of what he must to first to survive, then to free himself. Along the way there are all the stages of grief and flashbacks to happier days in his life. He confronts what demons led him to the path of his life. 
Even though there is a big cast listed, the true star of 127 Hours is James Franco. Since most of the story takes place between a rock and a hard place, all we get is different angles of Franco struggling to free himself and work against the elements. He does a great job of keeping us interested in his plight. Anyone who watches the news knows the outcome of Aron, the journey is of self-discovery.
Danny Boyle scored the Oscar with Slumdog Millionaire but the magic didn’t happen twice with 127 Hours. There is not enough story for a full-length feature. Padding the film with flashbacks just clutters the present of 127 Hours. While he does a workman job of selecting different shots to drive the piece, there are not so many ways one can frame a guy caught in a crevice. It was getting old waiting for the big ending. A more interesting story would have been with dealing with the self inflicted handicap. The story post being trapped is a compelling idea but not fulfilled here. 
There are going to be many comparisons made between 127 Hours and Buried, the Ryan Reynolds film from earlier in the fall. I think that it is a bit unfair. Where both are stories of men trapped in circumstances beyond their control, the background stories are as dissimilar as two could ever be. Where Buried is a more ‘man against the elements’ story, 127 Hours is a ‘man against himself’. It is an interesting idea but not the best story or execution.
 

#### 12th Annual 24-Hour Video Race New Divisions Announced
The 12th Annual 24-Hour Video Race, presented by The Video Association of Dallas, will commence at the Angelika Film Center in Mockingbird Station at 11:59 p.m. on Friday, May 10, and end 24 hours later at 11:59 p.m. on Saturday, May 11. The Angelika Film Center is at 5321 E. Mockingbird Ln. There will be 3 new divisions in 2013: Rock Around the Clock (music videos), Doc Around the Clock (documentaries), and an all-mobile device division. 

	Dallas film and video makers of all levels of experience are invited to participate in the race, both creatively and literally.  Teams that do not make it to the finish line at midnight will not be included in the judging, All teams will be assigned four critical elements: one theme, one prop, one location and one line of dialogue.

	Anyone with a camera and the willingness to race can participate. Past teams have included elementary school students to professional filmmakers.  Student teams compete against other student teams, and adult teams are categorized by team size rather than skill level.

	New Divisions

	Rock Around the Clock: 

	This year there is a new division: music videos.  Five bands by will be selected by the KXT staff and matched with 5 video crews selected by Video Association of Dallas. Each team, assigned a band, will be given access to a venue to record them performing live on Saturday, May 11. The team will turn in their finished video with everyone else at the Angelika on May 11 by 11:59 p.m. Interested team must submit their reels by April 26.  
	$75 Limit 5 teams

	Doc Around the Clock:

	Doc Around the Clock is the new category for creating a documentary video. Film-making teams from around North Texas will have 3 days of 8 hours a day (during the day on May 8, 9, and 10) for a total of 24 hours access to a subject assigned by the Video Association of Dallas.  The team then has to make a documentary about the subject to be turned in with the other teams by Saturday, May 11 at 11:59 pm.
	$125  Limit 5 teams

	All-Mobile Device Division:

	The same rules as the 24-Hour Video Race with the requirement added that the entire film has to be shot and edited on a smart phone or tablet. $75

	 

	Video Race Classic Divisions

	The 24-Hour Video Race’s teams Classic Divisions five categories remain:

	Pixelvision            K-12 Teams

	Futurevision         Current College/University students and recent graduates

	Auteur                 Professional or amateur teams of a single member

	Guerilla                Professional or Amateur teams of 3 to 5 members

	Hollywood            Professional or Amateur teams of 6 or more members

	 

	Screenings

	The screenings of the work of all the entrants will be Tuesday-Thursday, May 14-16 with the finalists screened on Monday, May 20 at the Angelika Film Center.  The winning videos will be shown on KERA –TV Channel 13’s program “Frame of Mind,” on the website, and on You+Media Dallas site.  Team members should bring Race badges for admission to the screenings. (This includes teams who did not finish the Race.) Members of the general public can also attend. Admission is $5 for adults and $3 for children 12 and under. The screening schedule will be posted Monday, May 13. 

	Sponsored by

	Texas Commission on the Art

	Office of Cultural Affairs Dallas

	Dallas Film Commission

	Race Angels

	AMS Pictures

	Abernethy Media Professionals

	Ditore Mayo Entertainment

	Dallas Producers Association

	 

	ABOUT VIDEO ASSOCIATION of DALLAS:

	The mission of the Video Association of Dallas, the 501(c)(3) is to promote an understanding of video as a creative medium and cultural force in our society, and to support and advance the work of Texas artists working in video and the electronic arts.  VAD serves its mission through exhibition, education, information, service and advocacy. Video Association of Dallas presents the 24-Hour Video Race and other programs throughout the year.

#### 12th Annual 24-Hour Video Race Winners Announced
The 12th annual 24-Hour Video Race ended Monday night, May 20, with teams piled into the Angelika Film Center-Dallas for final judging. 

	Bart Weiss, Video Association of Dallas’ Artistic Director, said, “I was amazed at the level of creativity in the city from such a diverse group of filmmakers. From nearly every sector of the city, and from various age groups, the ways these makers reinterpreted our prompts were inspiring.”

	“It is amazing what can these teams can create in just 24 hours, and it was a tough job for our judges to evaluate them,” Weiss concluded. “There were twice as many high school teams in the past 2 years with 24 teams competing, comprised of more than 125 kids, in the student division, Pixelvision. Some came from as far away as Mansfield.”

	The finals judges were broken up in to two shifts this year.  The judges for Pixelvision (High School), Futurevision (College) and Auteur (a single member) categories included Casey Gooden, producer of UPSTREAM COLOR and PRIMER; CultureMap Dallas’ associate arts and entertainment editor, Alex Bentley; Steve Alford, president of Alford Media Services, Inc.; and Lee Papert, President and CEO of the Dallas Film Society.

	Judging the Guerilla (2-5 members) and Hollywood (6-plus members) categories were Angie Bolling, "Mrs. Robocop" in all three ROBOCOP movies; Erin Prather Stafford, executive producer of the winner of VideoFest 25 Documentary: WONDER WOMEN! THE UNTOLD STORY OF AMERICAN SUPERHEROINES; Ya’ke Smith, award-winning filmmaker of WOLF, and Paul Salfen, Dallas-based editor and media entrepreneur, host of “Drew Pearson Show” on Fox Sports, managing editor of Flavorpill Dallas, and the entertainment and travel editor for ScoreBoard.

	 

	The participants had 24 hours to make a video, which was required to include the following elements:

	Theme – Recycling

	Prop – Phone Book

	Line of Dialogue – “Ask not what your country can do for you; ask what you can do for your country.”

	Location – B_G: the Dallas Convention & Visitors Bureau’s new brand campaign recognizing locals as the catalyst behind making "BIG Things Happen in Dallas." 

	 

	2013 Dallas 24-Hour Video Race results:

	(Videos can be viewed on http://www.24hourvideorace.com/)

	 

	Pixelvision (high school category)

	1st: Space Team

	2nd: Cinemazing

	3rd: The Snowdeckers

	 

	Honorable Mentions

	Mansfield Film Crew

	Team Pistol Poppers

	 

	Futurevision (College category)

	1st: GDV

	2nd:Furious Films

	3rd: Atomic Production

	 

	Auteur (1-team member category)

	1st: Knockaround Guy

	2nd: Solera Visuals

	3rd: Daddy Daughter Day Off Productions

	 

	Guerilla (3-5 Team Members category)

	1st: The Fightin' Cobras

	2nd: Strangers With Cameras

	3rd: SWAMP

	 

	Hollywood (6+ Team Members category)

	1st: Panther City Pictures

	2nd: 80's Children

	3rd: SmokingCrayolas

	 

	Special Directors Prize

	Kings & Cults-mobile video

	Sinha Creative-music video

	 

	Special Mention:

	Video Association of Dallas board chair, Jeff Leuschel, was so impressed with Glitter Sandwich’s director Kayla Cesari’s film that Leuschel has offered to sponsor her team next year as their Race Angel. Leuschel compared her work to German New Wave director, Wim Wenders.

#### 12TH ANNUAL ASIAN FILM FESTIVAL OF DALLAS ANNOUNCES 2013 JURY AWARD WINNERS
 

	The 12th Annual Asian Film Festival of Dallas presented by Well Go USA Entertainment & McDonald’s announces its 2013 Jury Award Winners. 

	 

	SHORTS

	Best Narrative Short

	Sahasi Chori (Brave Girl)

	Nepal, Directed by Erin Galey

	 

	Best Documentary Short

	Han Rock

	Korea, Directed by John Weeke

	 

	Special Jury Mention

	Stronger

	Australia, Directed by Max Zhang

	 

	Special Jury Mention

	Memory of Forgotten War

	USA, Directed by Deann Borshay

	 

	Best Animated Short

	Couch & Potatoes

	USA, Directed by Chris Lam and Eunsoo Jeong

	 

	FEATURES

	Best Narrative Feature

	YE-ZAI

	Taiwan, Directed by Ying Ying Tseng

	 

	Best Documentary Feature

	BEFORE YOU KNOW IT

	USA, Directed by PJ Raval

	 

	Best Animated Feature

	BLOOD C: THE LAST DARK

	Japan, Directed by
 Naoyoshi Shiotani

	 

	Special Festival Prize for acting

	Guo Shu-yao STEP BACK TO GLORY

	Taiwan, Directed by Zhang Bo-Rui

	 

	AFFD JURY

	Eight film juries comprise individuals from the film and arts community, each of whom brings a unique perspective and range of experience.

	Kevin Heffernan

	Mona Kasra

	Kyle Kondas

	Joshua Peugh

	Tanveer Rahman

	Gwen Reyes

	Carolyn Sorter

	Bart Weiss

#### 12th ANNUAL ASIAN FILM FESTIVAL OF DALLAS ANNOUNCES FIRST TITLES & EXPANSION
 

	The Asian Film Festival of Dallas celebrates its 12th year with returning presenting sponsors McDonald’s & Well Go USA Entertainment, from Thursday, July 11 through Thursday, July 18, 2013. 

	For the first time in the past 11 years, AFFD will be held at Angelika Film Center of Dallas instead of the Magnolia Theatre to accommodate their growing audience.  AFFD Executive Director Alicia Chang said last year’s numerous sold out screenings were a great sign that they needed a bigger space. 

	“The move to Angelika was our solution, and we’re very excited to announce that we’re expanding to two screens!  This means that our festival fans will have even more films to choose from throughout the week,” she said.  “This year, film fans have a lot to look forward to – we’re bringing more Asian and Asian-American films this year than last, specifically Indian films, and we’ve welcomed Harwood District as our exclusive event sponsor.”

	The festival will have several premieres and is thrilled to announce the first of many diverse Asian and Asian-American films on the schedule:

	 

	BERSERK: THE GOLDEN AGE ARC I – THE EGG OF THE KING

	Japanese/English Subtitles / Japan / 2012 / 77 min

	Director Toshiyuki Kubooka

	Animated

	Southwest Premiere

	The lone mercenary Guts travels the land where a hundred-year-old war is taking place. His ferocity and ability to take down enemies attracts the attention of Griffith, the leader of a group of mercenaries called “The Band of the Hawk.” Griffith desires Guts’ power to help him achieve his goals. He succeeds in recruiting Guts by challenging and winning a duel with him. As the Band of the Hawk fight together and their bond as a unit is strengthened, Griffith and Guts’ bond deepens even more. Thanks to their continued success on the battlefield, Griffith achieves the first step in fulfilling his goal: his band of mercenaries becomes a full-fledged army within the Midland Kingdom. Despite all their success, Guts begins to question his reasons for fighting for Griffith’s dream.

	Unknown to Guts, this unyielding dream is about to bestow a horrible fate on them both.

	 

	BERSERK: THE GOLDEN AGE ARC II – THE BATTLE FOR DOLDREY

	Japanese/English Subtitles / Japan / 2012 / 93 min

	Director Toshiyuki Kubooka

	Animated

	Southwest Premiere

	For three years, Guts believed his mission was to pursue Griffith’s dream together with him. But in order to become Griffith’s equal and truly be called his friend, Guts realizes he will have to leave the Band of the Hawk. At the same time, a bloody battle to capture the impenetrable Fortress of Doldrey from the Empire of Chuder is about to begin. The Band of the Hawk will face an army 30,000 strong!

	IP MAN: THE FINAL FIGHT

	Cantonese/English subtitles / Hong Kong / 2013 / 102 min

	Director Herman Yau

	Southwest Premiere

	In postwar Hong Kong, legendary Wing Chun grandmaster Ip Man is reluctantly called into action once more.  What began as simple challenges from rival kung fu schools soon finds him drawn into the dark and dangerous underworld of the Triads.  Now, to defend life and honor, Ip Man has no choice but to fight – one last time.

	TOKYO STORY
	Japanese/English subtitles / Japan / 1953 / 35mm / black and white / 136 min
	Director Yasujiro Ozu

	In its 60th anniversary year, we are pleased to present TOKYO STORY on 35mm film.  Often regarded as Ozu’s masterpiece, TOKYO STORY tells the tale of an aging couple who travel to Tokyo to visit their grown children. The film contrasts the behavior of their children, who are too busy to pay them much attention, and their widowed daughter-in-law, who treats them with kindness. TOKYO STORY has appeared several times in the British Film Institute lists of the greatest films ever made and was voted Best Film of All Time in the 2012 Sound and Sense Directors Poll.

	CHITTAGONG

	Hindi/English subtitles / India/Bangladesh/USA / 2012 / 105 min

	Director Bedabrata Pain will be in attendance

	Southwest Premiere

	Set against the backdrop of a little known saga in 1930s British-occupied India (now Bangladesh) – where a group of schoolboys and young women, led by a schoolteacher, Masterda Surya Sen (Manoj Bajpai) dared to take on the Empire. Chittagong is the story of a diffident 14-year-old boy, Jhunku (Delzad Hiwale). Swept up into this seemingly impossible mission, the reluctant teenager battles with his own self-doubts to achieve an improbable triumph.

	seeking asian female
	English and Mandarin / English subtitles / USA / 2013 / 82 min
	Director  Debbie Lum

	Seeking Asian Female is an eccentric modern love story about Steven and Sandy—an aging white man with “yellow fever” who is obsessed with marrying any Asian woman, and the young Chinese bride he finds online. Debbie, a Chinese American filmmaker, documents and narrates with skepticism and humor, from the early stages of Steven’s search, through the moment Sandy steps foot in America for the first time, to a year into their precarious union. Global migration, Sino-American relations and the perennial battle of the sexes, weigh in on the fate of their marriage in this intensely captivating personal documentary.

	 

	Parties and events
	This year, AFFD is very excited to welcome Harwood District as its exclusive event sponsor.  The VIP reception, Opening Night Party, Filmmakers’ Reception and the Closing Night Parties will all be held in the Harwood District.  Harwood District is Dallas’ premier 17-city-block development and home to businesses, residences, Saint Ann Restaurant & Bar, the newly opened Mercat Bistro and The Ann & Gabriel Barbier-Mueller Museum: The Samurai Collection. 

	More titles and full schedule of events and details will follow in the coming weeks. Visit www.asianfilmdallas.com.

	 

	About the Asian Film Festival of Dallas
	Since its creation in 2002, the annual film festival has grown to become the South’s largest showcase of Asian and Asian-American cinema. Over the past 10 years, the festival has provided opportunities for nearly 500 Asian and Asian-American filmmakers and documentarians to share their vision, often providing the only venue for their films to be shown in Dallas.

	The films have also allowed festival goers a chance to experience other lives and cultures without leaving their seats. The Asian Film Festival of Dallas is a 501(c)(3) nonprofit organization dedicated to celebrating and supporting emerging and established Asian and Asian-American filmmakers and sharing the rich diversity of Asian culture through the medium of cinema.

	For more information about AFFD or to purchase tickets, please visit www.asianfilmdallas.com.

#### 12th ANNUAL ASIAN FILM FESTIVAL OF DALLAS ANNOUNCES FULL FILM & EVENT SCHEDULE
 

	The Asian Film Festival of Dallas celebrates its 12th year with returning presenting sponsors McDonald’s & Well Go USA Entertainment, from Thursday, July 11 through Thursday, July 18, 2013 at the Angelika Film Center – Dallas. 

	All 55 screenings will be held at the Angelika Film Center – Dallas

	FULL FILM & EVENT SCHEDULE

	Thursday, July 11

	7:30 pm         Rurouni Kenshin (OPENING NIGHT FILM)

	10:15 pm        Traffickers

	6 pm-11 pm   Opening Night Party @ Saint Ann Court

	http://affdopeningnight.eventbrite.com/

	 

	Friday, July 12

	1:00 pm          Eega (Director’s cut)

	4:00 pm          Sake Bomb

	4:30 pm          Key of Life

	5:45 pm          Ye-Zai

	7:00 pm          Cold War

	7:30 pm          Cats and Dogs

	9:30 pm          Short Films: RELATIONSHIP

	**Two filmmakers in attendance.  James Y. Shih, filmmaker of Distance and Tuyen Do, filmmaker of Healthy. 

	10:00 pm        The Last Tycoon

	 

	Saturday, July 13

	12:00 pm        Student Shorts

	1:00 pm          Step Back to Glory

	1:00 pm          PANEL: DIY FILMMAKING SECRETS REVEALED

	Join us for a concise 45-min panel with special guest filmmakers and a hyper-focus on two hot industry topics: Crowdfunding and Post-Production.

	2:00 pm          Blood C: The Last Dark

	3:25 pm          Padak

	4:15 pm          Finding Anthony

	4:45 pm          Masquerade

	6:00 pm          Jiseul

	7:30 pm          Berlin File

	8:15 pm          Fallen City

	10:00 pm        Chink

	                        **Filmmaker Stan Yung in attendance

	                        Q&A with Director Stan Yung following the film. 

	10:00 pm        Berserk: The Golden Age Arc I

	                        Wear your costumes to the screening! 

	Costume contest co-hosted by A-KON. 

	10:00 pm        AFFD annual Karaoke Night @ Angelika Café 

	11:30 pm        Berserk: The Golden Age Arc II

	 

	Sunday, July 14

	12:15 pm        Short films: DOCUMENTARIES

	1:00 pm          Floating City

	2:00 pm          Tokyo Story (1953)

	3:00 pm          Ip Man: The Final Fight

	4:35 pm          Seeking Asian Female

	5:00 pm          Chittagong

	                        **Director Beda Pain in attendance

	                        Director’s reception following the film @ Angelika Café. Light refreshments will be served.   

	6:30 pm          Short films: EXPERIMENTAL

	7:00 pm          Centerpiece reception

	7:30 pm         DRUG WAR (CENTERPIECE FILM)

	8:00 pm          Romance Joe

	10:00 pm        Eega (Theatrical Cut)

	10:00 pm        The Woodsman and The Rain

	 

	Monday, July 15

	1:30 pm          Go Grandriders

	3:00 pm          Short Films: DRAMA

	4:45 pm          The Mystical Laws

	                        **Filmmaker Koji Matsumoto in attendance

	                        Q&A with Director Matsumoto following the film. 

	7:00 pm          Will You Still Love Me Tomorrow

	9:00 pm          Graceland

	 

	Tuesday, July 16

	2:00 pm          Finding Anthony                 

	3:45 pm          Seeking Asian Female

	5:30 pm          Cats and Dogs

	7:30 pm          IP Man: The Final Fight

	9:45 pm          Horror Stories

	 

	5:30 pm-7:30 pm      AFFD Awards’ Party @ Saint Ann Restaurant & Bar

	 

	Wednesday, July 17

	12:00 pm        Ye-Zai

	1:45 pm          Short Films: EXPERIMENTAL

	3:15 pm          As Tears Go By

	5:30 pm          Before You Know It

	                        **Filmmaker PJ Raval in attendance

	                        Q&A with Director Raval following the film. 

	7:30 pm          Director’s reception following the film @ The People’s Last Stand 

	7:45 pm          Berlin File

	10:00 pm        Traffickers

	 

	Thursday, July 18

	12:00 pm        Masquerade

	2:30 pm          Drug War      

	4:30 pm          Chittagong

	                        **Filmmaker Beda Pain in attendance

	7:00 pm         LIBRARY WARS (CLOSING NIGHT FILM)

	9:30 pm          Rurouni Kenshin

	12:00 am        Blood C: The Last Dark

	 

	7 pm-11 pm   AFFD Closing Night Party @ Saint Ann Court

	 

	**FILMMAKERS IN ATTENDANCE

	Chink                                     Stan Yung

	Chittagong                            Beda Pain

	Before You Know It             PJ Raval

	Short Film: (Distance)         James Y. Shih

	Short Film: (Healthy)           Tuyen Do (UK)

	The Mystical Laws               Koji Matsumoto + Hirano (Japan)

	 

	Returning filmmakers Mye Hoang and Dave Boyle.

	 

	Parties and events

	Unless noted, all events and parties are free to film fans.  This year, AFFD is very excited to welcome Harwood District as its exclusive event sponsor.  The VIP reception, Opening Night Party, AFFD Awards’ Party and the Closing Night Parties will all be held in the Harwood District.  Harwood District is Dallas’ premier 17-city-block development and home to businesses, residences, Saint Ann Restaurant & Bar, the newly opened Mercat Bistro and The Ann & Gabriel Barbier-Mueller Museum: The Samurai Collection. 

	About the Asian Film Festival of Dallas

	Since its creation in 2002, the annual film festival has grown to become the South’s largest showcase of Asian and Asian-American cinema. Over the past 10 years, the festival has provided opportunities for nearly 500 Asian and Asian-American filmmakers and documentarians to share their vision, often providing the only venue for their films to be shown in Dallas.

	The films have also allowed festival goers a chance to experience other lives and cultures without leaving their seats. The Asian Film Festival of Dallas is a 501(c)(3) nonprofit organization dedicated to celebrating and supporting emerging and established Asian and Asian-American filmmakers and sharing the rich diversity of Asian culture through the medium of cinema.

#### 13th Annual Asian Film Festival of Dallas Announces 2014 Jury Award Winners
The 13th Annual Asian Film Festival of Dallas presented by Well Go USA Entertainment announces its 2014 Jury Award Winners.  

	 

	FEATURES

	Best Asian Narrative Film

	Late Spring

	Korea l Drama l Directed by Keun-Hyun Cho

	 

	Best Asian-American Narrative

	Man from Reno

	USA l Mystery/Thriller l Directed by Dave Boyle

	 

	Best Art Direction

	Funny Money

	Vietnam l Comedy l Directed by Thien Do

	 

	Special Jury Mention for Acting

	Lance Lim, Innocent Blood

	USA l Crime l Directed by DJ Holloway and Sun W. Kim

	 

	Best Cinematography

	Late Spring

	Korea l Drama l Directed by Keun-Hyun Cho

	 

	SHORTS

	Best Animated Short

	The Legend of the Flying Tomato

	USA l Directed by Sharon Huang, Aurry Tan, Michael Yates

	 

	Best Drama Short

	Forever in Hiatus

	USA/Vietnam l Directed by Andy Nguyen

	 

	Best Late Night Short

	Usagi-San

	USA l Directed by Patrick Dickinson

	 

	Best Documentary Short

	Spilled Water

	USA/China l Directed by May May Tchao

	 

	AFFD JURY

	Feature Film Jurors

		Nikki Duong Koenig
	

		Michael A. Gibson Jr.
	

		Raquel Chapa
	

	 

	Short Film Jurors

		Joshua L. Peugh
	

		Kyle Kondas
	

		Javier Fuentes

#### 13th ANNUAL ASIAN FILM FESTIVAL OF DALLAS ANNOUNCES FIRST TITLES & MAKES HISTORY WITH MOST FILMS
 

	The Asian Film Festival of Dallas celebrates its 13th year with returning presenting sponsor Well Go USA Entertainment, from Thursday, July 10 through Thursday, July 17, 2014.  

	The festival year boasts more diversity in its Asian films, makes history with the most film screenings and feature films and adds a unique art exhibition.  AFFD organizers are excited about bringing more Asian films and programming that truly has something for everyone.  

	AFFD in numbers
	39 film screenings total.  9 countries represented.
	1 World premiere.  6 North American premieres.  2 International premieres.  2 U.S. premieres
	12 confirmed filmmakers in attendance.  

	AFFD organizers are thrilled to announce the first six of many diverse Asian and Asian-American films on the schedule:

	SAMURAI HUSTLE
	Japan / 119 mins
	Comedy

	Masaatsu NAITO is the head of the small and poor clan in Northern Japan. He is ordered by the Shogun to come to Edo (capital city) in just five days with his people. The cost for the journey is incredibly high and usually takes eight to twelve days. Naito has no money, and it’s impossible to get there in only five days. However, the shogun’s order is a must or his land will be taken away. Will he and his men be able to achieve this impossible task?

	 

	BLACK BUTLER

	Japan / 2014 / 119 mins

	Director Kentaro Otani

	Live Action Anime

	United States Premiere

	Based upon the manga written and illustrated by Yana Toboso, this live action movie stays closely to the dark tone of the story but is set in the future 130 years after the events in the manga. Shiori, (Ayame Goriki) an orphaned aristocrat summons a demonic butler Sebastian (Hiro Mizushima) to aid her, at the price of her soul. Possessing a wealth of knowledge, unbelievable skills, perfect looks and grace, he is a butler without flaws. He is also a demon from the depths of hell who will not hesitate to take lives with the skilled manipulation of dinner cutlery.

	 

	THE KING’S WRATH

	Korea / 2014 / 135 mins

	Director Lee Jae-Gyu

	Drama/Action

	In 1777, one year since he had taken reign, King Jeong-jo bears a perilous palace life with his dedicated court servant, Gap-soo, amidst opposition and threats from those around with political ambitions. Meanwhile, Eul-soo, a member of a secret assassin group, receives orders to kill Jeong-jo. Gap-soo, who had also been in the same secret assassin ring as Eul-soo, later confesses to Jeong-jo about his dark past and his motive for coming into the palace. To Gap-soo's surprise, Jeong-jo asks Gap-soo when he had given up being an assassin, then orders him to just leave the palace. However, Gap-soo finds out that there is another assassin besides him and frantically returns to the court, only to discover Eul-soo in combat with Jeong-jo.

	
	FUNNY MONEY
	Vietnam / 2013 / 96 mins
	Director Thien Do in attendance
	Comedy
	 

	The stars of SAIGON ELECTRIC Vân Trang and Khuong Ngoc return to AFFD in this hilarious comedy. Director Thien Do's newest film is a social satire set in modern-day Vietnam. Saigon businessman Lucky Loc makes high-end fake "ghost money” that is meant for dearly departed relatives to use in the afterlife. His good fortune comes to a sudden halt when he pays with “funny money” to an unsuspecting saleswoman, Quyen. Believing it to be his lucky charm, he’s convinced that giving away the bill caused his misfortune. At the same time, Quyen’s Quyen’s fortune plummets and she blames the cursed “funny money” for it. When Lucky tries to retrieve the bill and Quyen holds it for ransom, Lucky must do his best to survive in this increasingly materialistic world.

	 

	BUSHIDO

	Japan / 2013 / 102 min

	Director Yasuo Mikami

	Action Drama

	A period film depicting the culture of bushidou with heart-racing action and realistic swordfights!  "Bushido" (original Japanese title : Shundou) is an authentic period film brimming with tension and bloody samurai swordfight scenes. Regarded as representing the pinnacle of Japanese independent films, this work was written and directed by Yasuo Mikami.

	 

	MAN FROM RENO
	USA / 2014 / 111 min
	Director Dave Boyle in attendance
	Action Drama

	In a small town south of San Francisco, Sheriff Paul Del Moral (Pepe Serna) is driving home through the fog one night when he accidentally strikes a pedestrian, a lone Japanese man. However, before an investigation can take place the man disappears from the hospital without a trace.  At the same time, Japanese mystery author Aki Akahori (Ayako Fujitani) takes a trip to San Francisco in order to escape the press tour for her latest book–a potboiler in her world-famous "Inspector Takabe" series. Feeling lonely and vulnerable, she begins a romantic affair with a mysterious Japanese traveler from Reno who is staying in the same hotel. Her new lover, Akira Suzuki (Kazuki Kitamura), is charismatic and charming but abruptly disappears from the hotel, leaving behind his suitcase and a trail of questions…

	Parties and events

	VIP Reception: Invitation-only
	Opening Night Party: Thursday, July 10, 8 pm to 11 pm at The Dram
	Filmmakers Reception: Sunday, July 13, 5 pm to 6:30 pm at Cafe Express
	AFFD Reception: Wednesday, July 16, 5:30 pm to 7 pm at People’s Last Stand
	Closing Night Party: Thursday, July 17, 9 pm to 12 am at The Dram

	More titles and full schedule of Q&As, parties, events and details will follow in the coming weeks. Visit www.asianfilmdallas.com

#### 13th Annual Asian Film Festival of Dallas Announces Full Festival Schedule
 

	The Asian Film Festival of Dallas celebrates its 13th year with returning presenting sponsor Well Go USA Entertainment, from Thursday, July 10 through Thursday, July 17, 2014.  

	AFFD in numbers

	39 feature films.  30 short films. 9 countries represented.
	1 World premiere.  6 North American premieres.  2 International premieres.  2 U.S. premieres
	15 confirmed filmmakers in attendance.  

	All screenings will be shown at the Angelika Film Center – Dallas

	FULL FILM & EVENT SCHEDULE

	THURSDAY, JULY 10

		7:00 pm                BLACK BUTLER (OPENING NIGHT FILM) – U.S. premiere
	

		9:15 pm                The Five
	

		8 pm-11 pm           Opening Night Party @ The Dram
	

	http://www.13thaffdopeningnightparty.eventbrite.com

	 

	FRIDAY, JULY 11

		2:30 pm                Experimental Shorts
	

		2:45 pm                Reset – World premiere **Director Takeshi Matuura and Actors Koutarou Hayashi & Tomomi Kouno will be in attendance, Q&A to follow the film
	

		4:30 pm                The King’s Wrath
	

		4:45 pm                Stray Dogs
	

		7:15 pm                Go, Stop, Murder – International premiere **Director Joon Kwon in attendance, Q&A to follow the film
	

		7:30 pm                Bushido – North American premiere
	

		9:30 pm                Innocent Blood **Actor James Jeffery Caldwell in attendance, Q&A to follow the film
	

		9:45 pm                Black Butler (2nd screening)
	

	 

	SATURDAY, JULY 12

		12:00 pm              Student Shorts
	

		12:15 pm              Drama Shorts
	

		2:00 pm                Ku-On – North American premiere **Director Takayuki Hatamura & Editor Naomi Toyama will be in attendance, Q&A to follow
	

		2:15 pm                Patema Inverted
	

		3:50 pm                Boomerang Family
	

		4:15 pm                Funny Money **Director Thien Do in attendance, Q&A to follow the film
	

		6:15 pm                Man From Reno **Director Dave Boyle, Associate Producer Mye Hoang & Actor Ayako Fujitani to attend, Q&A to follow
	

		6:25 pm                Lupin III: Castle of Cagliostro
	

		8:35 pm                Kumu Hina
	

		8:45 pm                The Attorney
	

		10:30 pm              Danger Dolls – North American premiere
	

		11:30 pm              Horror Stories 2 – U.S. premiere
	

	 

	SUNDAY, JULY 13

		12:00 pm              Seven Souls in the Skull Castle
	

		12:15 pm              Touch of the Light
	

		2:30 pm                Satellite Girl and Milk Cow
	

		3:40 pm                Sweet Alibis – North American premiere
	

		4:15 pm                Television
	

		6:00 pm                That Demon Within
	

		6:30 pm                Ant Story – North American premiere
	

		8:30 pm                SAMURAI HUSTLE (CENTERPIECE FILM) – International premiere – Centerpiece Reception to precede the film @Angelika Film Center
	

		8:45 pm                Fall in Love
	

		10:45 pm              Late Night Shorts
	

		11:00 pm              Rigor Mortis
	

		5-6:30 pm             Filmmakers Reception @ Cafe Express in Mockingbird Station
	

	 

	MONDAY, JULY 14

		1:30 pm                Documentary Shorts
	

		3:35 pm                Sansho the Bailiff
	

		6:00 pm                Pretty Rosebud – **Director Oscar Torre & Writer/Actor Chuti Tiu will be in attendance Q&A to follow  
	

		8:00 pm                A Leading Man **Director/Writer Steven Kung & Executive Producer/Actor Pat Tsao.  Appetizers provided before the film.  Q&A to follow the film.  
	

		10:20 pm              Monsoon Shootout
	

	 

	TUESDAY, JULY 15

		1:00 pm                Boomerang Family (2nd screening)         
	

		3:20 pm                Drama Shorts
	

		5:20 pm                The King’s Wrath (2nd screening)
	

		8:00 pm                Why Don’t You Play in Hell?
	

		10:30 pm              Late Spring
	

	 

	WEDNESDAY, JULY 16

		1:45 pm                Go, Stop, Murder (2nd screening)
	

		3:45 pm                Experimental Shorts
	

		5:45 pm                Kept
	

		7:30 pm                Overheard 3
	

		9:30 pm                Zombie TV
	

		5:30-7 pm            AFFD Happy Hour @ The People’s Last Stand
	

	 

	THURSDAY, JULY 17

		12:00 pm              Sweet Alibis (2nd screening)
	

		2:20 pm                Man From Reno (2nd screening)
	

		4:45 pm                The Attorney (2nd screening)
	

		7:30 pm                As the Light Goes Out (CLOSING NIGHT FILM)
	

		9:45 pm                Killers
	

		12:00 am              That Demon Within (2nd screening)
	

		9 pm-12 am          AFFD Closing Night Party @ The Dram
	

	 

	**FILMMAKERS IN ATTENDANCE

		Innocent Blood  –  Actor/Producer James Jeffery Caldwell
	

		Reset (Japan)  –  Director Takeshi Matuura, Actors Koutarou Hayashi & Tomomi Kouno
	

		Man from Reno  –  Director Dave Boyle, Associate Producer Mye Hoang & Actor Ayako Fujitani
	

		Go, Stop, Murder (S. Korea)  –  Director Joon Kwon
	

		Ku-On (Japan)  –  Director Takayuki Hatamura & Editor Naomi Toyama
	

		Funny Money (Vietnam)  –  Director Thien Do
	

		A Leading Man  –  Director/Writer Steven Kung & Executive Producer/Actor Pat Tsao
	

		Pretty Rosebud  –  Director Oscar Torre & Writer/Actor Chuti Tiu                    
	

	 

	Parties and events

		VIP Reception: Invitation-only
	

		Opening Night Party: Thursday, July 10, 8 pm to 11 pm at The Dram
	

		Filmmakers Reception: Sunday, July 13, 5 pm to 6:30 pm at Cafe Express
	

		AFFD Happy Hour: Wednesday, July 16, 5:30 pm to 7 pm at The People’s Last Stand
	

		Closing Night Party: Thursday, July 17, 9 pm to 12 am at The Dram
	

	 

	More titles and full schedule of Q&As, parties, events and details will follow in the coming weeks. Visit www.asianfilmdallas.com.

#### 13th Annual Key West Film Festival Announces Its Official 2024 Lineup
ADULT BEST FRIENDS
 
The 13th Annual Key West Film Festival announces its official 2024 lineup including major fall films from Pedro Almodovar, Barry Jenkins, Billy Corben, Michael Gracey, Gia Coppola and others. More than 75 films will be shown during the 5-day festival, which runs November 13-17.
As is tradition for the festival, the Opening and Closing Night films are curated by two of the top film critics in the country. Lovia Gyarkye of The Hollywood Reporter will host a discussion with Stepanie Zacharek of Timeprior to the Opening Night screening of THE FIRE INSIDE, the inspiring story of two time Olympic women’s boxing gold medalist Claressa “T-Rex” Shields and her fight for all women athletes across the world. The film is written by local hero Barry Jenkins, Miami-bred Academy Award winning writer and director of Moonlight.
On Saturday night, Zacharek will lead a pre-show conversation with Gyarkye prior to the screening of THE ROOM NEXT DOOR, which stars Academy Award winner Julianne Moore and Academy Award nominee Tilda Swinton in Pedro Almodovar’s first English language film about a best-selling writer who rekindles her relationship with her friend, a war journalist, with whom she has lost touch for a number of years.
Other spotlight films include Gia Coppola’s THE LAST SHOWGIRL, featuring a career defining performance by Pamela Anderson as a seasoned Las Vegas showgirl who must plan for her future when her show abruptly closes after a 30-year run;  the inspirational true story UNSTOPPABLE,  featuring Jennifer Lopez and Bobby Cannavale alongside Jharrel James (also in Moonlight), who stars as Anthony Robles, an athlete born with one leg who defies expectations to become a champion wrestler in college; and BETTER MAN, from director Michael Gracey (The Greatest Showman), based on the true story of the meteoric rise, dramatic fall, and remarkable resurgence of British pop superstar Robbie Williams, one of the greatest entertainers of all time.
This year’s LGBTQ films, programmed with the assistance of Eugene Hernandez, Executive Director of the Sundance Film Festival, David Rooney of The Hollywood Reporter, and Brian Brooks of Cinetic Media, include LIZA: A TRULY TERRIFIC ABSOLUTELY TRUE STORY about the life of Liza Minnelli; multiple festival award winning film YOUNG HEARTS; and A NICE INDIAN BOY which was the Opening Night Selection of this year’s NewFest.
Documentaries take center stage once again at the festival this year, with music, food, adventure, the cowboys of Argentina, and even a secret apartment in a mall staking their claim. The daughter of the inventor of the world’s first synthesizer takes us on a musical journey of both the instrument and the man behind it in THE RESYNATOR; the director of Oscar winner Navalny brings us the inspiring story of a family taking their children on a tour of the world, in a race against time before their vision begins to recede in the powerful BLINK; a beach community, like many throughout the Keys, confronts unaffordable real estate development in HAPPY CAMPERS;  Michael Dweck (The Last Race, KWFF 2018) returns to the festival with his love letter to the Gauchos of Argentina, both male and female, in GAUCHO, GAUCHO; Miami-based filmmaker Billy Corben (Cocaine Cowboys, Screwball, God Forbid) makes another visit to the festival with his international conspiracy doc MEN OF WAR– hatched right out of South Florida ; and director Jeremy Workman takes us inside an apartment used by artists for over four years inside a mall in downtown Providence, RI, in the festival hit SECRET MALL APARTMENT.
The International films at the festival include FLOW, which is Latvia’s official entry to the Academy Award for Best Foreign Film, and Japan’s MY SUNSHINE, both of which premiered at Cannes; and ALL WE IMAGINE AS LIGHT, the Cannes Grand Prix winner from India, which was a surprise omission as the official entry from the country.
Florida – and Key West in particular – gets its moment in the sun with the special Florida Focus section. Films include NAKED AMBITION: BUNNY YEAGER, from Miami based Emmy-nominated filmmaker Kareem Tabsch, who returns to the festival for the third time (Dolphin Lover, The Last Resort). Local heroes including artist Mario Sanchez and Tom Dustin, founder of the Key West Comedy Club, in loving portraits of themselves in MARIO SANCHEZ: OVER THE BEAUTIFUL FLORIDA KEYS from Roberto Otera Morfa and PORTRAIT OF A COMEDIAN, director/comedian Joe List’s touching portrait of funny man Tom Dustin.
Special screenings this year include a 50th Anniversary screening of Roman Polanski’s CHINATOWN, a free screening presented by the Florida Keys and Key West Film Commission. Native Floridian and past Golden Key Award winner Kimberly Peirce (Boys Don’t Cry) joins film critic David Fear of Rolling Stone for a not to be missed conversation about the film.
Also featured will be the 72 Hour Film Challenge, a widely popular showcase of local film teams who conceive of, write, shoot and edit a film in 72 hours. This year, the challenge will screen its films the Tuesday night prior to the festival’s Opening night film as the soft launch of the festival.
Shorts programs at the festival this year include sections for Comedy, Documentary, International, Florida films, Student and Florida students. The Kimberly Peirce Award for Best Student Film presented by the Diana King Foundation will also be awarded once again. The shorts programs and Florida feature films were curated from over 1500 submissions, with entries from nearly all 50 states and dozens of countries. These include a special screening during the festival of THE SALT CURED LIFE, in which local entrepreneur and humanitarian Paul Menta shares with the world the power of salt water in finding balance in one’s life.
Returning programs this year include the  9th annual Golden Key for Excellence in Costume Design awarded to Danny Glicker for his work in SATURDAY NIGHT, making KWFF the only such festival to annual honor this art; the 10th annual Critics Panel, in which top film critics will discuss the year’s best films and the seismic changes in the industry this year. Attending critics include David Rooney, Stephanie Zacharek, Lovia Gyarkye, David Fear and Shirrel Rhoades. And the 4th annual Golden Key for Emerging Talent will be awarded to writer/director/actor Delaney Buffett in conjunction with her feature debut ADULT BEST FRIENDS.
And as its traditional final screening on Sunday night, outdoors at the Perry Hotel and Marina in Stock Island, the festival will screen the Florida premiere of REBEL COUNTRY, a film showcasing under-represented voices in country music such as Jelly Roll, Sam Williams, Breland and Blanco Brown.
Screening Venues for this edition of KWFF include: Williams Hall, The Perry Hotel and Marina, and The Regal Key West.
Visit https://keywestff.com for full program information.
 

#### 14 Scientific and Technical Achievements Under Consideration for 2013 Academy Awards®
The Scientific and Technical Awards Committee of the Academy of Motion Picture Arts and Sciences announced today that 14 scientific and technical achievements have been selected for further awards consideration.

	The list is made public to allow individuals and companies with similar devices or claims of prior art the opportunity to submit achievements for review.

	The deadline to submit additional entries is Tuesday, August 27, at 11:59 p.m. PT.

	The committee has selected the following technologies for further consideration:

	Neutral density filters that remove infrared contamination.

	Prompted by the submission of the Infrared Neutral Density (IR ND) Filter Technology (Tiffen Co.)

	Untethered HD video assist devices.

	Prompted by the submission of Meridian (Boxx TV Ltd.)

	Software tools for accelerated simulation and rendering of smoke, fire and explosions.

	Prompted by the submission of Plume (ILM) and Flux (DreamWorks Animation)

	Physically based shading and lighting techniques for digital rendering.

	Prompted by the submission Efficient Physically Inspired Shading (Pixar Animation Studios)

	Software tools for integrated sculpting and painting of digital models.

	Prompted by the submission of Mudbox (Autodesk) and ZBrush (Pixologic)

	Pre-computation techniques for visibility and lighting in rendering applications.

	Prompted by the submission of Weta’s Spherical Harmonics Lighting (Weta Digital)

	Compositing systems using per-pixel “deep” depth information.

	Prompted by the submission of Deep Compositing (Weta Digital)

	Software frameworks for integrated and extensible VFX and animation applications.

	Prompted by the submission of Zeno (ILM)

	Integrated software tools for performance capture, visualization and manipulation.

	Prompted by the submission of MotionBuilder (Autodesk)

	Non-explosive car flipping devices.

	Prompted by the submission of the Pneumatic Car Flipper (Fxperts, Inc.)

	Helicopter-based camera motion-control platforms.

	Prompted by the submission of Flying-Cam 3.0 SARAH (Flying-Cam)

	Digital workflow specifications for managing color.

	Prompted by the submission of ASC CDL (D-Cinema Consulting)

	 

	After thorough investigations are conducted in each of the technology categories, the committee will meet in early December to vote on recommendations to the Academy’s Board of Governors, which will make the final awards decisions.

	The 2013 Scientific and Technical Awards will be presented on Saturday, February 15, 2014.

	Starting August 16 at 8 a.m. PT, claims of prior art or similar technology must be submitted on the Academy’s website at www.oscars.org/awards/scitech/apply.html.  For further information, contact the Awards Administration Office at (310) 247-3000, ext. 1131, or via e-mail at scitech@oscars.org.

	Academy Awards for outstanding film achievements of 2013 will be presented on Oscar® Sunday, March 2, 2014, at the Dolby Theatre® at Hollywood & Highland Center® and televised live on the ABC Television Network.  The presentation also will be televised live in more than 225 countries and territories worldwide.

#### 14th Annual 24-Hour Video Race Kicks Off March 28, 2015
 

	The 14th Annual 24-Hour Video Race, presented by The Video Association of Dallas, will commence at the Angelika Film Center, 5321 E. Mockingbird Land in Mockingbird Station, Dallas, at 11:59 pm Friday, March 27 with the race taking place all of Saturday March 28. It will end 24 hours later at 11:59 pm. Information, early registration and rules are all at http://www.24hourvideorace.com/ or email info@videofest.org.

	“We moved the 24-Hour Video Race up to March this year so students who are participating more and more each year would have more time to do the Race before finals hit,” said Bart Weiss, artistic director of the Video Association of Dallas.

	“And to keep things interesting, we’ve added some new twists this year. We’ll add a new element to the list of ‘Must Includes,’ a character. The character aspect will be like a bartender or a ball deflator,” Weiss continued. “We have also reconfigured our team structure to so that large teams are not penalized. It should be a fun race. Let the fun begin in March by signing up now.” 

	About the Race

	Dallas film and video makers of all levels of experience are invited to participate in the race, both creatively and literally.  Teams that do not make it to the finish line at midnight will not be included in the judging.

	All teams will be assigned five critical elements that will be revealed Friday, March 27 at 11 pm at Angelika right before the official kick off to the Race. Those five critical elements are:

		a theme
	

		a prop
	

		a location
	

		a line of dialogue
	

		 a character
	

	Anyone with a camera and the willingness to race can participate. Past teams have included elementary school students to professional filmmakers.  Student teams compete against other student teams and adult teams are categorized by team size rather than skill level.

	 

	24-Hour Video Race’s five categories:

	Super 8 Division (10th grade and under): $75/team

	Team captains must be 18 years of age or older, or adult mentor must register and supervise team. Team captain is responsible for providing VAD with written evidence that each participant under 18 has obtained the prior written consent of a parent or legal guardian to participate in the 24-Hour Video Race. Check website for appropriate forms. 

	16 MM Division (11th and 12th grade): $75/team

	Team captains must be 18 years of age or older, or adult mentor must register and supervise team. Team captain is responsible for providing VAD with written evidence that each participant under 18 has obtained the prior written consent of a parent or legal guardian to participate in the 24-Hour Video Race. Check website for appropriate forms. 

	Animal House Division (College): $50/team

	One Person Orchestra Division: 1 member: $50

	Old-Enough-to-Know-Better Division: $100/2+ members

	Over 21; out of college

	 

	Screenings

	The screenings of the work of all the entrants will be Tuesday, March 31 and Wednesday, April 1 (no fooling!). Finalists will screen Thursday, April 2. If more than 60 teams sign up, finals will be moved to the following Monday. All screenings will take place at the Angelika Film Center – Dallas. 

	The winning videos will be shown on the website, and on You+Media Dallas site and will be eligible to screen on KERA –TV Channel 13’s program “Frame of Mind.”

	Team members should bring Race badges for admission to the screenings. (This includes teams who did not finish the Race.) Members of the general public can also attend. Admission is $6 for adults, $4 students with 12 and under getting in free. The screening schedule will be posted Monday, March 30. 

	 

	Sponsored by

		Alford Media
	

		Dallas Film Commission
	

		KERA
	

		Selig Polyscope Company
	

		Sell.com
	

		Texas Commission on the Art

#### 14th ANNUAL ASIAN FILM FESTIVAL OF DALLAS ANNOUNCES FIRST TITLES & ADDS MANY “FIRSTS” TO THE FESTIVAL
 

	The Asian Film Festival of Dallas celebrates its 14th year with returning presenting sponsor Well Go USA Entertainment, from Thursday, July 16 through Thursday, July 23, 2015.  

	This festival year boasts its first 3D feature film and first film from Cambodia.  Film fans can also expect films from the U.S., Indonesia, Singapore, Thailand, China, Hong Kong, Japan, Korea and Vietnam and from all genres: action, anime, comedy, crime drama, documentary, drama, martial arts, psycho drama, thriller and romantic comedy.   

	AFFD in numbers

		33 feature film screenings. 5 shorts blocks, including local students’ shorts.  11 countries represented.
	

		1 World premiere.  3 International premieres.  2 U.S. premieres. 4 Southwest premieres.
	

		9 confirmed filmmakers in attendance.  
	

	AFFD organizers are excited about adding its first 3D and film from Cambodia, showcasing more diverse Asian films and announcing its first six of many diverse Asian and Asian-American films on the schedule:

	SEOUL SEARCHING (OPENING NIGHT FILM)

	Language/subtitles: English

	2014/ 110min/ color/ DCP

	Director: Benson Lee

	Country: USA/South Korea

	**Director Benson Lee and actor Esteban Anh will be in attendance.**

	"Seoul Searching" is a '80s romantic teen comedy about a group of diverse Korean high schoolers from around the globe, coming together in 1986 to experience the most important summer of their lives. They meet at a special camp in Seoul where they were sent by their parents to learn what it means to be Korean – a side to them they know little about. The story focuses on three boys from the U.S., Mexico and Germany and the three girls they meet who change their lives forever.

	 

	THE LEGEND OF QIN (3D film)

	Language/subtitles:  Mandarin w/English Subtitles

	2014/ 90min/ color/ DCP 3D

	Director: Robin Shen

	Country: China

	Premiere Status: North America

	THE LEGEND OF QIN tells the story of the rise and fall of the Qin Dynasty, the first Dynasty of China (221-206 B.C.). During this period, six kingdoms were conquered byQin in a ruthless takeover with the new emperor forcing his subjects to follow his will and laws. The story centers around a young man, Jing Tianming, who grows from a weakling into a great hero who challenges the Qin empire and changes the course of history.

	As the story progresses, fantasy, steampunk and history intertwine to tell this truly unique tale of courage during uncertain times. Tianming faces treacherous enemies, hope and loss, and the challenges of adjusting to a changing world. Eventually, a new era will be created out of their struggles for a better world.

	 

	WILD CITY (Bou Chau Mai Sing) aka Hustle (CENTERPIECE FILM)

	Language/subtitles: Cantonese w/English Subtitles

	2015/ color/ DCP

	Director: Ringo Lam

	Country: Hong Kong

	Premiere Status: International

	The long-awaited feature in seven years, writer-director Ringo LAM sets his sights once again on Hong Kong’s seedy underbelly. In the spirit of City on Fire and Full Alert, Lam’s latest Canto-noir finds unsuspecting bystanders caught in a tangled web of and greed and betrayal, their growing anxieties punctuated with sudden bursts of violence.

	When former cop-turned-bar owner T-man Kwok (Louis KOO) befriends a drunken woman at closing hours (TONG Liya), they soon find themselves targeted both by her former lover—a high-powered Hong Kong attorney—and the thugs (CHANG Hsiao-Chuan) he employs. Once Kwok’s underachieving half-brother (Shawn YUE) and a suitcase full of tainted cash enter the picture, the chase turns deadly, with the brothers’ tense family history coming to the surface as Kwok finds himself torn between the triads and his former police colleagues.

	 

	SHIREN AND RAGI (same people who brought us last year's Seven Souls in the Skull Castle)

	Language/subtitles: Japanese w/English Subtitles

	2014/ 117min/ color/ Blu-Ray

	Director: Hidenori Inoue

	Country: Japanese

	Premiere Status: Southwest

	Two souls were drawn to each other without any possible escape from their doomed fates. It was in an era when the country was divided in the north and the south. A legendary woman "Shiren"(Hiromi NAGASAKU) who was born to a family of assassins. A young sword fighter "Ragi"(Tatsuya FUJIWARA) who looked up to Shiren with admiration. News was brought to the north that said the King of the South "Godai"(Katsumi TAKAHASHI) has revived who once was assassinated by Shiren. Shiren was once again ordered by "kyougoku"(Arata FURUTA), a high-ranking vassal of the North, to assassinate Godai. Shiren was upset about Godai being still alive whom she believed she had killed. Ragi who sensed Shiren's distress volunteered to accompany her on the mission. Shiren's cold heart started to melt by seeing Ragi's determination to be there for and support her. Finally the moment to attack Godai comes. It was the moment when an astonishing truth was revealed to the two who had shared their love by that time.

	 

	BALLERINO

	Language/subtitles: Korean/English Subtitles

	2015/ 115min/ color/ BluRay

	Director: Lee Min-woo-II

	Country: South Korea

	Premiere Status: World Premiere

	As the president emphasized the importance of unification in her speech and the successful recommencement of separated families after three years, unification has become a hot issue. The unfortunate truth is that the younger generations are occupied with college entrance exams and employment. Unification is of no interest to them or at most a bothersome task that has to be carried out sooner or later.  This drama is about the friendship and the flowering of a North Korean defector and a star ballerino. Through the story of two young men as they become true dancers, the program hopes to make viewers think about the issue of reunification of the two Koreas which will soon become a reality.

	 

	THE LAST REEL (first Cambodian film)

	Language/subtitles: Khmer/English

	2014/ 105min/ color/

	Director: Sotho Kulikar

	Country: Cambodia

	Premiere Status: Premiered at Tokyo International Film Festival – World Premiere, Japan, 2014

	Sophoun, the rebellious daughter of a hard-line army colonel, lives her life for the moment, hanging out with a local gang. But when her father returns home with another arranged marriage proposal, Sophoun flees her imploding home and seeks refuge in a derelict cinema. There, she is shocked to discover an incomplete 1970s melodrama from pre-Khmer Rouge times, a film which starred her now desperately ill mother as a glamorous young woman.

	A story from a different world, a different time.  With the help of the cinema’s elderly projectionist, Sophoun re-makes the missing last reel of the film, reprising her mother’s role. By premiering the completed film forty years later, she hopes to remind her mother of a life she’d once lived and to mend the psychological scars that still haunt her. The old film, however, poses more questions than it answers. The promise of the Cambodian film industry and its newest star was cut short in 1975 by the brutal Khmer Rouge regime which specifically targeted actors and filmmakers as enemies of the people. Remaking the last reel offers Sophoun an opportunity to dictate her own destiny but at the cost of uncovering some painful truths about her family and their past.

	 

	SOMEONE ELSE

	Language: English
	2015/ 72min/ color/ Blu-ray
	Director: Nelson Kim
	Country: USA
	Premiere Status: Southwest

	A shy young Korean American law student, hungry for a more vivid, risk-taking existence, visits his playboy cousin in NYC. Seeking to emulate his cousin, the law student sheds his old identity and journeys into the dark side of his own nature.

	 

	A GIRL AT MY DOOR (CLOSING NIGHT FILM)

	Language/subtitles: Korean w/English

	2014/ 119min/ color/ DCP

	Director: July Jung

	Country: South Korea

	Premiere Status: Dallas

	After graduating from the police academy, Young-nam rose to the upper ranks in Seoul, but censure for misconduct gets her transferred to a small seaside town. On her first day a small precinct's chief, she keeps bumping into the odd, strangely dressed teenager Dohee. Overly conscious of others, easily intimidated and regularly bullied by other kids, Dohee spends her time alone roaming dark alleys. All of this is just part of her daily existence.

	When Young-nam catches Dohee's stepfather Yong-ha beating her, she intervenes. This is the first time Dohee experiences someone defending her, and she becomes devoted to Young-nam. Despite the regular abuse at home and her mother's abandonment, Dohee retains a childlike innocence that touches Young-nam, and they become friends.

	But then, a family tragedy occurs that makes Yong-ha even more violent. Young-nam invites Dohee to stay in her home to protect her, but things become increasingly more complex over time.

	
	Parties and Events

		VIP Reception: Invitation-only
	

		Opening Night Party: Thursday, July 16, 8 pm to 11 pm at The Gatsby
	

		Filmmakers Reception: TBA
	

		AFFD Panel: “Tips & Tricks – How to make a film on a budget.” Tuesday, July 21, 7 pm to 9 pm TBA
	

		Closing Night Party: Thursday, July 23, 9 pm to 12 am at The Gatsby
	

	More titles and full schedule of Q&As, parties, events and details will follow in the coming weeks. Visit www.asianfilmdallas.com.

#### 15 Documentary Features Advance in 2013 Oscar® Race
The Academy of Motion Picture Arts and Sciences today announced that 15 films in the Documentary Feature category will advance in the voting process for the 86th Oscars® . One hundred forty-seven films had originally qualified in the category.

	The 15 films are listed below in alphabetical order by title, with their production companies:

	   "The Act of Killing," Final Cut for Real
	   "The Armstrong Lie," The Kennedy/Marshall Company
	   "Blackfish," Our Turn Productions
	   "The Crash Reel," KP Rides Again
	   "Cutie and the Boxer," Ex Lion Tamer and Cine Mosaic
	   "Dirty Wars," Civic Bakery
	   "First Cousin Once Removed," Experiments in Time, Light & Motion
	   "God Loves Uganda," Full Credit Productions
	   "Life According to Sam," Fine Films
	   "Pussy Riot: A Punk Prayer," Roast Beef Productions
	   "The Square," Noujaim Films and Maktube Productions
	   "Stories We Tell," National Film Board of Canada
	   "Tim’s Vermeer," High Delft Pictures
	   "20 Feet from Stardom," Gil Friesen Productions and Tremolo Productions
	   "Which Way Is the Front Line from Here? The Life and Time of Tim Hetherington," Tripoli Street

	The Academy’s Documentary Branch determined the shortlist in a preliminary round of voting.  Documentary Branch members will now select the five nominees from among the 15 titles.

	The Oscars nominations will be announced live on Thursday, January 16, 2014, at 5:30 a.m. PT in the Academy’s Samuel Goldwyn Theater.

	Academy Awards® for outstanding film achievements of 2013 will be presented on Oscar Sunday, March 2, 2014, at the Dolby Theatre® at Hollywood & Highland Center®, and televised live on the ABC Television Network.  The Oscar presentation also will be televised live in more than 225 countries and territories worldwide.

#### 15th Annual 24-Hour Video Race
 

	Filmmakers: On your mark. Get set. GO for the 15th annual 24-Hour Video Race hosted by the Video Association of Dallas. The event will be held at the Angelika Film Center in Mockingbird Station (5321 E. Mockingbird Ln, Dallas) starting at 11:59 pm Friday, April 1. (For registration and preparation, please arrive at the Angelika by 11:30 pm at the latest.) The actual race is the 24-hour span of Saturday, April 2.

	Whether you’re average Jane or Joe who has always been interested in filmmaking or the professional videographer splashing in the industry, the 24-Hour Video Race welcomes all levels of filmmaking skill and interest to participate.

	 

	ABOUT THE RACE

	Dallas film and video makers of all levels of experience are invited to participate in the race, both creatively and literally. Teams that do not make it to the finish line at midnight will not be included in the judging.

	All teams will be assigned five critical elements that will be revealed Friday, April 1st at 11:59 pm at Angelika right before the official kick off to the Race.

	Those five critical elements are:

		a theme
	

		a prop
	

		a location
	

		a line of dialogue
	

	and new this year: a cinematic device (eg: shot reverse shot, Dutch angel, etc.)

	 

	Anyone with a camera and the willingness to race can participate. Past teams have included elementary school students to professional filmmakers. Student teams compete against other student teams and adult teams are categorized by team size rather than skill level.

	 

	The 24-Hour Video Race’s teams are divided in to six categories:

	 

	Super 8 Division (10th grade and under)

	$75/team -Team captains must be 18 years of age or older, or adult mentor must register and supervise team. Team captain is responsible for providing VAD with written evidence that each participant under 18 has obtained the prior written consent of a parent or legal guardian to participate in the 24-Hour Video Race. Check website for appropriate forms.

	 

	16 MM Division (11th and 12th grade)

	$75/team – Team captains must be 18 years of age or older, or adult mentor must register and supervise team. Team captain is responsible for providing VAD with written evidence that each participant under 18 has obtained the prior written consent of a parent or legal guardian to participate in the 24-Hour Video Race. Check website for appropriate forms.

	 

	Animal House Division (College)

	College: $50/team

	One-Person Orchestra Division: 1 members: $50

	Old Enough to Know Better Division: $100

	 

	Drone Division* (New): $25

	At least one prominent scene must be shot on a drone.

	 

	*Please note: FCC prohibited area encompasses the entire downtown Dallas area and beyond. UVAs, drones and model aircrafts with cameras attached are strictly prohibited in Class B Airspace unless granted a waiver from the FAA. For complete FAA’s rules & regulations, go to their website.

	 

	 

	SCREENINGS

	All screenings will take place at Angelika Film Center – Dallas.

	The screening schedule will be posted Mon, April 4.

	The screenings of the work of all the entrants:Tues-Thurs, April 5-7.

	Finalists will screen Thursday, April 11.

	The winning videos will be shown on the website: http://www.24hourvideorace.com/, and on You+Media Dallas site and will be eligible to screen on KERA –TV Channel 13’s program, “Frame of Mind.”

	 

	
	ADMISSION

	Team members should bring Race badges for admission to the screenings.

	(This includes teams who do not finish the Race.)

	 

	Members of the general public can also attend.

		Adults: $6 for adults
	

		Students (with student ID): $4
	

		12 and under: Free

#### 15th Annual Tallgrass Film Festival Announces Complete Lineup of Films
I HATE THE MAN IN MY BASEMENT

	 

	The 15th Annual Tallgrass Film Festival presented by Consolidated Equities Trust (October 18-22) today announced the full schedule for this year’s edition with an impressive roster of Gala selections including; Quentin Krog’s FOR THE BIRDS (Opening Night Gala), Byron Davis’s HUNTING EMMA (Centerpiece Gala), and Lysa Heslov’s SERVED LIKE A GIRL (Closing Night Gala). Those films are joined by Robin Berghaus’s STUMPED, which is Talgrass’s first DOX Spotlight winner, and Dustin Cook’s I HATE THE MAN IN MY BASEMENT, which is this year’s Stubbornly Independent Gala Selection.
	 
	Tallgrass’s burgeoning slate for it’s 15th Anniversary edition boasts 182 films (47 features, 135 short films) representing 34 countries.
	 
	Screenwriter Larry Gross will be the first recipient of the L.M. “Kit” Carson Storyteller Award following a 35th Anniversary screening of Walter Hill’s action/comedy classic, 48HRS. (which Gross co-wrote), and Rose McGowan will receive the Ad Astra Award following a screening of her critically-acclaimed short film, DAWN, and prior to a retro screening of Robert Rodriguez’s Grindhouse thriller, PLANET TERROR.

	Tallgrass Film Festival Creative Director Lela Meadow-Conner said, “Each year, the Tallgrass Film Festival wins new converts and solidifies its place within the film festival community. The ability to do that starts with the films we program, and the filmmakers that either make the trip to visit Wichita with their films – many for the very first time, or come here to rub elbows with those filmmakers from all over the world. We have pride in the fact that we have become known as a film festival that truly celebrates the work of women behind the camera – including 60 female directors represented in this year’s program alone. Innovation is also a key. The creation of the DOX Spotlight – to highlight the work of female documentarians, and the Storyteller Award – to honor the achievements of the men and women who have written the scripts that led to some of our favorite films – that is what makes Tallgrass special.”
	 
	Director of Programming and Education, Nick Pope added, “This year, the Tallgrass Film Festival received more than 2000 film submissions. The very best of those were added to some of the most acclaimed films from some of the most notable fests during the first half of 2017. It’s also important to note the international flavor of Tallgrass. Two of our gala selections hail from South Africa, more than 30 countries are represented, and 60 filmmakers are expected to attend Tallgrass with their films this year. Whether it be some very cool indies, fascinating documentaries, or some mind-blowingly creative short films, our 15th Anniversary really has a lot to offer the region’s film lovers.”
	                                                                       
	The Opening Night Gala selection and the Centerpiece Gala selection are both South African films making premieres at the Tallgrass Film Festival. Quentin Krog’s FOR THE BIRDS’s 70s tale focuses on a young nurse who ruffles feathers as she shows a small town and its golden boy, what it means to be an independent woman. The film will make its North American premiere on Wednesday, October 18 at the Scottish Rite Theatre (332 E 1st St N).
	 
	Byron Davis’s HUNTING EMMA will make its Midwest premiere as the Centerpiece Gala selection on Friday, October 20 at the Scottish Rite Theatre. The film follows a young woman who witnesses six men kill a cop out in the wild. In an effort to cover up the crime, the men hunt her like an animal in the desolate wilderness, forcing the pacifist to fight for her life.

	The Closing Night Gala features Lysa Heslov’s documentary SERVED LIKE A GIRL on Sunday, October 22 at the Wichita Orpheum Theater. The film chronicles the lives of female veterans as they compete for the crown of Ms. Veteran America, raising money for their homeless sisters. While struggling with PTSD, divorce, disability, and military sexual abuse, competing in the pageant ignites an emotional roller coaster for the women.
	           
	Another first being rolled out on the occasion of the Tallgrass International Film Festival’s 15th edition is the first DOX Spotlight screening to showcase the incredible real life stories being told by women documentary filmmakers. Three finalists were chosen and an all female industry jury selected the winning film. Robin Berghaus’s STUMPED was the selection and will screen Thursday, October 19 at the Scottish Rite Theatre. The film tells the inspiring story of a filmmaker who, after a tragic personal loss, agrees to undergo an experimental double-arm transplant and turns to stand up-comedy as therapy – both in the hope of reclaiming his independence.

	The winner of the Jake Euker Stubbornly Independent competition, Dustin Cook’s I HATE THE MAN IN MY BASEMENT will screen on Saturday, October 21 at the Scottish Rite Theater. The film follows the dilemma of a man, who, still grieving over the murder of his wife, finds that an unexpected budding romance adds immediacy to his plans for a problematic house “guest”.
	 
	Conceived and sponsored by filmmaker Hunter Carson, the son of film legends L.M. Kit Carson and Karen Black, the Storyteller Award recognizes the contributions to cinema by a screenwriter(s) who exemplifies a unique voice. On the occasion of the 35th anniversary screening of Walter Hill’s 48 HRS., Tallgrass will honor that film’s co-writer Larry Gross, whose career spans more than four decades as a screenwriter, producer, and film journalist, as the inaugural recipient of the Storyteller Award. The tribute includes a screening of the iconic buddy cop movie, starring Nick Note and featuring the film debut of Eddie Murphy, followed by a candid conversation with Gross on the art of writing for the screen.

	Perhaps best known for his work with writer/director Walter Hill, their screenwriting collaboration resulted in four films: 48 HRS. (1983), STREETS OF FIRE (1984), ANOTHER 48 HRS. (1990) and GERONIMO (1993). He also adapted VERONIKA DECIDES TO DIE (2009) from the best selling novel by Paulo Coehlo, and WE DON’T LIVE HERE ANYMORE (2004) for which he won the Waldo Salt Screenwriting Award at the 2004 Sundance Film Festival. Other works include BEAUTIFUL COUNTRY (2004), PROZAC NATION (2001) CHINESE BOX (1997) and TRUE CRIME (l999) starring and directed by Clint Eastwood. Last year, Gross co-wrote the script for Gabe Klinger’s PORTO.  
	                                                                                                                       
	The 2017 Ad Astra Award will be presented to actress, director, and activist Rose McGowan at the Scottish Rite Theatre prior to a screening of her critically acclaimed short film, DAWN on Thursday, October 19. The evening is sponsored by Bree & Jason Cox. A Q&A will follow with McGowan moderated by film critic and host of The Canon, Amy Nicholson, and Festworks.com’s John Wildman. The special evening will conclude with a retro screening of PLANET TERROR, including an introduction by McGowan.
	 
	Other highlights include Military Day on Thursday, October 19, sponsored by Freddy’s Frozen Custard & Steakburgers. All films are free to active and retired military with valid ID. Northrock Lanes also presents Free Films Friday, where a selection of festival movies will be free to the public.
	 
	VIP TALLPasses for the Tallgrass Film Festival are available for purchase now, as are general admission tickets. Please visit tallgrassfilmfest.com for more information.

	 

	THE 2017 TALLGRASS FILM FESTIVAL OFFICIAL SELECTIONS

	 
	OPENING NIGHT GALA SELECTION 
	(Presented by Steve Anderson)
	 
	FOR THE BIRDS (VIR DE VOËLS)                      North American Premiere
	Director: Quentin Krog
	Country: South Africa, Running Time: 124min
	It’s the 70’s and Irma Humpel, an independent-thinking young woman, finds herself in front of the minister with Sampie de Klerk. How did she get here?
Is she ready for this kind of commitment?
	Preceded by
	FIDGET SINNER
	Country: USA, Running Time: 7min
	 
	 
	CENTERPIECE GALA SELECTION 
	(Presented by Grumpy Old Men)
	 
	HUNTING EMMA (JAGVELD)                              Midwest Premiere
	Director: Byron Davis
	Country: South Africa, Running Time: 103min
	Emma le Roux just wants to go home for the holidays. Gentle, beautiful, pacifist Emma. She’s made the trip to her father’s farm a thousand times. Piece of cake. But not today…
	 
	 
	DOX SPOTLIGHT SELECTION
	(Presented by Greteman Group)
	 
	STUMPED
	Director: Robin Berghaus
	Country: USA, Running Time: 72min
	When filmmaker Will Lautzenheiser’s limbs are amputated, his life is derailed and he turns to stand-up comedy as a therapeutic and creative outlet. Meanwhile, a world-famous medical team is performing transplants that restore bodies to unprecedented levels. Despite grave risks, Will agrees to undergo an experimental double-arm transplant in the hope of reclaiming his independence.
	 
	 
	JAKE EUKER STUBBORNLY INDEPENDENT GALA SELECTION
	(Presented by Rick & Monica Nutt)
	 
	I HATE THE MAN IN MY BASEMENT
	Director: Dustin Cook
	Country: USA, Running Time: 92min
	Lonely and isolated, and still grieving for his murdered wife, Claude develops an unexpected crush for salsa instructor Kyra. Unfortunately, he’s not sure how to move forward since he still has this… situation…in the basement.
	 
	 
	CLOSING NIGHT GALA SELECTION
	(Presented by Emprise Bank)
	 
	SERVED LIKE A GIRL
	Director: Lysa Heslov
	Country: USA, Running Time: 90min
	SERVED LIKE A GIRL chronicles the lives of female veterans as they compete for the crown of Ms. Veteran America, raising funds and awareness for their homeless sisters.
	 
	 
	 
	Narrative Features
	 
	20 WEEKS                                                    Stubbornly Independent Nominee
	Director: Leena Pendharkar
	Country: USA, Running Time: 89min
	20 WEEKS is a romantic drama about love, science and how prenatal and genetic testing impacts everyday people. Against the backdrop of modern-day Los Angeles, the story follows Maya and Ronan’s journey – interweaving their past and present – after learning that their baby has a serious health issue at their 20-week scan. Inspired, in part, by writer/director Leena’s Pendharkar’s real life experiences with her second daughter, the film seeks to explore an intimate issue that isn’t often talked about.
	 
	48 HRS. (1982)
	Director: Walter Hill
	Country: USA, Running Time: 96min
	A hard-nosed cop reluctantly teams up with a wise-cracking criminal temporarily
	paroled to him, in order to track down a killer.
	 
	ALASKA IS A DRAG
	Director: Shaz Bennett
	Country: USA, Running Time: 83min
	Leo, an aspiring drag superstar, and his twin sister are trapped in the monotony of fish guts and fist fights. He fights back out of necessity which catches the local boxing coach’s attention. Leo has to face the real reason he’s stuck in Alaska.
	Preceded by
	DRAGTAVISTS
	Director: Savannah Rodgers
	Country: USA, Running Time: 7min
	 
	BADSVILLE
	Director: April Mullen
	Country: USA, Running Time: 97min
	A violent greaser gang is ripped apart when their leader finds love and is determined to leave Badsville – a town where love doesn’t exist.
	 
	BLACK COP
	Director: Cory Bowles
	Country: Canada, Running Time: 91min
	A black cop is pushed to the edge, after his colleagues profile him while off-duty. In this hyper-active satire, he figures out a way to take out his frustration… at work.
	Preceded by
	GOODBYE, OLD GLORY
	Director: Jordan Haro
	Country: USA, Running Time: 17min
	 
	BLUR CIRCLE                                             Stubbornly Independent Nominee
	Director: Chris Hansen
	Country: USA, Running Time: 92min
	Jill Temple is a single mother still grieving the loss of her young son after he disappeared two years ago. Unable to face the possibility that she has lost him forever, she pursues every lead and meets Burton Rose, a man with a mysterious past. The details of that past – and how Burton has responded to it – force Jill to look at her life in a completely new way.
	 
	BOMB CITY                                                  Stubbornly Independent Nominee
	Director, Jameson Brooks
	Country: USA, Running Time: 95min
	Based on the true story of Brian Deneke. BOMB CITY is a crime-drama about the cultural aversion of teenage punks in a conservative Texas town. Their ongoing battle with a rival, more-affluent group of jocks, leads to a controversial hate crime that questions the morality of American justice.
	 
	DAVE MADE A MAZE
	Director: Bill Watterson
	Country: USA, Running Time: 80min
	Dave, an unrealized artist, builds a fort in his living room, only to wind up trapped by his own creation.
	Preceded by
	THE DAY BEFORE
	Director: Geoff Marslett
	Country: USA, Running Time: 16min
	 
	THE DIVINE ORDER
	Director: Petra Volpe
	Country: Switzerland, Running Time: 96min
	A young and dutiful housewife challenges the status quo by fighting for women's right to vote in 1971 Switzerland. Her new found celebrity brings humiliation
and threats, but also a few startling discoveries about her own liberation. Switzerland's Submission for the Academy Awards – Best Foreign Language Film.
	 
	THE FEELS
	Director: Jenée LaMarque
	Country: USA, Running Time: 90min
	Andi and Lu are excited to celebrate their upcoming wedding with a joint bachelorette weekend in wine country. On the first night, Lu reveals a secret that derails the weekend in unexpected and poignant ways.
	 
	GOOK
	Director: Justin Chon
	Country: USA, Running Time: 94min
	In 1992, two Korean-American brothers strike up an unlikely friendship with an 11-year-old African-American girl, while racial tensions build to a breaking point as the L.A. riots break out.
	Preceded by
	IT’S JUST A GUN
	Director: Brian Robau
	Country: USA, Running Time: 15min
	 
	IN LOVE WITH LOU
	Director: Cordula Kablitz-Post
	Country: Germany, Running Time: 113min
	Legendary 18th century writer, Lou Andreas-Salomé, vows never to fall in love and to pursue philosophical and intellectual perfection with her contemporaries Paul Rée, Friedrich Nietzsche, and Rainer Maria Rilke.
	 
	THE KING’S CHOICE (KONGENS NEI)
	Director: Erik Poppe
	Country: Norway, Running Time: 130min
	Based on the true the story about three dramatic days in April 1940, when the King of Norway is presented with an unimaginable ultimatum from the German armed forces: surrender or die.
	 
	LAND OF THE LITTLE PEOPLE
	Director: Yaniv Berman
	Country: Israel, Running Time: 83min
	Four teenagers who live in an Israeli military town, fight with two deserters over control of their territory.
	 
	LAURA GETS A CAT
	Director: Michael Ferrell
	Country: USA, Running Time: 83min
	Laura, an unemployed writer in New York City, tries to juggle an unexciting boyfriend, an affair with a performance artist, and a vivid imaginary life.
	 
	LUCKY
	Director: John Carroll Lynch
	Country: USA, Running Time: 88min
	Having outlived and out-smoked his contemporaries, Lucky finds himself at the precipice of life, thrust into a journey of self exploration, leading towards the often unattainable — enlightenment.
	 
	PLANET TERROR (2007)
	Director: Robert Rodriguez
	Country: USA, Running Time: 105min
	After an experimental bio-weapon is released, turning thousands into zombie-like creatures, it’s up to a rag-tag group of survivors to stop the infected and those behind its release.
	Preceded by
	DAWN (2014)
	Director: Rose McGowan
	Country: USA, Running Time: 17min
	Dawn is a quiet young teenager who longs for something or someone to free her from her sheltered life.
	 
	SEAT 25
	Director: Nicholas Agnew
	Country: UK, Running Time: 83min
	When Faye Banks secretly enters a competition to win a seat on the first manned mission to Mars, she never expects to win. But when the dangerous one-way trip becomes a reality, her life on Earth is turned upside down.
	Preceded by
	EVE
	Director: Brittany "B.Monét" Fennell
	Country: Spain, Running Time: 5min
	 
	THE TEACHER (UCITELKA)
	Director: Jan Hřebejk
	Countries: Slovakia/Czech Republic, Running Time: 103min
	A middle school teacher in Communist Slovakia manipulates her student's parents into doing favors for her.
	 
	 
	 
	Documentary Features
	 
	ANGELS OF THE SKY
	Directors: Trent McGee, Josh Berman
	Country: USA, Running Time: 90min
	The true life story of WWII pilots from the 8th Air Force, who were shot down over German territory and became POWs — told through the survivors themselves.
	Preceded by
	ALL AMERICAN
	Directors: Michael Ayjian, Stephen Skeel
	Country: USA, Running Time: 9min
	 
	ARCTIC SUPERSTAR
	Director: Simen Braathen
	Country: Norway, Running Time: 70min
	The indigenous, Samí rapper, SlinCraze, is trying to earn a living and make a name for himself — the only problem is that less than 20,000 people speak his endangered language.
	Preceded by
	RULE OF NATURE
	Director: Dieter Primig
	Country: Namibia, Running Time: 26min
	 
	BIG SONIA
	Directors: Leah Warshawski, Todd Soliday
	Country: USA, Running Time: 93min
	Holocaust survivor and diva, Sonia Warshawski, has just been served an eviction notice for her popular tailor shop in suburban Kansas City. Sonia's trauma comes to the surface as she struggles with the concept of retirement.
	Preceded by
	KITTY AND ELLEN
	Director: Leah Galant
	Country: USA, Running Time: 17min
	 
	CITY OF JOY                                                DOX Spotlight Nominee
	Director: Madeleine Gavin
	Country: USA, Running Time: 74min
	In Eastern Democratic Republic of Congo, an area waging one of the longest conflicts in history and ravaged by sexual violence – we discover The City of Joy. This ultimately uplifting film centers around Jane, a student in the first class at a center where women who have suffered unimaginable abuse come together to create a revolutionary community of leaders.
	Preceded by
	CONTENDERS
	Director: Divya Pathak
	Countries: UK/India, Running Time: 13min
	 
	THE CREST
	Director: Mark Covino
	Country: USA, Running Time: 83min
	Two descendants of an Irish king journey to an island where he once presided-not to reclaim the land, but to surf the waves. An immigrant story that reminds us how we all came from somewhere else.
	Preceded by
	INBOX
	Director: B. Welby-Delimere
	Countries: UK/Ireland, Running Time: 8min
	 
	DINA
	Director: Antonio Santini, Dan Sickles
	Country: USA, Running Time: 103min
	Having grown up neurologically diverse, a buoyant suburban woman and a Walmart door-greeter face the challenges of being head-over-heels for each other in this unconventional love story. Winner of the Sundance Film Festival Documentary Grand Jury Prize.
	Preceded by
	BLACK CAT
	Director: Pascal Mercay
	Country: Australia, Running Time: 14min
	 
	DOLORES
	Director: Peter Bratt
	Country: USA, Running Time: 95min
	Portrait of one of the most important, yet least known, activists. Dolores Huerta tirelessly led the fight for racial and labor justice alongside Cesar Chavez, only to become embroiled in a battle for gender equality.
	Preceded by
	Preceded by
	SILO: EDGE OF THE REAL WORLD
	Director: Marshall Burnette
	Country: USA, Running Time 10min
	 
	FAST BREAK: THE LEGENDARY JOHN MCLENDON
	Director: Kevin Wilmott
	Country: USA, Running Time: 63min
	Pioneer African-American coach, McLendon not only changed the way basketball was played but who could play it as well.
	Preceded by
	THE GRAND ILLUSION
	Director: Preston Mack
	Country: USA, Running Time: 19min
	 
	FOR AHKEEM
	Directors: Jeremy S. Levine, Landon Van Soest
	Country: USA, Running Time: 90min
	After a school fight lands 17-year old Daje Shelton in a court-supervised alternative high school, she's determined to turn things around and make a better future for herself, despite challenges both personally and in society.
	Preceded by
	FAMILY REWRITTEN
	Director: Yasmin Mistry
	Country: USA, Running Time 14min
	 
	FOREVER ‘B’                                               DOX Spotlight Nominee
	Director: Skye Borgman
	Country: USA, Running Time: 91min
	On October 17th, 1974, in the quiet town of Pocatello Idaho, 12-year-old Jan Broberg was kidnapped by her family's best friend and neighbor. 18 months later, out on bail and awaiting trial for kidnapping, Robert Berchtold (Brother 'B' to Jan and her family) abducted Jan a second time, triggering a nationwide FBI manhunt. Through threats and brainwashing, Brother ‘B’ successfully turns Jan against her own family, while simultaneously manipulating her parents who paved the way for Jan’s abduction, in plain sight.
	 
	JANE
	Director: Brett Morgan
	Country: USA, Running Time: 90min
	Unseen footage of Jane Goodall’s early explorations, groundbreaking field work, her relationship with cameraman and husband Hugo van Lawick, and the chimpanzees she studied.
	Preceded by
	GARDENERS OF THE FOREST
	Directors: Ceylan Carhoglu, Nicole Jordan-Webber
	Country: USA/Laos, Running Time: 15min
	 
	THE LIFE, BLOOD AND RHYTM OF RANDY CASTILLO
	Director: Wynn Ponder
	Country: USA, Running Time: 84min
	A musical journey exploring the late, legendary drummer, Randy Castillo, who played with Ozzy Osborne, Motley Crue, Lita Ford, and other rock and roll icons of the 1980s and 1990s.
	 
	OLYMPIC PRIDE, AMERICAN PREJUDICE
	Director: Deborah Riley Draper
	Country: USA, Running Time: 84min
	17 men and women, with Jesse Owens, defied Jim Crow and Adolf Hitler and won hearts and medals at the 1936 Summer Games in Berlin. These trailblazers kicked open the door to a new society and are a seminal moment in the fight for equality.
	ON THE SLY: IN SEARCH OF THE FAMILY STONE
	Director: Michael Rubenstone
	Country: USA, Running Time: 82min
	Michael Rubenstone sets out to find the reclusive funk legend, Sly Stone. He manages to bring Sly out of hiding and record the history of Sly and the Family Stone band.
	 
	OSKARA                                                      U.S. Premiere
	Directors: Pablo Iraburu, Iñaki Alforja
	Country: Spain, Running Time: 72min
	Oskara emerges from the meeting between Marcos Morau, an innovative Catalan choreographer, and Kukai, a group of traditional Basque dancers. Together they create a beautiful spectacle.
	Preceded by
	WHEEL OF LIFE
	Directors: Marcia Jamel, Ken Schneider
	Countries: USA/Cuba, Running Time: 16min
	 
	RUMBLE: THE INDIANS WHO ROCKED THE WORLD
	Director: Catherine Bainbridge, Alfonso Maiorana
	Country: Canada, Running Time: 103min
	The story of a profound, essential, and until now little known part of American music history: the Native musician’s influence. Featuring music from Charley Patton, Jimi Hendrix, Redbone and many more.
	 
	SPETTACOLO
	Directors: Jeff Malmberg, Chris Shellen
	Country: USA, Running Time: 91min
	Once upon a time there was a tiny hill town in Tuscany that found a remarkable way to confront their issues — they turned their lives into a play.

	 
	TRUE CONVICTION
	Director: Jamie Meltzer
	Country: USA, Running Time: 84min
	There's a new detective agency in Dallas, Texas, started by three exonerated men, with decades in prison served between them.
	Preceded by
	SHOT
	Director: Aemilia Scott
	Country: USA, Running Time: 9min
	 
	TWO TRAINS RUNNING
	Director: Samuel Pollard
	Country: USA, Running Time: 80min
	A story about the search for two forgotten blues singers, set in Mississippi during the height of the civil rights movement.
	Preceded by
	ABBY THE SPOON LADY
	Director: Justin Johnson
	Country: USA, Running Time: 12min
	 
	WHAT LIES UPSTREAM
	Director: Cullen Hoback
	Country: USA, Running Time: 89min
	An investigation of the largest chemical drinking water contamination in a generation and the truth about what’s really happening with drinking water in America.
	Preceded by
	SOARING BACK: MESSAGE TO THE FUTURE
	Director: Bev Chapman
	Country: USA, Running Time: 14min
	 
	WHOSE STREETS?
	Directors: Sabaah Folayen, Damon Davis
	Country: USA, Running Time: 90min
	Told by the activists and leaders who live and breathe this movement for justice, Whose Streets? is an unflinching look at the Ferguson uprising.
	Preceded by
	ONE WEEK IN APRIL
	Director: Matthew Palmer
	Country: USA, Running Time: 10min
	  
	WOMAN ON FIRE
	Director: Julie Sokolow
	Country: USA, Running Time: 90min
	Follow Brooke Guinan, the first openly transgender firefighter in New York City as she sets out to challenge perceptions of what it means to be transgender in America today.
	 
	THE UNTOLD TALES OF ARMISTEAD MAUPIN
	Director: Jennifer M. Kroot
	Country: USA, Running Time: 90min
	Follow the evolution of one of the world’s most beloved storytellers from a conservative son of the Old South into a gay rights pioneer whose novels inspired millions to reclaim their lives.
	 
	 
	                                                           
	SHORTS PROGRAMS, Sponsored by Kansas Grip
	 
	ACTION | THRILLER STORIES (TRT: 101min)
	When action is required, action is taken.
	FROM ASHES TO IMMORTALITY | d. Eric Hyde | USA/Lawrence | 2017 | 26m
	INCENDIO | d. Slater Dixon | USA | 2016 | 6m
	JUST GO! | d. Pavels Gumennikovs | Latvia | 2017 | 11m
	THE LONG ISLAND WOLF | d. Julien Lasseur | USA | 2017 | 8m
	METICULOUS | d. Samantha Chalmers | Canada | 2017 | 3m
	POTBOILER | d. Nate Jones | USA/Wichita | 2017 | 7m
	ROGER | d. Ingrid Masarnau Amorós, Sonia Cendón Quireza, Sara Esteban Riera, Arnau Gòdia Montesinos, Martí Montañola Vilet | Spain | 2016 | 8m
	SATORI | d. Tyler Doehring | USA/Wichita | 2017 | 13m
	THE VETTING | d. Matthew Dunehoo | USA/Lawrence | 2016 | 19m
	 
	CHEER | COMEDY STORIES (TRT: 109min)
	Stories that come from every shade of humor.
	24 DAYS OF TORTURE | d. Vik & Nes Collective | USA | 2016 | 2m
	ALFRED J HEMLOCK | d. Edward Lyons | Australia | 2016 | 14m
	THE BLONDES | d. Carlota Martínez Pereda | Spain | 2016 | 18m
	CATHERINE | d. Britt Raes | Belgium | 2016 | 12m
	CLANKER MAN | d. Ben Steiner | UK | 2017 | 11m
	DAYTIME NOON | d. Micah Perta | USA | 2016 | 13m
	GETTING ED LAID | d. Deborah Pearl | USA | 2016 | 25m
	JULY | d. Patrick Letterii | USA | 2016 | 7m
	ROGER | d. Brendan Cleaves | UK | 2016 | 7m
	 
	CHOICES | DECISION STORIES (TRT: 114min)
	Transitions, decisions and consequences along the way.
	ACE | d. Morgan K Nichols | USA | 2017 | 13m
	FRY DAY | d. Laura Moss | USA | 2017 | 16m
	GAME | d. Jeannie Donohoe | USA | 2017 | 15m
	JOY RIDE | d. Niav Conty | USA | 2017 | 16m
	RETOUCH | d. Kaveh Mazaheri | Iran | 2017 | 20m
	REAL ARTISTS | d. Cameo Wood | USA | 2016 | 12m
	SPRING | d. Laurel Parmet | USA | 2017 | 7m
	TEACHERS | d. Mark Columbus | USA | 2016 | 15m
	 
	COLOR | LGBTQ STORIES (TRT: 107min)
	Addressing fluidity involved in all the colors of the rainbow.
	DUSK | d. Jake Graf | UK | 2017 | 15m
	MAKE IT UP | d. Courtney Hope Therond | USA | 2016 | 5m
	ROSEMARY & JULIET | d. Shane Wallace | USA/Wichita | 2017 | 24m
	SISSYMAN | d. Joshua Atesh Litle | USA | 2017 | 7m
	SQUARE ROOT | d. Youssef Ouarak | Poland | 2016 | 15m
	SUPERHEROES | d. Volker Petters | Germany | 2017 | 16m
	SWIM | d. Mari Walker | USA | 2016 | 10m
	WEDDING PATROL | d. Rogier Hardeman | Germany | 2016 | 15m
	 
	CONNECT | RELATIONSHIP STORIES (TRT: 102min)
	Dating, marrying, meeting, relating and getting along.
	ANOTHER GIRL | d. Austin Kase | USA | 2016 | 22m
	FRANKIE KEEPS TALKING | d. Annabelle Attanasio | USA | 2016 | 8m
	HIGHLIGHT | d. Shahrzad Dadger | Iran | 2017 | 23m
	MATCH | d. Danny Muñoz | Indonesia | 2016 | 3m
	NOT HERE, NOT THERE | d. Jan Wagner | Germany | 2016 | 8m
	OUIJA SEX | d. Mondo Ghulam | UK | 2017 | 5m
	#SELFIE | d. David Lorenz | Germany | 2016 | 8m
	THE THING ABOUT THE MORNING AFTER | d. Denise Powers | USA | 2016 | 9m
	VALENTIN | d. Ingrid Hübscher | Germany | 2016 | 16m
	 
	ENCOURAGE | SUPPORT STORIES (TRT: 99min)


	29 YEARS: A Journey to Restore Hope in Myanmar | d. Hunter Buchanan
	USA/Myanmar | 2017 | 26m

	CIRCUS (Cabuwazi) BEYOND BORDERS | d. Gertrud Schulte Westenberg Germany | 2016 | 30m

	GAME CHANGER | d. Lisa Eismen | Australia | 2017 | 17m
	OSHA'S GIFT | d. Hind Abdullah | United Arab Emirates | 2016 | 9m

	 
	ENDURE | REFUGEE STORIES (TRT: 96min)

	IN OUR COUNTY | d. Louisa Wagener | Austria/Eritrea | 2016 | 30m

	LEFTOVERS | d. Or Carny | Israel/Sudan | 2016 | 30m

	STAYING WITH FRIENDS (Zu Gast Bei Freunden) | d. Luisa Ricar | Switzerland | 2017 | 25m

	UNWELCOME | d. Ida Theresa Myklebost | USA | 2017 | 16m

	 
	FINALE | DYING STORIES (TRT: 113min)
	You never know when your time is up.
	GOLDFISH | d. Facundo V. Scalerandi | Germany | 2017 | 30m
	GRIDLOCK | d. Ian Hunt Duffy | Ireland | 2016 | 20m
	LIMBO | d. Jean-Luc Julien | Germany | 2017 | 10m
	MURDER SUICIDE | d. Luke Knezevic | USA | 2017 | 7m
	OVERLOVE | d. Lucas Helth | Denmark | 2017 | 22m
	SPUTNIK | d. Vicente Bonet | Spain | 2016 | 24m
	 
	SHINE | CREATIVE STORIES (TRT: 110min)
	Artful creations of animation and experiment.
	CHIKA, THE DOG IN THE GHETTO | d. Sandra Schießl | Germany | 2017 | 17m
	DARREL | d. Marc Briones Piulachs, Alan Carabantes Person | Spain | 2016 | 4m
	THE EVIL | d. Carlon Hardt | Brazil | 2016 | 2m
	THE FISH CURRY | d. Abhishek Verma | India | 2017 | 12m
	FOREIGN LOCAL | d. Moriya Benavot | Israel | 2016 | 10m
	GINEVRA | d. Tess Martin | Netherlands | 2017 | 4m
	HOW DO YOU PRONOUNCE PHO? | d. Carol Nguyen | Canada | 2016 | 5m
	IMPENETRABLE AS NIGHT | d. Benjamin Rosenthal | USA/Lawrence | 2016 | 8m
	KUKUSCHKA | d. Dina Velikovskaya | Russia | 2017 | 9m
	MANKURT | d. Ermina Takenova | UK | 2017 | 7m
	RAILMENT | d. Shunsaku Hayashi | Japan | 2017 | 10m
	RIPRIVACY | d. Aycan Basar | Turkey | 2017 | 5m
	A SUMMER’S DAY (Ein Sommertag) | d. Philipp Hester, Kira König, Janis Leonard Heller | Germany | 2017 | 4m
	“THE TALK” TRUE STORIES ABOUT THE BIRDS AND THE BEES | d. Alain Delannoy | Canada | 2016 | 9m
	URBAN AUDIO SPECTRUM | d. Marina Schnider | Germany | 2016 | 4m
	 
	TWILIGHT | AGING STORIES (TRT: 102min)
	Facing challenges that arise later in life.
	BARTLEBY | d. Laura Naylor | USA | 2016 | 12m
	DIME SHORT | d. Krista Gano | USA | 2016 | 12m
	DON REPERTO | d. Irma Orozco | Mexico | 2017 | 12m
	EDITH + EDDIE | d. Laura Checkoway | USA | 2017 | 26m
	FERRUCCIO: STORY OF (A LITTLE) ROBOT | d. Stefano De Felici | Italy | 2017 | 7m
	HOLD ON | d. Christine Turner | USA | 2017 | 9m
	RIGHT IN FRONT OF THE NOSE | d. Marco Arruda | Brazil | 2016 | 4m
	SECOND TO NONE | d. Vincent Gallagher | Ireland | 2016 | 8m
	TEN MORE | d. Brad Riddell | USA | 2016 | 12m
	 
	VIEWPOINT (POV) | SHORT STORIES DIRECTED BY WOMEN (99min)
	Narratives covering tough topics from the XX chromosome's POV.
	62 DAYS | d. Rebecca Haimowitz | USA | 2017 | 30m
	FANTASY | d. Kate Gondwe | USA/Wichita | 2017 | 6m
	GIRL-HEARTED | d. Anne Scheschonk | Germany | 2016 | 37m
	LIBERATION | d. Veronica Andersson | Poland | 2017 | 13m
	TEMPORARY | d. Milena Govich | USA | 2017 | 13m
	 
	JOEL FEIN SPOTLIGHT ON EMERGING FILMMAKERS PROGRAM 
	(TRT: 88min)
	BIRTH OF A FILMMAKER | d. Blaise Webster | Wichita | 2017 | 2m 

	CHASING FANTASY | d. Taylan Huslig | Wichita | 2017 | 6m

	CYCLE | d. Caleb Wild | Florida | 2016 | 11m

	FINISH LINE | d. Riley Street | California | 2016 | 9m
	HEARTSTRINGS | d. Caleb Garrett | California | 2016 | 3m

	THE IMMERSIVE EXPERIENCE | d. Matthew Crawford, Jimmy Nguyen
	Hutchinson | 2016 | 14m

	JIMMY THE LIMO DRIVER | d. Brenden Hickey | Washington | 2016 | 6m

	LIFE'S A MURDER | d. Brett Jones | Derby | 2016 | 9m

	MADOKA | d. Callahan Bracken | Canada | 2016 | 4m 

	REVERSE | d. Andrew Kivett | Wichita | 2016 | 4m
	ROAD KILL | d. Pyoung-won Seo | South Korea | 2017 | 5m

	TWO OF FIVE MILLION | d. Socs & DZ Zavitsanos | Texas/Greece | 2017 | 6m 
	YELLOW | d. Rowyn Mottershead | UK | 2017 | 9m

	 
	TIMOTHY GRUVER SPOTLIGHT ON KANSAS FILMMAKERS PROGRAM (TRT: 99min) 
	THE AFTERMATH | d. Kyle Solomon | Wichita | 2016 | 2m
	BOOK CLUB — DTTW 24HR FILM RACE AUDIENCE AWARD WINNER d. Jackson Laurie | Wichita | 2017 | 7m 

	CECILIA | d. Jordan Horsch | Mount Hope | 2017 | 16m 

	CHILD LOST | d. Ellen Crispin | Wichita | 2017 | 14m 

	A DANGEROUS PROFESSION | d. Anita Cordell | Shawnee | 2017 | 10m
	DRAGTIVISTS | d. Savannah Rodgers | Lawrence | 2017 | 7m 

	FIREDANCE | d. Hunter Harding | Lawrence | 2016 | 2m 

	FOR SALE | d. Savannah Rodgers | Lawrence | 2017 | 2m 

	ONE KRAZY COYOTE CALLER | d. Michael Stephan | Winchester | 2016 | 11m
	RABBITS | d. Patrick Clement | Wichita | 2016 | 13m 

	SLEEP PARALYSIS | d. Cole Campbell, Cameron Lawrence | Wichita | 2017 | 3m 

	THAT SMELL | d. Kyle Lavore | Lenexa | 2017 | 12m 

	 
	SHORTS BEFORE FEATURES
	ABBY THE SPOON LADY | d. Justin Johnson | USA | 2017 | 12m (with TWO TRAINS RUNNIN’)
	ALL AMERICAN | d. Michael Ayjian, Stephen Skeel | USA | 2017 | 26m (with ANGELS OF THE SKY)
	ALL THE MARBLES | d. Michael Swingler | USA | 2017 | 18m (with LAND OF THE LITTLE PEOPLE)
	BLACK CAT | d. Pascal Mercay | Australia | 2017 | 14m (with DINA)
	CONTENDERS | d. Divya Pathak | UK/India | 2017 | 13m (with CITY OF JOY)
	DRAGTIVISTS | d. Savannah Rodgers | USA/Lawrence | 2017 | 7m (with ALASKA IS A DRAG)
	EVE | d. Brittany "B.Monét" Fennell | USA | 2017 | 6m (with SEAT 25)
	FAMILY REWRITTEN | d. Yasmin Mistry | USA | 2017 | 14m (with AHKEEM)
	GARDENERS OF THE FOREST | d. Ceylan Carhoglu, Nicole Jordan-Webber | USA | 2017 | 15m (with JANE)
	GOODBYE, OLD GLORY | d. Jordan Haro | USA/ KS???? | 2017 | 17m (with BLACK COP)
	IT’S JUST A GUN | d. Brian Robau | USA | 2017 | 15m (with GOOK)
	JAMIE | d. Christopher Manning | USA | 2017 | 9m (with THE UNTOLD STORIES OF ARMISTEAD MAUPIN)
	JUST GO! | d. Pavels Gumennikovs | Latvia | 2017 | 11m (with STUMPED)
	KITTY AND ELLEN | d. Leah Galant | USA | 2017 | 17m (with BIG SONIA)
	ONE WEEK IN APRIL | d. Matthew Palmer | USA | 2017 | 10m (with WHOSE STREETS?)
	SILO: THE EDGE OF THE REAL WORLD | d. Marshall Burnette | USA | 2017 | 11m (with DOLORES)
	RULE OF NATURE | d. Dieter Primig | Nambia | 2017 | 26m (with ARCTIC SUPERSTAR)
	SHOT | d. Aemilia Scott | USA | 2017 | 9m (with TRUE CONVICTIONS)
	SHY GUYS | d. Fredric Lehne | USA | 2017 | 9m (with LUCKY)
	SOARING BACK: MESSAGE TO THE FUTURE | d. Bev Chapman | USA | 2017 | 15m  (with WHAT LIES UPSTREAM)
	THE DAY BEFORE | d. Geoff Marslett | USA | 2017 | 17m (with DAVE MADE A MAZE)
	THE FINAL SHOW | d. Dana Nachman | USA | 2017 | 10m (with THE FEELS)
	THE GRAND ILLUSION | d. Preston Mack | USA | 2017 | 19m (with FAST BREAK)
	WHEEL OF LIFE | d. Marcia Jamel, Ken Schneider | USA/Cuba | 2017 | 15m (with OSKARA)

#### 15th Annual Tallgrass Film Festival Announces the Official Selections for its Inaugural DOX Competition
CITY OF JOY

	 

	The 15th Annual Tallgrass International Film Festival presented by Consolidated Equities Trust (October 18-22) today announced the three films that will compete in its new DOX Spotlight Section. DOX Spotlight is sponsored by Greteman Group.

	The female-helmed documentaries include Madeleine Gavin’s CITY OF JOY, Skye Borgman’s FOREVER ‘B’ and Robin Berghaus’ STUMPED.

	“Our hope is that this recognition helps to celebrate the women in the documentary trenches and inspire future female documentarians to record the accomplishments, the issues and real life from a woman’s perspective," said Gretchen Mitchell, Tallgrass co-Director of Programming.

	Sonia Greteman, President and Creative Director of Greteman Group added, “Our agency’s all about storytelling. Amazing stories will rise out of this new, women-directed documentary competition, and our sponsorship signals our belief in amplifying women’s voices. And ensuring more people hear them."

	In order to be eligible for DOX Spotlight consideration, the documentaries are required to be feature length, directed by women, with no traditional distribution deal at the time of the film festival in October. There are no stipulations regarding budget or country. Finalists were selected by the Tallgrass Film Festival programming committee and will be juried by a (previously announced) panel of three industry professionals including Beth Barrett (Artistic Director, Seattle International Film Festival), Maisie Crow (award-winning Documentary Filmmaker) and Debra Zimmerman (Women Make Movies.) The winning film will be showcased at the DOX Spotlight on the evening of Thursday, October 19th. All finalists will screen as official selections and all three films are eligible for the Audience Award for Best Documentary and a $2,500 cash prize.

	Stubbornly Independent since 2003, the 15th annual Tallgrass Film Festival takes place October 18-22, 2017 in Wichita, Kansas.

	 

	About the Films and Filmmakers

	 

	CITY OF JOY

	Director: Madeleine Gavin

	Country: USA, Running Time: 74min

	In Eastern Democratic Republic of Congo, an area waging one of the longest conflicts in history and ravaged by sexual violence – we discover The City of Joy. This ultimately uplifting film centers around Jane, a student in the first class at a center where women who have suffered unimaginable abuse come together to create a revolutionary community of leaders.

	 

	Madeleine Gavin works in both documentary and narrative film, primarily as an editor. She was nominated for an Emmy for her work on Rebecca Cammisa's Academy Award nominated documentary, WHICH WAY HOME and has edited several Sundance and Independent Spirit Award-winning films. She recently completed work on WILDE WEDDING starring Glenn Close and John Malkovich and on STRANGE WEATHER starring Holly Hunter, which premiered at the 2016 Toronto International Film Festival. Madeleine has taught in the writing program at NYU and currently teaches in the Graduate Film Program at Columbia University.

	CITY OF JOY is her directorial debut.

	 

	FOREVER ‘B’

	Director: Skye Borgman

	Country: USA, Running Time: 91min

	On October 17th, 1974, in the quiet town of Pocatello Idaho, 12-year-old Jan Broberg was kidnapped by her family's best friend and neighbor. 18 months later, out on bail and awaiting trial for kidnapping, Robert Berchtold (Brother 'B' to Jan and her family) abducted Jan a second time, triggering a nationwide FBI manhunt. Through threats and brainwashing, Brother ‘B’ successfully turns Jan against her own family, while simultaneously manipulating her parents who paved the way for Jan’s abduction, in plain sight.

	 

	Skye Borgman is an award winning director and cinematographer who shoots narrative and documentary films all over the world. She received an MFA from USC's Film Production program, and has been working as a cinematographer for over 15 years. Skye has shot over 50 films and documentaries, traveled to over 60 countries and lived on three continents. She has filmed rock-stars, prime ministers, drug addicts, Academy award winners and anarchist chocolate makers. Skye has worked with prestigious clients such as: Disney, Princess Cruise Lines, National Geographic, Guess, USC, Kaseya and Solid State Logic

	 

	STUMPED

	Director: Robin Berghaus

	Country: USA, Running Time: 72min

	When filmmaker Will Lautzenheiser’s limbs are amputated, his life is derailed and he turns to stand-up comedy as a therapeutic and creative outlet. Meanwhile, a world-famous medical team is performing transplants that restore bodies to unprecedented levels. Despite grave risks, Will agrees to undergo an experimental double-arm transplant in the hope of reclaiming his independence.

	 

	Robin Berghaus has directed, produced, filmed and edited more than 100 short documentaries and commercials. Her partners include Arcos Films, Mental Health Channel, Spectrum Media, Boston University, Captains of Industry, Dorel Juvenile Group and ArtsBoston. Her award-winning projects have screened at international film festivals and on news websites. She founded Berghaus Productions to direct and produce independent documentaries, educational videos and commercials.

	 

#### 17 Must See Films For 2017
2017 is already being looked at as bigger, bolder and more badass than the quiet more introspective 2016.  Blade Runner 2049 is part of a group of films that should make 2017 live up to the hype.  My list of 17 must see films for this year is not about big blockbusters or franchise continuing moneymakers but instead the power of bold filmmakers making strong films.  Click through for my list of 17 films you shouldn't miss this year.

	

	Like most of you I'm sure I'll love Guardians of the Galaxy and Alien: Covenant but neither film made my list.  There are some big blockbuster films in my list but I'm leaning on films that will also be powerful innovative films for 2017.  Here are the movies I'm most excited to see this year.

	17 Must See Films for 2017:

	17.  The Circle – Director James Ponsoldt adaptation of Dave Eggers Novel starring Tom Hanks and Emma Watson.

	Ponsoldt's previous films all have serious emotional depth not seen by many directors his age.  This film looks to test his boundaries by having more of a serious worldly theme.  Looking forward to seeing Ponsoldt work with even more A listers like Hanks and Watson too.

	16.  Thor 3: Ragnarok – Director Taika Waititi starring Chris Hemsworth and returning Tom Hiddlestone as Loki.

	Taika Waititi work is filled with incredible humor amongst wild circumstances and now he gets to use Marvel Money.  And Hiddlestone is back as Loki (by far the most enjoyable Marvel character in the films).  I'm Sold!

	15. Gold – Directed by Oscar winner Stephen Gaghan starring Oscar winner Matthew McConaughey. 

	https://www.youtube.com/watch?v=IhYROWOayLw

	Trailer looks fun and who knows maybe McConaughey will use a merkin to fix that terrible bald look?

	14. The Dark Tower – Danish Director Nikolaj Arcel tackles Stephen King's novel with Idris Elba and Matthew McConaughey.

	

	 

	 

	 

	 

	 

	 

	 

	 

	Who doesn't want to see Idris vs McConaughey!!  King's novels are always a bit tricky to adapt but this series seems made for the big screen!

	13. The Founder – Writer Robert Siegel and Director John Lee Hancock gives us the origin of McDonalds with Keaton starring.

	https://www.youtube.com/watch?v=ksLZEepQ0nA

	John Lee Hancock doesn't make bad films and Michael Keaton's resurrection as an A-List actor is so wonderful to see.

	12. The Salesman – Writer Director Asghar Farhedi may well be an Oscar contender this February and deservedly so!

	A Separation and The Past are all the evidence I need to know that Farhedi makes amazingly powerful films.  Can't wait!!

	11. Free Fire – Director Ben Wheatley is a crazy fun director that pushes all the boundaries. 

	Sharlto Copley, Armie Hammer, Brie Larson, & Cillian Murphy = SOLD!

	10. Three Billboards Outside Ebbing, Missouri – Writer/Director Martin McDonagh!!

	

	 

	 

	 

	 

	 

	 

	McDonagh with Sam Rockwell, Woody Harrelson, and now with Peter Dinklage, Abbie Cornish and Lucas Hedges!!

	9. Darkest Hour – Director Joe Wright dives into the world of Winston Churchill played by Gary Oldman.

	

	 

	 

	 

	 

	 

	 

	 

	Hello!! Gary Oldman as Winston Churchill.  Add in Ben Mendelsohn, John Hurt and Kristin Scott Thomas too.

	8. T2: Trainspotting – Director Danny Boyle reunites his Trainspotting family.

	Bout damn time!

	7. Annihilation – Writer/Director Alex Garland (speaking of Danny Boyle!!) follows the magical Ex-Machina with another Oscar Isaac film.

	

	 

	 

	 

	 

	 

	 

	 

	 

	"A biologist signs up for a dangerous, secret expedition where the laws of nature don't apply."

	Hell of a female cast lead by Natalie Portman, Jennifer Jason Leigh, Tessa Thompson and Gina Rodriguez.  Oh and Oscar Isaac!!

	6. The Mountain Between Us – Director Hany Abu-Assad teams with Kate Winslet and Idris Elba for this novel adaptation!

	

	 

	 

	 

	 

	 

	 

	 

	 

	One of my favorite interviews of 2016 was with the brilliant Hany Abu Assad. 

	5.  War For The Planet of The Apes – Director Matt Reeves and Star Andy Serkis bring us War!

	Of all the blockbuster franchises The Planet series seems the most intelligent and breathtaking.  Now we get our War!! So excited.

	4. Untitled Paul Thomas Anderson Fashion Project – The only reason this didn't crack my top three is because we don't know anything.

	 

	 

	 

	 

	 

	 

	 

	 

	Oh,we do know it's PTA with DDL!!! 

	3.Blade Runner 2049 – Director Denis Villeneuve with Ridley Scott producing, Hampton Fancher script and Harrison Ford!!

L-R: Ridley Scott and Harrison Ford on the set

	 

	 

	 

	 

	 

	This will be AMAZING!

	2. Star Wars VIII – Director Rian Johnson with Luke Skywalker!!!

	

	 

	 

	 

	 

	I said Luke Skywalker!!

	1. Dunkirk – Christopher Nolan leaves DC Comics and Space for the reality of WWII.  Thank God!!

	See you in the theaters in 2017!!!

#### 17th Annual Bushwick Film Festival Announces 2024 Winners
17th Annual Bushwick Film Festival
 
 
The Bushwick Film Festival (BFF) is thrilled to announce the winners of its 17th annual event, which celebrates outstanding independent storytelling across various genres. The awards ceremony took place on Saturday, October 19th, at Gracemoon Arts Theater Salon and Gallery.
This year, BFF continued its tradition of recognizing exceptional talent with awards in categories like Best Feature, Best Short, Best Episodic, Best Actor, and more. The winning films and performances told bold stories, showcased the independent spirit, and featured compelling characters that resonated with audiences.
The jurors for this year’s festival included industry leaders like Malcolm Barrett (Actor, Average Joe, Timeless ), Craig Butta (Founder/Producer, BASE 12, Ghost: RIte Here Rite Now), Nicole Emanuele (Producing Partner, Le Train Train Productions, Not Waving But Drowning), Vianni Novich (Executive at HBO, Nikki Glaser: Someday You’ll Die), Jika Gonzalez (Documentary Filmmaker, After The Flood), Cass Gardiner (Filmmaker, The Edible Indian), June Cross (Founder, professor at Columbia University’s Graduate School of Journalism), Matt Thurm (Producer, Crown Heights), Molly O’Keefe (Producer, End of the Party), Justin Joseph Hall (Director/Founder, Fourwind Films & Quatre-Vents), Kavery Kaul (Director, Cuban Canvas), Natasha Florentino (Documentary Filmmaker, Abundant Land: Soil, Seeds and Sovereignty), Mike Prall (Producer, The Sound of Silence), Richie Doyle (Producer, Dad & Step-Dad), Clare O’Kane (Actor/Comedian/Writer, Saturday Night Live).
·    Best Feature Narrative: Failed State directed by Christopher Jason Bell & Mitch Blummer
·    Feature Narrative Honorable Mention: Doubles directed by Ian K Harnarine
·    Best Feature Documentary: All We Carry directed by Cady Voge
·    Feature Documentary Honorable Mention: The Opener directed by Jeff Toye
·    Best Short Narrative: Tea directed by Blake Winston Rice
·    Short Narrative Honorable Mention: Super High: A Period Piece directed by Bianca Lambert
·    Best Short Documentary: David Again directed by Adam Elliott
·    Short Documentary Honorable Mention: Aliza Nisenbaum: Painting from Life directed by Ian Forster
·    Best Web Series: Dreams & Schemes directed by Daniel Fermín Pfeffer & Carlos Cardona
·    Web Series Honorable Mention: Cache Money directed by Bruno Dramatik
·    Best Performance Winner: Meagan Kimberly Smith (But He’s Gay directed by Michael Calciano) Nominess: Dale Smith (Failed State), Joshua Rivera (Dreams & Schemes) Stéphanie Colle (My Tomato Heart), Darren Gilshenan (Jason Is My Dad)
This year’s theme, Producing The Dream, highlighted the journey of realizing a dream and celebrated the passion and effort it takes to achieve it. The festival screened nearly 100 films from Brooklyn and beyond, featuring a range of events including an Opening Night Yellow Carpet Reception presented by Netflix with cocktails by Johnnie Walker Blended Scotch Whisky, live screenings at Williamsburg Cinemas, a Comedy Night, a Screenplay Reading, an Industry Lunch, and an awards ceremony. The festival concluded on Sunday, October 20th, with a day of screenings of their award-winning films.
 
 

#### 17th Annual Hola Mexico Film Festival Announces This Year’s Film Selections | Sept. 12 – 20
The largest Mexican film festival outside of Mexico, Hola México Film Festival presented by Toyota, announces this year’s selections for its 17th annual edition on September 12-20, 2025, during Hispanic Heritage Month.
The Hola Mexico Film Festival, presented by Toyota, will kick off with opening night activities featuring a screening, red-carpet event, and after-party for the film “Autos, Mota y Rocanrol,” directed by José Manuel Cravioto. This event will take place at The Montalbán Theater in Hollywood.
The celebration will continue the next day with a special screening, red carpet, after party, and concert event for the film “Mesa de Regalos,” directed by Noe Santillan Lopez, at Cinepolis Cinemas in Pico Rivera.
Join us for a special screening of the film “Mistura,” a Peruvian/Mexican production directed by Ricardo de Montreuil, featuring Barbara Mori and Christian Meier at Regal LA Live. Don’t miss the chance to enjoy the new reclining seats for a more comfortable movie experience.
In the lead-up to the closing night, the festival will host a special screening at the Milagro Cinema in Norwalk. The festival will conclude with a screening, red carpet event, after party, and concert for “Mirreyes vs. Godinez” (Vegas), directed by Chava Cartas.
Samuel Douek, founder and director of HMFF, expressed his excitement for the festival: “After 17 years, we’re just getting started! It’s a joy to showcase talented filmmakers. In today’s political climate, highlighting the achievements of Mexicans and Latinos is crucial. Immigrants like Iñárritu, Cuarón, and Del Toro exemplify success. In 2025, we’ll present films that resonate deeply with audiences. Thanks to Toyota for their support. I look forward to seeing everyone at the theaters!”
“Film has a unique way of bringing culture and stories to life, connecting and celebrating people across communities,” said Tyler Litchenberger, Manager, Toyota Brand and Social Media Marketing. “We’re proud to support the Hola Mexico Film Festival again during Hispanic Heritage Month as this festival shines a spotlight on the incredible talent and stories from Mexico that resonate with audiences everywhere. It’s inspiring to see how it honors Mexico’s rich film tradition while embracing new voices that are shaping the future of film.”
Hola México Film Festival, presented by Toyota, will feature 20+ films and 20 short films from its filmmaker-focused program Tomorrows Filmmakers Today.
As part of this celebration, Toyota teamed up with a past participant of the Tomorrow’s Filmmakers Today program, Mario Garza – now a filmmaker in Los Angeles – to bring a bold, original concept to life. This short film cleverly intertwines the suspense of a horror story with the ingenuity of the Toyota bZ. This short film delivers thrilling storytelling paired with cutting-edge design that slice through the film’s tension, leading to a playful and unexpected conclusion.
MEXICO AHORA
Autos, Mota, Rocanrol Dir: José Manuel Cravioto
Batman Azteca: Choque de Imperios (Aztec Batman: Clash of Empires) Dir. Juan José Meza-León
Corina Dir. Urzula Barba Hopfner
Café Chairel Dir. Fernando Barreda Luna
El Club Perfecto (The Perfect Club) Dir. Ricardo Castro
Hombres Íntegros (Fine Young Men) Dir. Alejandro Andrade
Las Mutaciones (The Mutations) Dir. Jorge Ramírez Suarez
Lázaro De Noche (Lázaro at Night) Dir. Nicolas Pereda
Mesa De Regalos (The Gift Table) Dir. Noé Santillán López
Mistura Dir. Ricardo de Montreuil
Mirreyes vs Godinez (Vegas) Dir. Chava Cartas
Una Historia de Amor y Guerra (A History of Love and War) Dir. Santiago Mohar Volkow
No Nos Moveran (We Shall Not Be Moved) Dir. Pierre Saint Martín
Teléfono Público Dir. Moisés Roditi Hadenblit
Todavía Conmigo Dir. Alfonso Pineda Ulloa
DOCUMENTARY
Concierto Para Otras Manos (Concerto for other Hands) Dir. Ernesto González Díaz
El Equipo del Pueblo (The peoples team) Dir. Rafael Aparicio
La Falla (Cracked) Dir. Alana Simões
Nos Fuimos A Penales (Penalty) Dir. Iván Barrera “Chipichape”
Sin Barreras (No Barriers) Dir. Luisa Melo y Gonzalo Figueroa
Un Dia 28 de Enero Dir. Cesar Uriarte
2025 Sponsors of the 17th Annual Hola Mexico Film Festival Presented by Toyota: KCRW, LA Plaza de Cultura y Artes, McDonald’s, Maison Perrier, La Nena Cantina, UNAM, SoCal Sounds, City of Pico Rivera, Univision Los Angeles and presenting sponsor Toyota.

#### 18 TO PARTY – Interview with Writer Director Jeff Roda
18 TO PARTY spans a single evening in the lives of these kids, but manages to transport us fully to a time when waiting for something to happen felt just as significant as the thing itself. 
Filmmaker Jeff Roda chatted with our Gadi Elkon about the film and much more.
 

Writer/Director Jeff Roda’s film, 18 To Party, opens virtually in Los Angeles, NYC and many major cities today November 6th.  The film is a snippet of one single day and night in the lives of a group of witty and unique kids.  The music, wardrobe, production design and spot-on script bleeds out as pure 1980s.  Jeff’s ability to cultivate an entire era and generation with a group of kids figuring ways to pass the time until they can enter a small suburban venue is amazingly riveting and moving.  Each young actor and actress is given a fully realized character that has the ability to discuss race, religion, puberty, and growing up in general with concise thoughtful dialogue.  The film is all about what these kids are talking about and articulating rather than any form of violence or over the top action.  A real master class in subtle intelligence through the innocence of youth.
The film stars a slew of upcoming talent that each has a moment or two to shine brightly.   Add in a musical sound design that invokes the era but is still fresh because the songs are not just old rehashes.  Songs by Mick Jones and the Alarm especially stamp the authenticity of Jeff Roda’s recollection of his youth.  In our conversation, we discussed the importance of those musical choices, the seamless transition from morning to night, the prompt and witty script choices and so much more.
Here is our interview with Writer/Director Jeff Roda.
 
https://seligfilmnews.com/wp-content/uploads/2020/11/zoom_1.mp4
 
A film that is all about 1984 but still screams true today.
Website: https://www.18topartymovie.com
Facebook: https://www.facebook.com/18ToPartyMovie
Twitter: https://twitter.com/18ToPartyMovie
Instagram: 18ToPartyMovie
@18ToPartyMovie
#18ToPartyMovie
 

#### 18th Annual Sidewalk Film Festival Announces Full Lineup
 

	A total 250 films – from features to shorts, narratives to documentaries – are set to highlight the 18th Annual Sidewalk Film Festival, which will take place Aug. 26-28 in downtown Birmingham’s historic Theatre District.

	“We are proud of our strong lineup and are excited to bring a diverse set of creative,  engaging, thought-provoking, entertaining and eccentric work to film lovers across Alabama and throughout the Southeast,” said Chloe Cook, executive director of Sidewalk Film Festival.

	This year’s lineup includes more than 67 feature films and 130 short films from 10 different countries.

	“The 18th Sidewalk Film Festival has an incredibly diverse array of films this year. From animated films to music and dance to our more traditional narrative dramas, comedies, and "midnight" films, I'm excited about the variety of subject matter and filmmakers represented in this year's lineup,” Sidewalk Film Festival shorts programmer Jo Tribble said. “Showing the increased interest and quality of Alabama filmmaking, I'm especially excited about the 50 films we have involving Alabama based filmmakers, crew, or cast."

	To develop the lineup, the team worked over several months to identify films reflective of the talent in independent film.

	“For the last 9 months we have absolutely scoured the world for the very best of independent film and are super proud to announce the 2016 Sidewalk line-up,” Sidewalk Film Festival creative director Rachel Morgan said. “We believe the lack of sleep and overabundance of pizza has paid off!”

	Full schedule details are available at https://sidewalk18.sched.org/.

	 

	Opening Night Film – IN A VALLEY OF VIOLENCE (2016)

	Sidewalk will kick-off Friday, Aug. 26 at 8 p.m. at the Alabama Theatre, with the Opening Night feature film “In a Valley of Violence” 

	Directed by Ti West and Starring Ethan Hawke, John Travolta, Taissa Farmiga, Karen Gillan and James Ransone. West will be at the Sidewalk Opening  Night event.

	According to Focus Features, the film follows a mysterious drifter named Paul (Hawke) and his dog Abbie (Jumpy) as they make their way towards Mexico through the barren desert of the old west. In an attempt to shorten their journey, they cut through the center of a large valley and land in the forgotten town of Denton – a place dubbed by locals as a "valley of    violence." The once popular mining town is nearly abandoned, and controlled by a brash group of misfits and nitwits – chief among them, the seemingly untouchable, Gilly (Ransone) who is the troublemaking son of the town’s unforgiving Marshal (Travolta). As tensions rise between Paul and Gilly, Denton’s remaining residents bear witness to an inevitable act of violence that starts a disastrous chain reaction, infecting the petty lives of all involved and

	quickly drags the whole town into the bloody crosshairs of revenge. Mary-Anne (Farmiga) and Ellen (Gillan), two bickering sisters who run the town’s only hotel, try to find the good in both men, while desperately searching for their own salvation. Only the world-weary Marshal struggles to stop the violent hysteria, but after a gruesome discovery about Paul’s past…there is no stopping the escalation.

	 

	Closing Night Film – LITTLE SISTER  (2016)

	Sidewalk will conclude on Sunday night, Aug. 28 at 6 p.m. at the Alabama Theatre, with the feature film, “Little Sister”

	Directed by Zach Clark and Starring Addison Timlin, Ally Sheedy, Keith Poulson, Peter Hedges, Kristin Slaysman, Molly Plunk and Barbara Crampton.

	According to South by Southwest (where the film debuted), young nun Colleen is avoiding all contact from her family, until an email from her mother announces, “Your brother is home.” On returning to her childhood home in Asheville, NC, she finds her old room exactly how she left   it: painted black and covered in goth/metal posters. Her parents are happy enough to see her, but unease and awkwardness abounds. Her brother is living as a recluse in the guesthouse since returning home from the Iraq war. During Colleen’s visit, tensions rise and fall with a little help from Halloween, pot cupcakes, and GWAR. Little Sister is a sad comedy about family – a

	schmaltz-free, pathos-drenched, feel good movie for the little goth girl inside us  all.

	 

	Narrative Features

		“Alabama Dirt” Director: Tom Stout
	

		“All the Birds Have Flown South” Directors: Joshua H. Miller, Miles B.  Miller
	

		“Cheerleader” Director: Irving Franco
	

		“Donald Cried” Director: Kris Avedisian
	

		“Fiddlesticks”  Director: Veit Helmer
	

		“First Girl I Loved” Director: Kerem Sanga
	

		“Fraud” Director: Dean Fleischer-Camp
	

		“Girl Asleep” Director: Rosemary Myers
	

		“Girl Flu” Director: Dorie  Barton
	

		“Good  Funk”  Director:  Adam  Kritzer
	

		“Here Comes Rusty” Director: Tyler Russell
	

		“Hunter Gatherer” Director: Joshua Locy
	

		“In a Valley of Violence” Director: Ti West
	

		“Kate  Plays  Christine”  Director:  Robert  Greene
	

		“Knowbull” Directors: Brandon A. McCall and Kerry Patton
	

		“Labyrinth” Director: Jim  Henson
	

		“Little Men” Director: Ira Sachs
	

		“Little Sister” Director: Zach Clark
	

		“Long Nights, Short Mornings” Director: Chadd Harbold
	

		“MA” Director: Celia Rowlson-Hall
	

		“Miles” Directors: Joshua Miller and Miles Miller
	

		“Nigel & Oscar vs Sasquatch” Director: Drew Hall
	

		“Other People” Director: Chris  Kelly
	

		“Rainbow Time” Director: Linas Philips
	

		“Service to Man” Directors: Aaron Greer and Seth Panitch
	

		“Slash” Director: Clay Liford
	

		“Space Jam” Director: Joe Pytka
	

		“Stay Hungry” Director: Bob Rafelson
	

		“Swiss Army Man” Directors: Daniel Kwon and Daniel Scheinert
	

		“The Arbalest” Director: Adam  Pinney
	

		“The Fits” Director: Anna Rose Holmer
	

		“The Greasy Strangler” Director: Jim Hosking
	

		“The Love Witch” Director: Anna  Biller
	

		“The Master Cleanse” Director: Bobby  Miller
	

		“We’ve Forgotten More than We Ever Knew” Director: Thomas  Woodrow
	

		“Women Who Kill” Director: Ingrid   Jungermann
	

	 

	Documentary Feature

		“Actor Martinez” Directors: Nathan Silver and Mike Ott
	

		“Author: The JT LeRoy Story” Director: Jeff Feuerzeig
	

		“Beware the Slenderman” Director: Irene Taylor Brodsky
	

		“Breakfast at Ina’s” Director: Mercedes Kane
	

		“By the River” Director: Kevin Ford
	

		“Chicken People” Director: Nicole Lucas Haimes
	

		“Contemporary Color” Directors: Bill Ross IV and Turner Ross
	

		“De Palma” Director: Noah Baumbach and Jake Paltrow
	

		“Dead Hands Dig Deep” Director: Jai  Love
	

		“First Lady of the Revolution” Director: Andrea Kalin
	

		“Gip” Director: Patrick Sheehan
	

		“Holy Hell” Director: William Francesco  Allen
	

		“Hotel Dallas” Directors: Livia Ungur and Sherng-Lee Huang
	

		“Jackson” Director: Maisie Crow
	

		“KEDI” Director: Ceyda Torun
	

		“Lakeshore Villas” Director: Benjamin Fuqua
	

		“Off the Rails” Director: Adam Irving  
	

		“Silicon Cowboys” Director: Jason Cohen
	

		“Skip Stones for Fudge” Directors: Ryan Seitz and Daniel Skaggs
	

		“Speed Sisters” Director: Amber Fares
	

		“Stand Up, Speak Out” Director: Jenna Bedsole
	

		“Suited” Director: Jason Benjamin
	

		“Syl Johnson: Any Way The Wind Blows” Director: Robert Hatch-Miller
	

		“The Curse of the Man Who Sees UFOs” Director: Justin Gaar
	

		“The Hollywood Shorties” Director: Ryan Steven Green
	

		“The Lost Arcade” Director: Kurt  Vincent
	

		“The Pursuit of Hippo-ness” Director: Alana Franks
	

		“Tower” Director: Keith Maitland
	

		“Trials: Finding the Medal” Director: Daniel   Koenig
	

	 

	Double Features

		“Raiders Double Feature: Raiders! The Story of the Greatest Fan Film Ever Made” Directors: Tim Skousen and Jeremy Coon
	

		“Raiders Double Feature: Raiders of the Lost Ark: The Adaptation” Director: Eric Zala
	

	 

	Alabama Shorts 1

		“Modern Romance” Director: Adam Schwartz
	

		“Jinxed” Director: Sam Eather
	

		“Sticky Note” Director: Parker Adams
	

		“Samantha Throws a Party” Director: John Wachs
	

		“Noah and the Band” Director: Chloe Jury-Fogel
	

		“Blackface” Director: Shanrica Evans
	

		“Convenience” Directors: Anna Quinlan, Isabel Farrington and Katherine Harrison
	

		“Aster and Sidney” Director: Sean Temple
	

	 

	Alabama Shorts 2

		“Pining: A Romantic Comedity” Director: Darrell Nance
	

		“Eyes of Victory Only” Director: Kevin Key and Malik Banks
	

		“Ignacio y Rosita” Director: Ian J. Cunningham
	

		“The Sibling Code” Director: Roberta Marie  Munroe
	

		“The Yearning” Directors: Michael McFarland, Michael Green and Adam  Boland
	

		“Chasing Kites” Director: Greyson A. Welch
	

		“And Now Makes Three” Director: Akil  Buggs
	

		“Popsy” Director Director: David  Merriman
	

		“To Live” Director: Benjamin Rand
	

		“Léa” Director: Connor Simpson
	

		“Game Night” Director: Sarah Heinss
	

	 

	Teen-Made Shorts

		“Soundtrack of My Life” Director: Kaylee Thomas
	

		“Door to Door” Director: Mady Dever
	

		“A Little Love Goes a Long Clay” Director: Juliet Buckholdt
	

		“Foretting” Director: Laura Hanson 
	

		“Year of Plenty” Director: Natasha Lasky
	

		“Sleep”  Director:  Mary Aupperle
	

		“Quote Unquote” Directors: Noa Schwartz, Nicole Bahar and Joji  Baratelli
	

		“The Big A” Director: Noah Somer
	

		“The Southern Social Order” Director: Ellie Stayner
	

		“Us & Us” Directors: Trey Carlisle, Cole Kawana, Sebastian Ko, and Jordan Seibel
	

		“Stealing Home” Directors: Justin Ciccone, Joe Levin and Michael Stokdyk
	

		“Love and Music” Directors: Sophia Dienstag, Ryan Finley and Sarah McAllister
	

		“Growing the Rose: Landmines in Cambodia” Directors: Milo Hensley and Sam McCabe
	

		“Tipping Scales: The Story of Lisa Jura” Directors: Justin Binder, Jordan Brown, Ty Goodrich, Ned Jacobs, Ryan Kim, Chloe Kuelbs, Matthew Steiglitz, Caleb Ullendorff, Savannah Weinstock
	

		“The Story of Three Rings: A Memoir of Dana Schwartz” Directors: Felix Audelo-Ruiz, Juli Freedman, Elly Hong, Carolina Martinez, Dora Schoenberg
	

		“One Day on Carver St.” Director: Azure Allen
	

		“Domar: To Tame” Director: Benjamin  Ades
	

	 

	Teen-Made Horror/Thriller Shorts 

		“Void” Director: Jamie Lipman
	

		“Follow Me” Director: Kaylee Thomas
	

		“Katharos” Director: Evan Obrien
	

		“Prism“ Director: Aidan Weaver
	

		“Le Couteau” Director: Zoe Miller
	

		“It’s Just a Game” Director: Morgan Evans
	

		“Ellie” Director: Morgana McKenzie
	

	 

	Episodic

	“Cast Off” (2 episodes) Director: Elle Lipson

		Episode 1: Straight Outta Little  Compton
	

		Episode 4: Viral
	

	“Gunner Jackson” Director: Christian Strevy

	“Subtle Adulthood with Red and Bangs” Director: Abigail  Armstrong

		Episode 2: Insta-scam
	

	“Breakfast in Bed” (3 episodes) Director: Kate Chamuris

		Episode 1: Best of Friends
	

		Episode 3: Yes Yes Yes
	

		Episode  6:  Menage á
	

	“Shipping Anonymous” Director: Courtney  Brown

	“Monster Girls” Director: Matthew Soson

	 

	Saturday Shorts:  Creative Arts

		“Sing for Your Supper” Director: Mu Sun
	

		“Just a Song” Director: Gina Hirsch
	

		“Bliss Blue” Director: Elle Schneider
	

		“A Film by Vera Vaughn” Director: Sorrel Brae
	

		“The Long Song of M. Anderson Vincent” Director: Chen  Gu
	

		“The Lot” Director: Russell Blanchard
	

		“Off Track Betty” Director: Clayton Dean Smith
	

	 

	Saturday Shorts: Generations

		“Madam Black” Director: Ivan Barge
	

		“Where You Are” Director: Graham Parkes
	

		“Cowboys” Director: Bernabé  Rico
	

		“The Qualified Self” Director: Gleb  Osatinski
	

		“Red Folder” Director: Ben Kallam
	

		“Winter Light” Director: Julian Higgins
	

		“Second Words” Director: Jake  Hull
	

	 

	Saturday Shorts: Girl Power!

		“Hummingbird & Crane” Director: Veronica Rodriguez
	

		“People Are Becoming Clouds” Director: Marc Katz
	

		“Susie Sunshine” Director: Chelsea O’Connor
	

		“Dogsbody”  Director:  Josh Crockett
	

		“Dealing with Dana” Director: Nigel  DeFriez
	

		“Video” Director: Randy Yang
	

		“The Mink Catcher” Director: Samantha Buck
	

		“Dog Bowl” Director: Gordy Hoffman
	

	 

	SHOUT Shorts

		“Bird of Prey” Director: Marion Hill
	

		“Sign” Director: Andrew Kennan-Bolger
	

		“Deep End” Director: Ruby Drake
	

		“First Night Out” Director: Will Mayo
	

		“Pronouns” Director: Michael Paulucci
	

		“Queen” Director: Lucas Omar
	

		“Why I’m Afraid” Director: Tanner  Robbins
	

		“1985” Director: Yen Tan
	

		“Out in Alabama” Director: Bonnie Blue Edwards
	

		“Ending in Silence” Directors: Jo Badgett and Geena  Marshall
	

	 

	Saturday Alabama Documentary Shorts

		“The Hand in the Truck” Director: Robert Clay
	

		“Hollis Treasures” Director: R. Todd Campbell
	

		“On the Horizon” Director: Lauren Musgrove
	

		“Seeding Fear” Director: Craig Jackson
	

		“Company Town” Directors: Amir Ahmed and Gina  Sherman
	

		“Sharing the Secrets” Director: Drew Perlmutter
	

		“Blocked” Directors: Amber Pope and Suzanna Swanson
	

		“Eat White Dirt” Director: Adam  Forrester
	

	 

	Saturday Family Shorts

		“Titanic Boy” Director: Andrew  Reed
	

		“The Forgotten Treasure” Director: Tam Le
	

		“Angel Bird” Director: Elizabeth Russell
	

		“Let’s Catch a Movie” Director: Emma Penaz Eisner
	

		“Monty and the Runaway Furnace” Director: Joe Taranto
	

	 

	Kids Shorts Starring Kids

		“Goosebump Academy I” Director: LB Passey
	

		“Dog*Walk” Directors: Kristin Peterson and Jonathan Phillips
	

		“El Chévere” Director: Tony Reames
	

		“Mission Disconnect” Director: Lamar Sulaka
	

		“Goosebump Academy II” Director: LB Passey
	

	 

	Sunday Alabama Documentary Shorts

		“Ma’Cille’s (one of a kind ever) Museum” Directors: Gail Aronson and Grace Kyle
	

		“Self Portrait” Director: Jessica Chriesman
	

		“The New Orleans Sazarac” Director: James Martin
	

		“The Gospel of the Alabama Oyster” Director: Joe  York
	

		“KNOWDOPE: The Documentary” Directors: Matthew Henton and Sarah Buckalew
	

		“Stay the Course” Director: Kayla Gladney
	

		“Demolition by Neglect” Directors: Kendall Roden and Kaitlin   Buck
	

		“The Cells of Baldwin County” Director: Mindy  Keeley
	

	 

	Sunday Documentary Shorts: Profiles

		“Bacon & God’s Wrath” Director: Sol  Friedman
	

		“Oh My Father” Directors: Rodrigo Ojeda-Beck and Robert  Macholan
	

		“The Hollerin’ Contest at Spivey’s Corner” Director: Brian Gertsen and Liv  Dubendorf
	

		“The Boatman” Director: Zack Godshall
	

		“Chekhov” Director: Jack  Dunphy
	

		“Pickle” Director: Amy  Nicholson
	

		“Dangerous Curves” Director: Merete  Mueller
	

		“Lift like a Girl” Director: Allie  Sultan
	

		“The Dean Scream” Director: Bryan Storkel
	

	 

	Sunday Documentary Shorts: Journeys

		“Home at Dawn” Directors: Billy Silva and Guille Isa
	

		“The Shining Star of Losers Everywhere” Director: Mickey Duzyj
	

		“A House without Snakes” Director: Daniel Koehler
	

		“Awana” Directors: William Silva Reddington and Guille Isa
	

		“Saultopaul” Director: John Henry  Summerour
	

		“I’m an Actor” Director: Aaron Greer
	

		“Greyhound” Director: Jack  Truman
	

	 

	Sunday Shorts: In Search of Lost Time 

		“Rehearsal” Director: Jennifer Silver
	

		“Vincent” Director: Tati Barrantes
	

		“Chameleon” Director: Reza Dahya
	

		“Little Sticker” Director: Michael Jackson Chaney
	

		“In Memory” Director: Robert Kribyson
	

		“Spider Veins” Director: Frank Mosley
	

		“Broke Dick Dog” Director GB Shannon
	

	 

	Sunday Shorts: Off the Beaten Path

		“Paper Harvest” Director: Matthew Weitz and Matt Petrunak
	

		“Check Surroundings for Safety” Director: Michael Arcos
	

		“Death$ in a $mall Town” Director: Mark  Jones
	

		“Minor Steback” Director: Augustine Frizzell
	

		“Breaker Breaker” Director: Travis Bogosian
	

		“B O R N” Director: Ty Obsxura
	

		“It Has to Be You” Director: Conrad Rothbaum
	

		“The Expanded Universe” Director: Christopher Jason Bell
	

		“Killer” Director: Matt Kaman
	

	 

	Animated

		“Alex & Slyvia” Director: Christian Lachel
	

		“Golden Shot” Director: Gokalp Gonen
	

		“Tiny Power” Director: Chen  Chang 
	

		“The Killer Buzz” Director: Barry Jackson
	

		“Edmond”  Director  Nina Gantz
	

		“Glove” Directors: Alexa Lim Haas and Bernardo Britto
	

		“The Itching” Director: Dianne Bellino
	

		“The Magician” Director: Thom  Lu
	

		“A Stones Throw Away” Director: Brian Ratigan
	

		“Work” Director: Cooper Haskell
	

		“Man of Action! II: Ashes of Vengeance” Director:  MK12
	

	 

	Life and Liberty Shorts

		“The Champion” Directors: Patrick McGowan and Brett Garamella
	

		“More than Music Senegal” Director: Babacar  Ndiaye
	

		“Black & White” Director: Ginnard  Archibald
	

		“For the Children” Director: William Johnston-Carter and Danielle Bryant
	

		“GOOD WHITE PEOPLE” Directors: Jarrod Welling-Cann and Erick Stoll
	

		“Namibian Craft: the Unknown & the Outsiders” Director: Becky Beamer
	

		“Frame 394” Director: Rich Williamson
	

	 

	A Dark & Bloody Night Shorts 

		“Gwilliam” Director: Brian Lonano
	

		“Pigskin” Director: Jake Hammond
	

		“Wan Mei” Director: Yiyi Yin
	

		“Night of the Slasher” Director: Shant Hamassian
	

		“Bloody Henry” Director: Jean-Paul DiSciscio
	

		“Babysitter Murders” Director: Ryan Spindell
	

	 

	After Dark Shorts

		“Quiz” Director: A.D. Schmidt
	

		“Claude” Director: Alan Mykitta
	

		“Empty Bed” Director: Brandt Shandera
	

		“Altschmerz” Director: Somica Spratley
	

		“Nosferratin” Director: Ann Kathleen Williams
	

		“Slow Creep” Director: Jim  Hickcox
	

	 

	Music Videos: Mix Tape

		“Darth Punk: The Funk Awakens” Director: Brian Curtin
	

		“The Beat Goes On” Directors: Daz Wilson and Joe Walker
	

		“Addict”  Director:  Jason Hamric
	

		“She’s Long Gone (Steel City Jug Slammers)” Director: Jennifer West
	

		“Once Upon a Dream” Director: Eric Brown Thomas
	

		“Jesse Payne- Kitty Hawk” Director: Joe Walker
	

		“Mountain  Side”  Director: Uljmuren
	

		“Don’t Look Down” Director: Logan J. Freeman
	

		“Who Knows” Director: Kevin Key
	

		“Dr. Gypsy (by Epic Fail)” Directors: Michael James Wright and Ashley Fell
	

		“Daggers” Director: Je  West
	

		“Caravan Palace – Lone Digger” Director: Double Ninja
	

		“Ride with You – Soren Bryce” Director: Devereux Milburn
	

		“Put it On” Directors: Robin Rains, Walter Nolan-Schmidt and Frank Thagard
	

	 

	Tickets to the three-day event can be purchased at SidewalkFest.com and are priced at:

		General Admission Weekend Passes – Through July 31 ($60); Aug. 1 – Aug. 21 ($70); Aug. 22 – Aug. 28  ($80)
	

		VIP Weekend Passes – Through July 31 ($225); Aug. 1 – Aug. 21 ($250); Aug. 22 – Aug. 28 ($275)
	

		General Admission Day Passes – Through July 31 ($25); Aug. 1 – Aug. 21 ($25); Aug. 22 – Aug. 28 ($30)
	

	 

	The three-day festival historically generates $1.5 million in economic impact and provides festivalgoers with viewing options at multiple venues, including both the historic Alabama and Lyric Theatres. This year’s festival will be title sponsored by Regions Bank.

	Additional sponsors, event information and full film schedule/synopses can be accessed at SidewalkFest.com.

#### 19 Animated Features Submitted For 2013 Oscar® Race
 

	Nineteen features have been submitted for consideration in the Animated Feature Film category for the 86th Academy Awards®.

	The 19 submitted features, listed in alphabetical order, are:

	“Cloudy with a Chance of Meatballs 2”
	“The Croods”
	“Despicable Me 2”
	“Epic”
	“Ernest and Celestine”
	“The Fake”
	“Free Birds“
	“Frozen”
	“Khumba”
	“The Legend of Sarila”
	“A Letter to Momo”
	“Monsters University”
	“O Apóstolo”
	“Planes”
	“Puella Magi Madoka Magica the Movie – Rebellion”
	“Rio: 2096 A Story of Love and Fury”
	“The Smurfs 2”
	“Turbo”
	“The Wind Rises”

	Several of the films have not yet had their required Los Angeles qualifying runs. Submitted features must fulfill the theatrical release requirements and comply with all of the category’s other qualifying rules before they can advance in the voting process. At least eight eligible animated features must be theatrically released in Los Angeles County within the calendar year for this category to be activated.

	Films submitted in the Animated Feature Film category may also qualify for Academy Awards in other categories, including Best Picture, provided they meet the requirements for those categories.

	The 86th Academy Awards nominations will be announced live on Thursday, January 16, 2014, at 5:30 a.m. PT in the Academy’s Samuel Goldwyn Theater.

	Academy Awards for outstanding film achievements of 2013 will be presented on Oscar Sunday, March 2, 2014, at the Dolby Theatre® at Hollywood & Highland Center® and televised live on the ABC Television Network. The presentation also will be televised live in more than 225 countries and territories worldwide.

#### 19 Scientific And Technical Achievements To Be Honored With Academy Awards®
 

	The Academy of Motion Picture Arts and Sciences today announced that 19 scientific and technical achievements represented by 52 individual award recipients will be honored at its annual Scientific and Technical Awards Presentation on Saturday, February 15, at The Beverly Hills Hotel.

	In addition, visual effects supervisor and director of photography Peter W. Anderson will receive the Gordon E. Sawyer Award (an Oscar® statuette) for technological contributions that have brought credit to the industry.  Post-production and distribution executive Charles “Tad” Marburg will receive the John A. Bonner Medal of Commendation for outstanding service and dedication in upholding the high standards of the Academy.

	For the first time in the history of the Scientific and Technical Awards, a large number of individuals, collectively, will be recognized with an Academy Award® of Merit (an Oscar statuette). The award is dedicated to “all those who built and operated film laboratories, for over a century of service to the motion picture industry.”

	“This year’s honorees have in a myriad of ways enabled today’s moviegoing experience,” said Richard Edlund, Academy Award-winning visual effects artist and Scientific and Technical Awards Committee Chair. “Their efforts have advanced not only the art and science of motion pictures, but the work of countless global industries.”

	Unlike other Academy Awards to be presented this year, achievements receiving Scientific and Technical Awards need not have been developed and introduced during 2013. Rather, the achievements must demonstrate a proven record of contributing significant value to the process of making motion pictures.

	The Academy Awards for scientific and technical achievements are:

	TECHNICAL ACHIEVEMENT AWARDS (ACADEMY CERTIFICATES)

	To Olivier Maury, Ian Sachs and Dan Piponi for the creation of the ILM Plume system that simulates and renders fire, smoke and explosions for motion picture visual effects.
	The unique construction of this system combines fluid solving and final image rendering on the GPU (Graphics Processing Unit) hardware without needing an intermediate step involving the CPU. This innovation reduces turnaround time, resulting in significant efficiency gains for the ILM effects department.

	To Ronald D. Henderson for the development of the FLUX gas simulation system.
	The use of the Fast Fourier Transform for solving partial differential equations allows FLUX a greater level of algorithmic efficiency when multi-threading on modern hardware. This innovation enables the creation of very high-resolution fluid effects while maintaining fast turnaround times.

	To Andrew Camenisch, David Cardwell and Tibor Madjar for the concept and design, and to Csaba Kohegyi and Imre Major for the implementation of the Mudbox software.
	Mudbox provides artists powerful new design capabilities that significantly advance the state of the art in multi-resolution digital sculpting for film production.

	To Martin Hill, Jon Allitt and Nick McKenzie for the creation of the spherical harmonics-based efficient lighting system at Weta Digital.
	The spherical harmonics lighting pipeline precomputes and reuses a smooth approximation of time-consuming visibility calculations. This enables artists to quickly see the results of changing lights, materials and set layouts in scenes with extremely complex geometry.

	To Florian Kainz, Jeffery Yost, Philip Hubbard and Jim Hourihan for the architecture and development of the Zeno application framework.
	For more than a decade, Zeno’s flexible and robust design has allowed the creation of a broad range of Academy Award-winning visual effects toolsets at ILM.

	To Peter Huang and Chris Perry for their architectural contributions to, and to Hans Rijpkema and Joe Mancewicz for the core engineering of, the Voodoo application framework.
	For more than a decade, Voodoo’s unique design concepts have enabled a broad range of character animation toolsets to be developed at Rhythm & Hues.

	To Matt Pharr, Greg Humphreys and Pat Hanrahan for their formalization and reference implementation of the concepts behind physically based rendering, as shared in their book Physically Based Rendering.
	Physically based rendering has transformed computer graphics lighting by more accurately simulating materials and lights, allowing digital artists to focus on cinematography rather than the intricacies of rendering. First published in 2004, Physically Based Rendering is both a textbook and a complete source-code implementation that has provided a widely adopted practical roadmap for most physically based shading and lighting systems used in film production.

	To Dr. Peter Hillman for the long-term development and continued advancement of innovative, robust and complete toolsets for deep compositing.
	Dr. Hillman’s ongoing contributions to standardized techniques and a common deep image file format have enabled advanced compositing workflows across the digital filmmaking industry.

	To Colin Doncaster, Johannes Saam, Areito Echevarria, Janne Kontkanen and Chris Cooper for the development, prototyping and promotion of technologies and workflows for deep compositing.
	Their contributions include early advancements in key deep compositing features such as layer and holdout-order independence, spatial and intra-element color correction, post-render depth of field, and precise blending of complex layer edges.

	To Thomas Lokovic and Eric Veach for their influential research and publication of the fundamental concepts of deep shadowing technology.
	Providing a functional and efficient model for the storage of deep opacity information, this technology was widely adopted as the foundation of early deep compositing pipelines.

	To Gifford Hooper and Philip George of HoverCam for the continuing development of the Helicam miniature helicopter camera system.
	The current Helicam system is a high-speed, extremely maneuverable, turbine-engine, radio-controlled miniature helicopter that supports professional film and digital cinema cameras. Helicam provides a wide range of stabilized, remotely operated pan, tilt and roll capabilities, achieving shots impossible for full-size helicopters.

	To John Frazier, Chuck Gaspar and Clay Pinney for the design and development of the Pneumatic Car Flipper.
	This self-contained high-pressure pneumatic device safely launches a stationary full-sized car on a predetermined trajectory. The precision of operation enhances the safety of performers, and the physical design allows a rapid setup and strike.

	To Joshua Pines, David Reisner, Lou Levinson, Curtis Clark, ASC, and David Register for the development of the American Society of Cinematographers Color Decision List technology.
	The ASC CDL unifies color correction principles for use on- and off-set, providing for the faithful reproduction of color values across a variety of color correction devices. This technology provides basic image-processing mathematics that translate the lift, gamma and gain settings to a set of common color values to help preserve the cinematographer’s intent throughout production.

	To Jeremy Selan for the development of the OpenColorIO color management framework.
	OpenColorIO is an open source framework that enables consistent color visualization of motion picture imagery across multiple facilities and numerous software applications.

	 

	SCIENTIFIC AND ENGINEERING AWARDS (ACADEMY PLAQUES)

	To Ofer Alon for the design and implementation of the ZBrush software tool for multi-resolution sculpting of digital models.
	ZBrush pioneered multi-resolution digital sculpting, transforming how artists conceive and realize their final designs. ZBrush has enabled artists to create models far more quickly and with much greater detail than previous approaches.

	To Eric Veach for his foundational research on efficient Monte Carlo path tracing for image synthesis.
	Physically based rendering has transformed computer graphics lighting by more accurately simulating materials and lights, allowing digital artists to focus on cinematography rather than the intricacies of rendering. In his 1997 Ph.D. thesis and related publications, Veach formalized the principles of Monte Carlo path tracing and introduced essential optimization techniques, such as multiple importance sampling, which make physically based rendering computationally feasible.

	To Andre Gauthier, Benoit Sevigny, Yves Boudreault and Robert Lanciault for the design and implementation of the FiLMBOX software application.
	FiLMBOX, the foundation of MotionBuilder, enables the real-time processing and control of devices and animation. For over two decades, its innovative architecture has been a basis for the development and evolution of new techniques in filmmaking, such as virtual production.

	To Emmanuel Prevenaire, Jan Sperling, Etienne Brandt and Tony Postiau for their development of the Flying-Cam SARAH 3.0 system.
	This battery-powered, radio-controlled, miniature helicopter camera system employs computer-assisted piloting and tele-operation in an airframe that utilizes GPS-assisted flight controls for aerial filming of unparalleled sophistication. Flying-Cam SARAH achieves shots impossible for full-size helicopters, cable systems or other traditional camera support devices.

	 

	ACADEMY AWARD® OF MERIT (OSCAR® STATUETTE)

	To all those who built and operated film laboratories, for over a century of service to the motion picture industry.
	Lab employees have contributed extraordinary efforts to achieve filmmakers’ artistic expectations for special film processing and the production of billions of feet of release prints per year. This work has allowed an expanded motion picture audience and unequaled worldwide cinema experience.

	 

	GORDON E. SAWYER AWARD (OSCAR STATUETTE)
	Peter W. Anderson
	Presented to an individual in the motion picture industry whose technological contributions have brought credit to the industry.

	 

	JOHN A. BONNER MEDAL OF COMMENDATION (MEDALLION)
	Charles “Tad” Marburg
	Presented in appreciation for outstanding service and dedication in upholding the high standards of the Academy of Motion Picture Arts and Sciences.

	 

	Portions of the Scientific and Technical Awards Presentation will be included in the Oscar telecast.

	Academy Awards® for outstanding film achievements of 2013 will be presented on Oscar Sunday, March 2, at the Dolby Theatre® at Hollywood & Highland Center® and televised live on the ABC Television Network.  The presentation, produced by Craig Zadan and Neil Meron, also will be televised live in more than 225 countries and territories worldwide.

#### 1911
1911
 
By Gary Murray 
 
Starring Jackie Chan, Winston Chao and Li Bingbing
 
Written by Wang Xingdong and Chen Baoguang
 
Directed by Jackie Chan
 
Running time 2 hrs
 
MPAA Rating PG-13
 
Selig Film Rating Cable
 
Epic films have graced the silver screen since the very beginnings of cinema.  From Birth of a Nation to Gone With the Wind to Che, there have been those in Hollywood who try and put a grand spectacle in front of an audience.  Some work and some don’t.  The latest attempt is the Chinese film 1911, directed by action star Jackie Chan.
 
The film concerns the events at the beginning of the last century.  China is changing from a Dynasty rule to becoming aware of Western influence.  The people want a change and the ruling monarchs want to keep the status quo.  There is an industrial revolution going on and railroads to be build.  The Europeans want their part of the pie, seeing capitalism exploitation as a driving force.
 
Jackie Chan plays Huang Xing, a fighter who wants a better existence for the people of his land.  He and his fellow patriots fight for democracy and freedom, training near the ocean.  There are battle scenes where these brave young men fight for the freedom of self-determination.  
 
Wilson Chao is Sun Yat-sen, a political man who wants a true republic for the people.  As the rebels fight for the land, Sun fights the important political fight with the money men, convincing that they must be on the right side of history.  He sees the promise that China as a democracy possesses.
 
While this is going on, there is much political back-stabbing and jockeying for position within the framework of the new government.  Sun insists that he will start the process but wants no part in being a leader.   Troops loyal to the Emperor will not go easily into that good night.  This drives 1911 to a bloody conclusion. 
 
Much of the events of this film were covered in the fine motion picture The Last Emperor.   This film could be seen as a companion piece to that work, just not as effective.  1911 is another early Oscar push, trying to get notice before the big guns of the Christmas movie season descends.  
 
There are many problems with 1911.  The movie is hard to watch.  Every new chapter has titles that explain the significance of the event and the historical context, giving the film the feeling of an overdrawn history lesson.  It is all in subtitles and the dialogue whips by so fast that the meaning of the sentences becomes lost in the fray.  
 
On the flip side, the cinematography is on par with the best that Hollywood has to offer.  There are windswept vistas that capture the beauty of the country with billowing tapestries of light to fill the frame.  Even images such as battle scenes come across as majestic and striking.  The visual aspects of the production cannot be over-stated. 
 
Even though Jackie Chan is billed as the star, the major actor of 1911 is Winston Chao as Sun Yat-sen, the first true president of the Republic of China.  As our reluctant leader, he is the intellectual in a world where brute force is the norm.  It is never a winning proposition for someone like him.
 
With top billing, Jackie Chan will get both the accolades and blame for 1911.  His direction at times is wonderful and at times lost in the fray.  He takes on a major double duty as being director and star.  One has to win the battle and Jackie Chan, the director, loses the battle.  There is very little of the action hero Jackie Chan in 1911, with only one short fight scene.  Those expecting a traditional film from the icon will be sorely disappointed by the final product of the movie.  
 
1911 is one of those films that film-snobs are supposed to like but seldom want to watch.  More interesting than entertaining, the film has limited appeal.  
 
 
 

#### 1917 – A Review by Cynthia Flores
1917 – A Review by Cynthia Flores
Sam Mendes has done it again.  The man who brought us Skyfall, Spectre, and American Beauty has now set his storytelling gifts on the World War I epic 1917.  Because his cinematography made it look like “one continuous shot,” it has the audience on the edge of their seats once the soldiers get their marching orders.
The story takes place at the height of the First World War, two young British soldiers, Schofield (George MacKay) and Blake (Dean-Charles Chapman) are given a seemingly impossible mission.  In a race against time, they must cross enemy territory and deliver a message that will stop a deadly attack on hundreds of soldiers, including Blake’s own brother, who is in that division.  We go step by step beside Schofield and Blake as they wind their way through camp and into the trenches that rise up around them.  They are moving past fellow British soldiers sorting through mail and hanging laundry, or laying wire or crouching in corners, smoking.  They are viewed as insane because they are choosing to cross the front line, which is hell on earth to give the message they are tasked with.  This is a war movie that is a thriller, done on the run with a ticking clock.
This film was a labor of love and intended to be a homage to the men who took part in this conflict.  One of them was Mendes’s grandfather, a veteran of the WWI whose stories provided the initial inspiration for the film.  The director is quoted as saying, “There’s a feeling about this war, that it is in danger of being forgotten.  It was a vast war.  Sixteen million people died in it and the winds that blew before that war are blowing again in Europe.  I think there is a feeling that these men were fighting for a free and unified Europe, and we would do well to remember that in our country.”  Whatever reason he decided to make this film, I’m glad he did.  Because 1917 is a fantastic, explosive, unblinking look at the carnage that war truly is.
I give 1917 an A+ rating.  It’s the kind of film that was born to be seen on IMAX screens.  It will be a front runner come awards season.
 
Directed by: Sam Mendes
Written by: Sam Mendes, Krysty Wilson-Cairns
Rated R
Selig Rating A+
Running Time: 1hr 59min
Drama / War
Limited to Wide Release: December 25th AMC NorthPark, Cinemark West Plano & XD
Starring: Benedict Cumberbatch, Dean-Charles Chapman, George MacKay, Colin Firth
 
The Selig Rating Scale:
A – Excellent movie, well worth the price.
B – Good movie
C – OK movie
D – No need to rush. Save it for a rainy day.
F – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### 1917 – A Review By Gadi Elkon
Oscar-winning Director Sam Mendes reteams with his fellow Oscar-winning Cinematographer Roger Deakins to give us one of the finest film of 2019.  Here is my review of 1917.

1917’s first inspiration was “The Autobiography of Alfred H. Mendes 1897-1991”.  The film marks a return to the trenches for Mendes and Deakins as they tackled war in 2005’s Jarhead, but Sam’s family legacy gives this film true depth.  Not just an homage to his grandfather’s life but also a reflection on the struggles of war throughout our history.  We follow two young soldiers on a mission that deserves the moniker of being impossible.  Mendes and Deakins pushed themselves to even loftier heights by telling the story in a unique way. 1917 is shot in such away that it seems to have only two seamless takes of real-time action.  The way we witness these two journeys through these 2 harrowing takes is simply put, Oscar worthy.
Our two heroes are Lance Corporals Blake and Schofield played by Dean-Charles Chapman & George MacKay respectively.  These two gents are giving a lot more emotional connecting moments than you’d expect in a film shot the way it is shot.  MacKay’s stoic nature is the perfect counter to Chapman’s youthful innocent portrayal.  The fellas area full fleshed out characters with arches that impact you in significant ways.  Sprinkled throughout the two young men’s quest are sparkling performances from some familiar figures.   Colin Firth, Mark Strong, Andrew Scott, Benedict Cumberbatch and Richard Madden all play pivotal characters in the film and their impact on the journey is staggering.
Does the movie accomplish the tough task of being memorable?  Without doubt!!
1917 is one of the finest films of this year and one of the great films about war ever made.
 
1917
Directed by: Sam Mendes
Written by: Sam Mendes, Krysty Wilson-Cairns
Rated R
Selig Rating A+
Running Time: 1hr 59min
Drama / War
Wide Release: January 10th
Starring: Benedict Cumberbatch, Dean-Charles Chapman, George MacKay, Colin Firth, Mark Strong, Richard Madden & Andrew Scott
 
The Selig Rating Scale:
A – Excellent movie, well worth the price.
B – Good movie
C – OK movie
D – No need to rush. Save it for a rainy day.
F – Good that I saw it on the big screen but wish I hadn’t paid for it.

 

#### 1982 – Interview with Oualid Mouaness
Award-winning Writer/Director/Producer Oualid Mouaness talked with our Gadi Elkon about his moving film, 1982.

“1982” is a life-affirming coming-of-age tale set at an idyllic school in Lebanon’s mountains on the eve of a looming invasion. It unfolds over a single day and follows an 11-year-old boy’s relentless quest to profess his love to a girl in his class. As the invasion encroaches on Beirut, it upends the day, threatening the entire country and its cohesion. Within the microcosm of the school, the film draws a harrowing portrait of a society torn between its desire for love and peace and the ideological schisms unraveling its seams.
This youthful look at the 1982 Lebanon war marks the feature film debut for Oualid.  The story is extremely personal and has autobiographical elements while set in a fictionalized retelling of Oualid’s memories of the time.  He and Gadi talked about keeping the children’s perspective for a majority of the film, gathering such an amazing cast including Nadine Labaki, the wonderful sound design, the fantastical closure to the film, and much more!
Interview with Filmmaker Oualid Mouaness:

The film is opening in select theaters next Friday the 10th which happens to coincide with the 40th anniversary of the start of the Lebanon war on June 6th of 1982.  The film will expand to more cities in the following weeks.
For more information on the groundbreaking film please go to 1982.

#### 20 Super Fans Coming to TCM as Guest Programmers in April In Celebration of TCM’s 20th Anniversary
 

	Turner Classic Movies (TCM) has invited 20 super fans to help introduce their favorite movies on-air this April in celebration of TCM's 20th anniversary as a leading authority in classic film. Leading the pack is Tiffany Vazquez of New York City, who was recently chosen as the winner of the TCM Ultimate Fan Contest. Tiffany and 19 other super fans will serve as Fan Guest Programmers during the week of April 7, introducing their favorite films on-air with TCM host Robert Osborne.

	Tiffany was one of hundreds of contestants who submitted videos of themselves introducing their favorite films. As the grand prize winner, Tiffany will receive a trip for two to Hollywood for the 2014 TCM Classic Film Festival, including airfare, accommodations and a pair of festival passes. Once there, she will be invited to introduce one of the films screening during the star-studded event, which will take place April 10-13.

	"The response to the TCM Ultimate Fan Contest demonstrated the enormous passion TCM's fans have for classic movies," said Jeff Gregor, general manager of Turner Classic Movies and chief marketing officer of TCM, TNT and TBS. "That passion, which is also shared by everyone working at TCM, has been the driver of our success for the past 20 years. Thanks to everyone who participated, and congratulations to Tiffany and all the rest of the fans chosen to be TCM Guest Programmers. We especially look forward to introducing Tiffany to TCM fans from around the globe at the 2014 TCM Classic Film Festival."

	Judges of the TCM Ultimate Fan Contest were greatly impressed with Tiffany's video, from the content to the staging to the creative use of effects. The result is a video that actually looks like the movie she discusses: the seminal crime procedural movie, The Naked City (1948). Tiffany's submission video can be seen online at http://fancontest.tcm.com/entries/add.

	Tiffany will join Robert Osborne to introduce The Naked City on TCM Monday, April 7, at 8 p.m. (ET/PT). Her appearance will kick off five straight nights of Fan Guest Programmers, with a total of 20 super fans introducing their favorite movies. Thirteen of the super fans competed with Tiffany in the TCM Ultimate Fan Contest, and six were hand-picked by Turner Classic Movies staff. The following is a complete schedule for TCM's Fan Guest Programmers, celebrating TCM's 20th Anniversary:

	 

	TCM's 20th Anniversary – Fan Guest Programmers – April

	
	Monday, April 7
	8 p.m.        The Naked City (1948) – Co-hosted by TCM Ultimate Fan Contest Winner Tiffany Vazquez (New York, N.Y.)

	9:45 p.m.   A Face in the Crowd (1957) – Co-hosted by Craig Shemin (New York, N.Y.)

	Midnight    Show People (1928) – Co-hosted by Michelle Curtis (Winter Garden, Fla.)

	1:30 a.m.   Them! (1954) – Co-hosted by Steve Hayes (New York, N.Y.)

	 

	Tuesday, April 8

	8 p.m.        The Catered Affair (1956) – Co-hosted by Pat Hill-Yandell (Plano, Texas)

	9:45 p.m.   Witness for the Prosecution (1958) – Co-hosted by Dominique Breckinridge (Plano, Texas)

	Midnight    Modern Times (1936) – Co-hosted by Shane Fleming (New York, N.Y.)

	1:45 a.m.   A Woman Under the Influence (1974) – Co-hosted by Whitney Matheson (New York, N.Y.)

	 

	Wednesday, April 9

	8 p.m.        Waterloo Bridge (1940) – Co-hosted by Stephanie Del Papa (Miami, Fla.)

	10 p.m.      The Philadelphia Story (1940) – Co-hosted by Kim McShane (Tallahassee, Fla.)

	Midnight    TCM Premiere: Went the Day Well? (1942) – Co-hosted by Glenn Taranto (Culver City, Calif.)

	1:45 a.m.   12 Angry Men (1957) – Co-hosted by Onalee McGraw (Front Royal, Va.)

	 

	Thursday, April 10

	8 p.m.        Young at Heart (1955) – Co-hosted by Hanna Kass (New York, N.Y.)

	10:15 p.m. TCM Premiere: A Man Called Adam (1966) – Co-hosted by Petri Hawkins Byrd, Judge Judy's bailiff (Elk Grove, Calif.)

	Midnight    The Bad and the Beautiful (1952) – Co-hosted by Matt Roush, TV Guide critic (Los Angeles, Calif.)

	2:15 a.m.   The Umbrellas of Cherbourg (1964) – Co-hosted by Robert Best (Los Angeles, Calif.)

	 

	Friday, April 11

	8 p.m.        Summer Stock (1950) – Co-hosted by Sara Harmon (Wichita, Kan.)

	10 p.m.      Sunday in New York (1963) – Co-hosted by Laura Ackerman-Pauze (Granville, Ohio)

	Midnight    The Nights of Cabiria (1957) – Co-hosted by Alberto Ferreras (New York, N.Y.)

	2:15 a.m.   The Adventures of Robin Hood (1938) – Co-hosted by Peter Tulba (New York, N.Y.)

#### 2001: A Space Odyssey
2001: A Space Odyssey
	 
Written  by Andrew Anselmo
Starring Keir Duella, Gary Lockwood, William Sylvester

Written by Arthur C. Clarke and Stanley Kubrick
Directed by Stanley Kubrick
Running Time 141 minutes
MPAA Rating G
Selig Film Rating Full Price

		As I watched yesterday, for the second time in as many days, I was able to see more of what a masterpiece this film truly is – a film truly before itʼs time, featuring the most incredible photography that seems so real, it blew my mind as to how exactly it came to fruition. Then, when I learned of the filmʼs release date, 1968, well before CGI, it only compounded my bewilderment.
2001: A Space Odyssey, written and directed by one Stanley Kubrick, is a fantastic film, chop full of stunning visual effects. You never know which way is up and which way is down. Often getting flipped all around and as a consequence, it can become quite disorienting and uneasy to watch. However, 2001 redeems itself, by balancing these head spinning shots with poetic sequences, featuring space ships spinning in mid space, mimicking synchronized swimmers, set to beautiful, easy listening, classical type musical pieces.
 
The story is long and drawn out and it doesnʼt do a great job of keeping the attention of the ADD riddled individual of today, by lacking in dialogue. The first 15 minutes alone offers no dialogue at all, as you sit there watching a pack of apes. The only real action during this sequence, is when one of the apes realizes he has made a deadly weapon out of a rib bone, and then continues on to bludgeon a defenseless ant eater. However, within this speechless introduction, Kubrick does offer up an important piece of the puzzle.
 
The film fast forwardʼs into the future, and manʼs tools have evolved into ships and machines, both of which have advanced our civilization into space exploration. Dr. Floyd Heywood, an American scientist, flies to the moon to investigate a black monolith, that was deliberately buried there four million years ago.
 
This monolith, often showing up at certain parts of the film, provides quite a bit of mystery as to what it is, as Kubrick never letʼs on itʼs true meaning. It has been speculated that this is merely a symbol, that Kubrick uses to signal the audience that an important part of the film has just occurred. One critic in particular, has speculated that this is nothing more than an inverted widescreen.
 
He goes on to explain that the title of the film, A Space Odyssey, refers to the spatial distance between the audience and the movie screen. And further more, the distance between two individuals, as well as the spatial distance between what we have discovered, and what is out there that is yet to be discovered.
 
A number of times throughout the film, two individuals are separated by great distances. However, at the end of the film, two individuals, are closely related through space and time.
 
Among the films more central themes are human evolution, artificial intelligence, technology, and extraterrestrial life. If one views it with a mind geared toward such ideas, one can also draw christian themes, government propaganda and sexual innuendos. Nominated for four academy awards, it won one for visual effects, and in 1991 was deemed so “culturally, historically or aesthetically significant” by the United States Library of Congress, that it was picked to be preserved in the national film registry.
 
Overall, I think the film is very well done. It displays a good look at how society has evolved, and it begs the question, how far will technology take us? And although it seems limitless as to what can be achieved through technological advances, it makes us take note, that technology is still artificial, and therefore not immune to human error. It offers some great exposition for debate, and in doing so sparks controversy from both ends of the spectrum.
 
2001: A Space Odyssey is a film that you will either love or hate.

#### 2011 DALLAS INTERNATIONAL FILM FESTIVAL CALL FOR ENTRIES
The DALLAS Film Society announces that submissions for the 5th annual DALLAS International Film Festival are now open as of July 19, 2010. The DALLAS International Film Festival is scheduled for March 31-April 10, 2011. Opening night will be held Thursday, March 31, at the AT&T Performing Arts Center Winspear Opera House.
“We are especially pleased to announce that Target again will present the Target Filmmaker Award for Best Narrative Feature and the Target Filmmaker Award for Best Documentary Feature, with cash awards of $25,000 each,” said James Faust, artistic director, DALLAS International Film Festival. “Target’s support of filmmakers has been a major highlight in the history of our festival, and it is gratifying to be able to recognize the talented films that will compete for these prizes again in 2011.”
Early deadline is Friday, October 29, 2010. Regular deadline is Friday, December 3, 2010. Late deadline is Wednesday, December 17, 2010. A link for film submissions and information on submissions is available at www.dallasfilm.org/call-for-entries. Other questions may be sent to submissions@dallasfilm.org.
“We have been able to discover some great talent in our submissions in the past and this year will be no exception,” said Sarah Harris, senior programmer, DALLAS International Film Festival. “We are excited to see what filmmakers have been working on and what we will be able to share with audiences in 2011.”
“Target’s generous contribution makes this an especially significant announcement,” said Tanya Foster, president and CEO of DALLAS Film Society and executive director of DALLAS International Film Festival. “We are very grateful for the support of the filmmaking community at large, and of the DALLAS International Film Festival in particular, that Target has provided since the festival’s inception.”
Additionally, the MPS Studios Texas Filmmaker Award will be awarded to the winner of the Texas Competition, a juried competition that contains features and documentaries shot in or relating to the Lone Star state. The winner of the Texas Competition will receive $20,000 in cash, goods and services from MPS Studios Dallas.
Other awards will include: Grand Jury Prize – Animation Short Film, presented by REEL FX ENTERTAINMENT; Grand Jury Prize – Short Film; Grand Jury Prize – Student Short Film; Environmental Visions Award for the winner of the Environmental Visions Competition; and Audience Awards for Best Narrative Feature, Best Documentary Feature, and Best Short Film.
“This call for entries marks the official countdown to our 5th Anniversary DALLAS International Film Festival,” Foster continued. “This will be an exciting year as we hold our opening night at the stunning Winspear Opera House in the heart of the new AT&T Performing Arts Center, and as we honor Liener Temerlin.”
The 2011 DALLAS International Film Festival will be dedicated to Temerlin, who founded the Festival and serves as chairman emeritus, said Foster.
“The creative influence of Liener Temerlin has left a mark on the city of Dallas,” said Dallas Mayor Tom Leppert. “As Mayor, I have always been proud to be a part of the DALLAS International Film Festival, even more so in 2011 when the festival is being dedicated to Liener, a true trailblazer.”
The DALLAS Film Society celebrates films and their impact on society. A 501(c)3 non-profit organization, the DALLAS Film Society recognizes and honors filmmakers for their achievements in enhancing the creative community, provides educational programs to students to develop better understanding of the role of film in today’s world, and promotes the City of Dallas and its commitment to the art of filmmaking. The annual DALLAS International Film Festival, scheduled for March 31-April 10, 2011, is a presentation of the DALLAS Film Society. In addition to producing one of the largest festivals in the Southwest, the Society produces numerous year round events, screening series and partnership programs with arts organizations around the city. For more information, call (214) 720-0555, or visit www.dallasfilm.org. The offices of the DALLAS Film Society are located at 3625 North Hall Street, Suite 740, Dallas, TX 75219.
About Target Minneapolis-based Target Corporation (NYSE:TGT) serves guests at 1,740 stores in 49 states nationwide and at Target.com. Target is committed to providing a fun and convenient shopping experience with access to unique and highly differentiated products at affordable prices. Since 1946, the corporation has give 5 percent of its income through community grants and programs like Take Charge of Education. Today, that giving equals more than $3 million a week.

#### 2012 DALLAS INTERNATIONAL FILM FESTIVAL CALL FOR ENTRIES
 
2012 DALLAS INTERNATIONAL FILM FESTIVAL CALL FOR ENTRIES
	DALLAS, JULY 14, 2011: The DALLAS Film Society has announced that submissions for the 6th annual DALLAS International Film Festival will open on July 18, 2011. The DALLAS International Film Festival is scheduled for April 12 – 22, 2012.
	In its five year history, the festival has established itself as one of the premiere film festivals in North America. Renowned for honoring filmmakers with cash prizes and opportunities, filmmakers and industry professionals have highlighted DALLAS IFF as being ‘one to watch’. To date, the festival has received over 7000 submissions, screened 981 films from 49 countries, hosted 934 filmmakers and featured 57 world premieres and 17 U.S premieres.
	“Since the festival’s inception, we have been incredibly fortunate to award $400,000 to filmmakers,” said DALLAS IFF Artistic Director, James Faust. “Being able to recognize a filmmaker’s achievement in enhancing the creative community is a dream for all of us who are a part of this festival. I encourage any filmmaker who is interested in screening their film in great venues in front of some of the most intelligent and receptive audiences to submit to us. We have discovered incredible talent through this festival and I can’t wait to see what’s in store for 2012.”
	At DALLAS IFF 2011, the introduction of the Embrey Foundation’s $10,000 Silver Heart Award brought a new focus on the aspect of social change into the world of filmmaking. The award was presented to the film most dedicated to fighting injustices and creating social change for the improvement of humanity. Tim Skousen’s ZERO PERCENT was the first recipient of this prize. The Embrey Foundation was so inspired by ZERO PERCENT that they immediately began serious discussions on how to create a similar college degree program between a university and a prison in North Texas.
	“The film ZERO PERCENT had a profound effect on the Embrey Foundation, not just as judges for the Silver Heart Award but also in the area of awareness that leads to activism,” said Lauren Embrey, President and CEO of the Embrey Foundation. “This is a testament to the power of storytelling through documentary film making. Not only were we inspired by the film, we were motivated to take action.”
	Early deadline for submissions is October 28, 2011. Regular deadline is December 2, 2011. Late deadline is December 16, 2011. A link for film submissions and information on submissions is available at www.dallasfilm.org/call-for-entries. Other questions may be sent to submissions@dallasfilm.org.
	Confirmed awards for 2012 will include: Grand Jury Prize – Narrative Feature; Grand Jury Prize – Documentary Feature; Grand Jury Prize – Animation Short Film, presented by REEL FX ENTERTAINMENT; Grand Jury Prize – Short Film; Grand Jury Prize – Student Short Film; Grand Jury Prize – Texas Competition; Environmental Visions Award for the winner of the Environmental Visions Competition; and Audience Awards for Best Narrative Feature, Best Documentary Feature, and Best Short Film.
	-End-
	The DALLAS Film Society celebrates films and their impact on society. A 501(c)3 non-profit organization, the DALLAS Film Society recognizes and honors filmmakers for their achievements in enhancing the creative community, provides educational programs to students to develop better understanding of the role of film in today’s world, and promotes the City of Dallas and its commitment to the art of filmmaking. The annual DALLAS International Film Festival is a presentation of the DALLAS Film Society. In addition to producing one of the largest festivals in the Southwest, the Society produces numerous year round events, screening series and partnership programs with arts organizations around the city. For more information, call (214) 720-0555, or visit www.dallasfilm.org. The offices of the DALLAS Film Society are located at 3625 North Hall Street, Suite 740, Dallas, TX 75219.

#### 2012 Dallas International Film Festival Family Day
Dallas, TX, April 4, 2012 – The Dallas International Film Festival presented by Boardwalk Auto Group Volkswagen Dealers announced today the line-up for its free Family Day celebration. Presented by the East Dallas Christian Church, Family Day will kick off Saturday, April 14 at 11 a.m. at NorthPark’s CenterPark, and will run until the end of a free outdoor screening of ET: THE EXTRA-TERRESTRIAL in CenterPark at sundown.
	 
	Family Day is a time to entertain and educate the youngest filmgoers. With a bit of carnival flair, Family Day revolves around DIFF’s screenings of several family films from around the world at AMC NorthPark. In addition, musicians, artists, performers and storytellers will entertain the entire family, and children can participate in educational arts and crafts projects.
	 
	“We are delighted to once again present our free Family Day to the public,” said Renee Contreras, director of education, membership and outreach for the Dallas Film Society. “It’s so enjoyable to share the art of film with young cinema buffs and their families, and we are looking forward to a day full of fun and learning.”
	 
	Entertainment throughout the day will include Zumba Gals, a Latin-inspired, dance fitness class; Yogiños: Yoga for Youth presented by the Crow Collection of Asian Art; the award-winning Dallas Tap Dazzlers, a group of jazz-tap dancers with an average age of 65; a performance and instruction session from the Lake Highlands Wildcat Wranglers; The Dallas Zoo’s Animal Adventures; story time with The Dallas Public Library; a ballet performance from The Dallas Conservatory; a performance from Barefoot Wines’ Eric Dorton’s band Frankie; a bounce house; face painters and a chess class in support of the DIFF film BROOKLYN CASTLE.
	 
	Another family-friendly activity is Heart, Hope, Healing Day: an H3 Celebration. Presented by Baylor Jack and Jane Hamilton Heart and Vascular Hospital in partnership with the American Heart Association’s GO RED FOR WOMEN campaign, volunteers will be present at all the festival venues throughout the day to encourage audiences to get a glucose and cholesterol health screening. 
	 
	In exchange for the check up, every person will receive a DALLAS IFF screening voucher worth $10 and if anyone wears red that day they will receive $2 off a same day ticket or free entry from the rush line. Additionally, the first 200 people to donate $5 to the American Heart Association GO RED FOR WOMEN at the Baylor health screening locations will receive a free DIFF film screening voucher.
	In addition to an abundance of activities, Family Day features the following ticketed movie screenings at AMC NorthPark:
	 
	12:00PM
	OBLIVION ISLAND: HARUKA AND THE MAGIC MIRROR (Japan) – Texas Premiere
	Director: Shinsuke Sato
	Having lost her mother, Haruka is now a 16-year-old girl and feels neglected by her father. She escapes to her grandmother's house and discovers a fox-like creature who steals her keys. She follows him and is transported into a magical world. Starring Haruka Ayase, Miyuki Sawashiro, Mitsuki Tanimura, Naho Toda and Nao Ohmori.
	 
	2:30PM
	FIRST POSITION (USA) – Texas Premiere
	Director: Bess Kargman
	A documentary that follows six young ballet dancers as they prepare for the Youth America Grand Prix.
	 
	5:00PM
	COWGIRLS N’ ANGELS (USA) – World Premiere
	Director: Timothy Armstrong
	A group of rodeo trick-riders recruits a young girl to join them. Stars Jackson Rathbone, James Cromwell, Bailee Madison, Alicia Witt, Drew Waters and Frankie Faison.
	 
	8:00PM, free outdoor screening in CenterPark
	E.T.: The Extra-Terrestrial (1982, USA)
	Director: Steven Spielberg
	A meek and alienated little boy finds a stranded extraterrestrial. He has to find the courage to defy the authorities to help the alien return to its home planet. Stars Dee Wallace, Henry Thomas, Peter Coyote, Robert MacNaughton and Drew Barrymore.
	Family Day is open to everyone.  Tickets for the Dallas International Film Festival are currently on sale at the Prekindle Box Office in the Festival Village at Mockingbird Station at 5321 E. Mockingbird Ln., Suite 105.  Passes are for sale and range from $100 for a Festival Lounge Pass to $750 for an all-access Star Pass.  To purchase tickets and passes telephone the Prekindle Box Office at 972-707-0838 or visit: www.DallasFilm.org. For further information about the Dallas Film Society telephone 214.720.0555.
	 
	ABOUT THE DALLAS FILM SOCIETY
	The Dallas Film Society celebrates films and their impact on society.  A 501(c)3 non-profit organization, the Dallas Film Society recognizes and honors filmmakers for their achievements in enhancing the creative community, provides educational programs to students to develop better understanding of the role of film in today's world, and promotes the City of Dallas and its commitment to the art of filmmaking. The annual Dallas International Film Festival, scheduled for April 12 – 22, 2012, is a presentation of the Dallas Film Society. In addition to producing one of the largest festivals in the Southwest, the Society produces numerous year round events, screening series and partnership programs with arts organizations around the city.  For more information, call (214) 720-0555, or visit www.DallasFilm.org.  The offices of the Dallas Film Society are located at 3625 North Hall Street, Suite 740, Dallas, TX 75219. 
	 
	2012 FESTIVAL SPONSORS: ABCO, Akin Gump Strauss Hauer & Feld, American Airlines, The Angelika Film Center, Arts and Culture Magazine, Austin Film Festival, Barefoot Wine & Bubbly, Baylor Heart and Vascular Hospital, BNYMellon, Boardwalk Auto Group Volkswagen Dealers, Central 214, CBS Radio, Colibri Promotions, Community Trust Bank, Cowles & Thompson, The Crow Collection of Asian Art, D Magazine, Dallas Film Commission, Dallas Museum of Art, Dallas Observer, Design Expediting Services International, Division of Film & Media – Southern Methodist University, Downtown Dallas, Inc., Earth Day Dallas, East Dallas Christian Church, El Creative, Eurochannel, Faulkner Design Group, Flagship Marketing, Forte Public Relations, G Texas Custom Catering, Gemini Light Sound & Video, GrandLuxe Magazine, Hotel Palomar, Hyatt House, I Heart Cinema, Livestream, Media 2-Way Radio, Metro PCS, Mockingbird Station, Modern Luxury, Modia Home Theater, Movie Magic, MySweetCharity, Nasher Sculpture Center, NorthPark Center, Omni Hotel  Dallas, Panavision, Pencilneck, Plains Capital Bank, Post Asylum, Prekindle, Private Social, Pure Evil Sound & Music, Reel FX, The Residences at Hotel Palomar, SAGIndie, Sandshop Media, Showtech Production, Inc., smartwater, Stella Artois, Temerlin Advertising Institute at Southern Methodist University, Texas Association of Film Commissions, Texas Capital Bank, Texas Film Commission, Texas Western Hospitality, Time Warner Cable, TXU Energy, Univision, The UPS Store on Lemmon Avenue, Vergent Communications,  Videotex Systems, Inc., West Village, WFAA, Whole Foods Market, WRR Classical 101.1, Zeus Comics.
	 
	ABOUT BOARDWALK AUTO GROUP VOLKSWAGEN DEALERS
	Boardwalk Auto Group has three Volkswagen Dealerships serving the North Dallas community.  Boardwalk Volkswagen, located in Richardson, Texas, was recently named 2012 Volkswagen Dealer of the Year for Texas by DealerRater® reflecting on the dealer's commitment to unparalleled customer service.  Park Cities Volkswagen and McKinney Volkswagen are also two of the Highest-Rated DealerRater® Certified Volkswagen Dealers in Texas. Boardwalk Auto Group Volkswagen Dealers offer the absolute best selection and price in the Metroplex in addition to their state-of-the art Service Departments. Boardwalk Auto Group is one of the premier auto groups in the nation representing Porsche, Audi, Ferrari, Maserati, Lamborghini and Volkswagen.  For more information about Boardwalk Auto Group Volkswagen Dealers, please visit www.DallasVWDealers.com. 
	 
	ABOUT NORTHPARK CENTER
	As one of the premier shopping centers in the United States, NorthPark Center (www.northparkcenter.com) proudly offers shoppers the best of the best in every category represented including the finest in luxury retail and exclusives in the Southwest. Presenting an unparalleled selection of international designers set amid timeless modern architecture and a world-class art collection, NorthPark Center has established a new standard in the United States for innovative retail destinations.
	 
	NorthPark Center is owned, managed, operated and leased by husband and wife David J. Haemisegger and Nancy A. Nasher. After a $250 million expansion in 2006, NorthPark Center became the largest shopping center in North Texas and one of the top shopping destinations in the United States. NorthPark Center will continue to open more luxury boutiques, exclusive stores and dining options throughout 2012 and beyond, culminating in more than 235 stores and restaurants.

#### 2012 Dallas International Film Festival Line Up for Panels and Talk Shows
The Dallas International Film Festival presented by
	Boardwalk Auto Group Volkswagen Dealers Announces
	2012 Line Up for Panels and Talk Shows
	Dallas, TX, April 11, 2012 – The Dallas International Film Festival presented by Boardwalk Auto Group Volkswagen Dealers announced today the full line-up of panels and talk shows that will take place through the Festival. The first weekend of the Festival, the Nasher Sculpture Center will be the central point for all panels with the brightest panelists offering their expertise and wisdom from top producers to actors who have become directors. On April 21, the focus will shift to “Conversations With” the 2012 DIFF Honorees: Laura Linney, Gabourey Sidibe, Glen Keane, Bernie Pollack and industry veteran Eric Pleskow.
	The full line-up is as follows:
	Saturday, April 14, 2012
	Nasher Sculpture Center
11AM
	Power Producers: Producing Outside the Box in the Digital Age presented by the Dallas Producers Association
	Panelists: Claude Dal Farra (LIBERAL ARTS); Hans Ritter & Victoria Guenier (HELLO, I MUST BE GOING). Moderated by Russ Jolly.
	Exactly who are the people responsible for taking a concept from script to screen…and what does it really take to get a film made? Find out from some of Hollywood’s hottest up and coming producers. 
	1PM
	Screenwriting on the Next Level presented by the Austin Film Festival and the Dallas Screenwriters Association
	Panelists: Bruce Feirstein; Peter Hedges; Michael Elliot. Moderated by Maya Perez.
	It seems that everyone in Hollywood has written a script…but what separates the top of the heap from the bottom of the pile? And what does a successful screenwriter do to make the written page translate to the silver screen? Learn tips of the trade from this panel sponsored by the Austin Film Festival and the Dallas Screenwriters Association.
	3PM
	Actors as Directors
	Panelists: Ryan O’ Nan (BROOKLYN BROTHERS BEAT THE BEST); Famke Janssen (X-MEN, BRINGING UP BOBBY); Nathan Zelner (THE KID THING). Moderated by Paul Salfen.
	What drives an actor to work both in front of and behind the camera? And what are the challenges involved with wearing both hats at the same time?
	Sunday, April 15, 2012
	Nasher Sculpture Center
	1PM
	Acquisition & New Distribution Models
	Panelists: Keith Leopard (Millennium Entertainment); Doris Pfardrescher (Well Go USA Entertainment, President & head of acquisitions); Brian Cleveland and Jason Cleveland (Cinema Management Group)
	With so many ways available for movie lovers to watch films without ever entering a theater, these panelists reveal how technology is changing the way movies are acquired and distributed.
	3PM
	Politics in Film and Its Influences
	Panelists: Karin Hayes (WE’RE NOT BROKE), Brian Malone & Cindy Malone (PATRIOCRACY). Moderated by Jim Faulk (World Affairs Council)
	Often couched as objective reporting, what begins as creating awareness can easily become promoting an agenda. Discover what these filmmakers have to say about walking this fine line.
	Saturday, April 21, 2012
	Nasher Sculpture Center
	11AM
	A Conversation with Laura Linney
	Moderated by Gary Cogill
	1PM
	A Conversation with Bernie Pollack and a Focus on Costume Design
	Moderated by Gary Cogill
	3PM
	A Conversation with Eric Pleskow, the former president of United Artists and Orion Pictures
	Moderated by John Hersker
	Angelika Film Center
	12:00PM
	20th Anniversary Screening of ALADDIN and a Conversation with Texas Avery Honoree, Glen Keane
	The Texas Avery Award presented by REEL FX honors the best and brightest of the animation industry. This version of ALADDIN will be the first-time ever that this film will be screened in true high definition.
	12:30PM
	A Screening of PRECIOUS: Based on the Novel “Push” by Sapphire and a Conversation with Dallas Shining Star Honoree, Gabourey Sidibe
	
	Panels are free and open to pass holders first and then the public. Tickets for DIFF are currently on sale at the Prekindle Box Office in the Festival Village at Mockingbird Station at 5321 E. Mockingbird Lane, Suite 105. DIFF passes are also for sale and range from $100 for a Faulkner Design Group Festival Lounge Pass to $750 for an all-access Star Pass. To purchase tickets and passes, telephone the Prekindle Box Office at 972-707-0838 or visit: www.DallasFilm.org. For further information about the Dallas Film Society telephone 214.720.0555.
	ABOUT THE DALLAS FILM SOCIETY
	The Dallas Film Society celebrates films and their impact on society. A 501(c)3 non-profit organization, the Dallas Film Society recognizes and honors filmmakers for their achievements in enhancing the creative community, provides educational programs to students to develop better understanding of the role of film in today's world, and promotes the City of Dallas and its commitment to the art of filmmaking. The annual Dallas International Film Festival, scheduled for April 12 – 22, 2012, is a presentation of the Dallas Film Society. In addition to producing one of the largest festivals in the Southwest, the Society produces numerous year round events, screening series and partnership programs with arts organizations around the city. For more information, call (214) 720-0555, or visit www.DallasFilm.org. The offices of the Dallas Film Society are located at 3625 North Hall Street, Suite 740, Dallas, TX 75219. 
	2012 FESTIVAL SPONSORS: ABCO, Akin Gump Strauss Hauer & Feld, American Airlines, The Angelika Film Center, The Arthur E. Benjamin Foundation, Arts and Culture Magazine, Austin Film Festival, Barefoot Wine & Bubbly, Baylor Heart and Vascular Hospital, BNYMellon, Boardwalk Auto Group Volkswagen Dealers, Central 214, CBS Radio, Colibri Promotions, Community Trust Bank, Cowles & Thompson, The Crow Collection of Asian Art, D Magazine, Dallas Film Commission, Dallas Museum of Art, Dallas Observer, Design Expediting Services International, Division of Film & Media – Southern Methodist University, Downtown Dallas, Inc., Earth Day Dallas, East Dallas Christian Church, El Creative, Eurochannel, Faulkner Design Group, Flagship Marketing, Forte Public Relations, G Texas Custom Catering, Gemini Light Sound & Video, GrandLuxe Magazine, Hotel Palomar, Hyatt House, I Heart Cinema, LasCaux Films, Livestream, Media 2-Way Radio, Metro PCS, Mockingbird Station, Modern Luxury, Modia Home Theater, Movie Magic, MySweetCharity, Nasher Sculpture Center, NorthPark Center, Omni Hotel Dallas, Panavision, Pencilneck, Plains Capital Bank, Post Asylum, Prekindle, Private Social, Pure Evil Sound & Music, Reel FX, The Residences at Hotel Palomar, SAGIndie, Sandshop Media, Showtech Production, Inc., smartwater, Stella Artois, Temerlin Advertising Institute at Southern Methodist University, Texas Association of Film Commissions, Texas Capital Bank, Texas Film Commission, Texas Western Hospitality, Time Warner Cable, Trinity Diversified Film Fund Advisors, TXU Energy, Univision, The UPS Store on Lemmon Avenue, Vergent Communications, Videotex Systems, Inc., West Village, WFAA, Whole Foods Market, WRR Classical 101.1, Zeus Comics.

	ABOUT BOARDWALK AUTO GROUP VOLKSWAGEN DEALERS
	Boardwalk Auto Group has three Volkswagen Dealerships serving the North Dallas community. Boardwalk Volkswagen, located in Richardson, Texas, was recently named 2012 Volkswagen Dealer of the Year for Texas by DealerRater® reflecting on the dealer's commitment to unparalleled customer service. Park Cities Volkswagen and McKinney Volkswagen are also two of the Highest-Rated DealerRater® Certified Volkswagen Dealers in Texas. Boardwalk Auto Group Volkswagen Dealers offer the absolute best selection and price in the Metroplex in addition to their state-of-the art Service Departments. Boardwalk Auto Group is one of the premier auto groups in the nation representing Porsche, Audi, Ferrari, Maserati, Lamborghini and Volkswagen. For more information about Boardwalk Auto Group Volkswagen Dealers, please visit www.DallasVWDealers.com. 
	 

#### 2012 Dallas VideoFest – Allen & Cynthia Mondell Roundtable Interview
Filmmakers Allen and Cynthia Mondell sit down for a roundtable interview as part of the 2012 Dallas VideoFest.

	httpv://www.youtube.com/watch?v=-T4AIkREI0M

#### 2012 Dallas VideoFest – Bart Weiss and Raquel Chapa Roundtable Interview
Bart Weiss and Raquel Chapa sit down for a roundtable interview as part of the 2012 Dallas VideoFest.

	httpv://www.youtube.com/watch?v=Wc0cEjcGGqc

#### 2012 Dallas VideoFest: Mike Morris, Danielle Georgiou & Bart Weiss
Mike Morris, Danielle Georgiou & Bart Weiss talk about Video Art/Experimental Video at the 2012 Dallas VideoFest.

	httpv://www.youtube.com/watch?v=a2x6Dh98aAY

#### 2012 LSFF Initial Lineup and Individual Tickets Now Available!
2012 LSFF Initial Lineup and Individual Tickets Now Available!

	
	The Lone Star Film Festival (LSFF), hosted in Sundance Square at the AMC Theater, has released twelve featured films from their 2012 lineup. The complete list of films will be announced over the next few days.

	According to Lone Star Film Society Director Alec Jhangiani, “This year’s lineup is a direct result of the festival’s maturity and growth. We’re providing Fort Worth world-class festival programming and we’ve created an opportunity for Lone Star ticket holders to see the year’s most anticipated films before they’re released to the general public.”

	From the director of The Fighter, in this year’s line up is Academy Award Best Picture front-runner Silver Linings Playbook. As the Toronto Film Festival’s audience award winner, this feel-good, inspirational drama has an all-star cast that includes Robert DeNiro, Bradley Cooper, The Hunger Games’ Jennifer Lawrence, Chris Rock and Julia Stiles.

	The 2012 Lone Star Film Festival lineup includes:
	 

		Jayne Mansfield’s Car
	

		Wrong
	

		A Place at the Table
	

		A Royal Affair
	

		Silver Linings Playbook
	

		Hyde Park on the Hudson
	

		Quartet
	

		It’s a Disaster
	

		Barbara
	

		Caesar Must Die
	

		The Sapphires
	

		The Fitzgerald Family Christmas
	

	Passes and individual tickets for these films are available now. Passes range in price from $100 to $500 and include varying levels of access to Festival screenings and events; tickets for individual films are $8 for the general public and $6 for members of the Lone Star Film Society. To purchase passes and tickets to the Lone Star Film Festival visithttp://lonestarfilmsociety.com.

	Stay up to date with the 2012 Festival by ‘Liking’ Lone Star on Facebook and following Lone Star on Twitter @LoneStarFilmSoc.

#### 2012 OCFF – Anchor Baby
Adrian Springer, Greg TeGantvoort and Joshua Morris talk to Selig Film News at the 2012 Oak Cliff Film Festival.
httpv://www.youtube.com/watch?v=pQiNPmX5gDA

#### 2012 OCFF – Blair Rowan
Blair Rowan talks to Selig Film News at the 2012 Oak Cliff Film Festival.
httpv://www.youtube.com/watch?v=bNCxdZiLfBY

#### 2012 OCFF – Vanessa Lua
Vanessa Lua talks to Selig Film News at the 2012 Oak Cliff Film Festival.
httpv://www.youtube.com/watch?v=PVFeraBH4Vo

#### 2012 VideoFest – Alan Govenar
THE BEAT HOTEL filmmaker Alan Govenar talks to a roundtable at the 2012 Dallas VideoFest.

	httpv://www.youtube.com/watch?v=v7wsebwGeDY

#### 2012 VideoFest – Erin Prather Stafford
Filmmaker Erin Prather Stafford talks about her film "Wonder Women! The Untold Story of American Superheroines" at the 2012 Dallas VideoFest roundtable.

	httpv://www.youtube.com/watch?v=uCGX0NJvqH0

#### 2012 VideoFest – Jack Waldenmaier – MAN WITH A MOVIE CAMERA
Composer Jack Waldenmaier talks about composing a new score for the 1929 silent film MAN WITH A MOVIE CAMERA. Jack will be conducting the new score at a screening at the 2012 VideoFest in Dallas on Sept 28, 2012.

	httpv://www.youtube.com/watch?v=sVd7NdnCAm0

#### 2012 VideoFest – James Dowell & John Kolomvakis
THE STAGES OF EDWARD ALBEE filmmakers James Dowell & John Kolomvakis talk about filmmaking at the roundtable interview series for the 2012 Dallas VideoFest.

	httpv://www.youtube.com/watch?v=FNiLYCU9zDU

	 

#### 2012 VideoFest – Keith Alcorn & Bart Weiss
Keith Alcorn talks about stop-motion animation, Jimmy Neutron, Mike Judge and much more in his roundtable interview lead by Bart Weiss.

	httpv://www.youtube.com/watch?v=i5QRIzK0RfU

#### 2013 Academy Nicholl Fellowships In Screenwriting Finalists Announced
Nine individual screenwriters and one writing team have been selected as finalists for the 2013 Academy Nicholl Fellowships in Screenwriting competition.  Their scripts will now be read and judged by the Academy Nicholl Fellowships Committee, which may award as many as five of the prestigious $35,000 fellowships.

	This year’s finalists are (listed alphabetically by author):

		     Scott Adams, Menlo Park, CA, “Slingshot”
	

		     William Casey, Los Angeles, CA, “Smut”
	

		     Frank DeJohn & David Alton Hedges, Santa Ynez, CA, “Legion”
	

		     Brian Forrester, Studio City, CA, “Heart of the Monstyr”
	

		     Noah Thomas Grossman, Los Angeles, CA, “The Cupid Code”
	

		     Patty Jones, Vancouver, BC, Canada, “Joe Banks”
	

		     Erin KLG, New York, NY, “Lost Children”
	

		     Alan Roth, Suffern, NY, “Jersey City Story”
	

		     Stephanie Shannon, Los Angeles, CA, “Queen of Hearts”
	

		     Barbara Stepansky, Burbank, CA, “Sugar in My Veins”
	

	The finalists were selected from a record 7,251 scripts submitted for this year’s competition. 

	The 2013 Academy Nicholl Fellowships will be presented on Thursday, November 7, at a ceremony in Beverly Hills.

	The Nicholl competition is open to any individual who has not earned more than $25,000 writing for film or television or received a fellowship prize that includes a “first look” clause, an option, or any other quid pro quo involving the writer’s work.  Entry scripts must be feature length and the original work of a sole author or of exactly two collaborative authors.  The scripts must have been written originally in English.  Adaptations and translated scripts are not eligible.  The earnings limit for 2013 is an increase from the $5,000 limit in previous years.

	Fellowships are awarded with the understanding that the recipients will each complete a feature-length screenplay during their fellowship year.  The Academy acquires no rights to the works of Nicholl fellows and does not involve itself commercially in any way with their completed scripts.

	The Academy Nicholl Fellowships Committee, chaired by producer Gale Anne Hurd, is composed of writers Naomi Foner, Daniel Petrie Jr., Tom Rickman, Eric Roth, Dana Stevens and Robin Swicord; actor Eva Marie Saint; cinematographer John Bailey; costume designer Vicki Sanchez; producers Peter Samuelson and Robert W. Shapiro; marketing executive Buffy Shutt; and agent Ronald R. Mardigian.

	Since the program's inception in 1985, 128 fellowships have been awarded.  Several past Nicholl fellows have recently added to their achievements.  Destin Daniel Cretton wrote and directed “Short Term 12” from his Nicholl Fellowship-winning script; the feature has received tremendous critical acclaim this year at screenings at international festivals and in theatrical release.  Creighton Rothenberger co-wrote “Olympus Has Fallen,” which opened in theaters this past March.  Several fellows currently have projects in post-production: Cecilia Contreras and Amy Garcia wrote “Dear Eleanor”; Anthony Jaswinski wrote “Random”; Karen Moncrieff wrote and directed “The Trials of Cate McCall”; and James Mottern directed “God Only Knows.”  Rebecca Sonnenshine is a writer and executive story editor on “The Vampire Diaries” on The CW.  Andrew Marlowe is a writer and executive producer, and Terri Edda Miller is a writer and consulting producer, on “Castle” on ABC. 

#### 2013 DALLAS INTERNATIONAL FILM FESTIVAL CALL FOR ENTRIES CONFIRMED PRIZE MONEY TOTALING $60,000
2013 DALLAS INTERNATIONAL FILM FESTIVAL CALL FOR ENTRIES CONFIRMED PRIZE MONEY TOTALING $60,000                                                        

	DALLAS, JULY 30, 2012:  The Dallas Film Society has announced that submissions for the 7th annual Dallas International Film Festival opens today.  The Dallas International Film Festival (DIFF) is scheduled for April 4 – 14, 2013.

	In its six year history, the festival has established itself as one of the premiere film festivals in North America.  Renowned for honoring filmmakers with cash prizes and opportunities, filmmakers and industry professionals have highlighted DIFF as being ‘one to watch’.  To date, the festival has received over 7000 submissions, screened 1162 films from 50 countries, hosted 1000 filmmakers and featured 62 world premieres and 17 U.S premieres.

	“Since the festival’s inception, we have been incredibly fortunate to award over $450,000 to filmmakers,” said DIFF’ senior programmer, Sarah Harris. “Being able to recognize a filmmaker’s achievement in enhancing the creative community is a dream for all of us who are a part of this festival.  I encourage any filmmaker who is interested in screening their film in great venues in front of some of the most intelligent and receptive audiences to submit to us. We have discovered and showcased incredible talent through this festival and I can’t wait to see what’s in store for 2013.”

	Confirmed awards include an unrestricted cash prize of $10,000 for the winners of both the Narrative Feature and Documentary Feature Competition.  The Embrey Foundation’s $10,000 Silver Heart Award returns in order to highlight the film most dedicated to fighting injustices and creating social change for the improvement of humanity. The lucky filmmakers who win the Texas Competition category will enjoy a camera rental package worth $30,000 for their next production, courtesy of PANAVISION. 

	Early deadline for submissions is Friday, October 26, 2012.  Regular deadline is Friday, December 7, 2012.  Late deadline is Friday, December 14, 2012.  A link for film submissions and information on submissions is available at www.dallasfilm.org.

	Other questions may be sent to submissions@dallasfilm.org.   

	Confirmed awards for 2013 will include: Grand Jury Prize – Narrative Feature; Grand Jury Prize – Documentary Feature; Grand Jury Prize – Animation Short Film; Grand Jury Prize – Short Film; Grand Jury Prize – Student Short Film; Grand Jury Prize – Texas Competition, presented by PANAVISION; Silver Heart Award, presented by the Embrey Family Foundation; and Audience Awards for Best Narrative Feature, Best Documentary Feature, and Best Short Film.

	-End-

	
	ABOUT THE DALLAS FILM SOCIETY

	The Dallas Film Society celebrates films and their impact on society.  A 501(c)3 non-profit organization, the Dallas Film Society recognizes and honors filmmakers for their achievements in enhancing the creative community, provides educational programs to students to develop better understanding of the role of film in today's world, and promotes the City of Dallas and its commitment to the art of filmmaking. The annual Dallas International Film Festival, scheduled for April 4 – 14, 2013, is a presentation of the Dallas Film Society. In addition to producing one of the largest festivals in the Southwest, the Society produces numerous year round events, screening series and partnership programs with arts organizations around the city.  For more information, call (214) 720-0555, or visit www.DallasFilm.org.  The offices of the Dallas Film Society are located at 3625 North Hall Street, Suite 740, Dallas, TX 75219. 

	2012-2013 CONFIRMED SPONSORS:  D Magazine, Flagship Marketing, Forté Public Relations, Modern Luxury, Panavision, Stella Artois, The Embrey Family Foundation, Time Warner Cable, TXU Energy, WRR Classical 101.1
	 

#### 2013 Dallas International Film Festival–Monday
After a night of fighting off the flu, I was well enough to hit the festival yet again.  My plans were to make three different bits of cinema.  Well, work got in the way of the best laid plans of part-time film critics and I could only make one screening.  So I arrived at the Angelika just in time to catch a screening of Wolf Children, a film I knew nothing about. 

	Before the movie started, the programmer let the audience know that the film we were about to see won the Japanese version of the Oscar for best Anime Feature and that it was soon to be released on DVD.  After the screen, my first thought was that it is a shame if this film is not shown on a big screen.  It is a massively beautiful work of sight and color that needs to be experienced on a large canvas and not on a small television monitor. 

	The animated story is of a young woman Hana who meets a young man at a university in Tokyo.  As they become close, he exposes his major life secret.  He has the blood of both human and wolves in his veins.  He can change from man to wolf at will.  Soon they are expecting and have a daughter Yuki.  Then, they have a son Ame.  A tragedy happens and Hana is now a single mother with two very young children who can turn into wolves. 

	The rest of the story is of Hana’s struggles moving to the country and raising her two cubs.  The young ones take very different paths to maturity, struggling with the two different bloods that pull them in different ways.  It is a parallel of the struggle that Hana has to adapt to the country.  The story is as mystical as it is purposeful.

	Wolf Children is just amazing to take in.  It is full of striking vistas and animation that is on par with anything Hollywood puts out.  The story is charming and rich in details, showing the highs and lows of raising children.  The struggle that is life is universal and Wolf Children takes a fantastical route to tell a familiar tale.  It is a magical story that should not be missed.  

#### 2013 Dallas International Film Festival–Sat
Saturday was a big day at the Dallas International Film Festival.  The Magnolia Theater is another location for most of the film festival.  With the success of Uptown, the theater has become a nightmare for parking and people.  After a twenty minute struggle to find a spot for my auto, I finally gave up on the parking garage and placed my four-wheeled beast a few blocks away. 

	I made it into the line just as everyone was being seated for A Teacher.  The film is a part of the Narrative Feature competition.  Set in Austin, the story was of an English teacher who has an affair with her teen student.  It is raw and gritty examination of how professional standards and personal wants intersect in a very bad idea.

	I found the film slow, tedious and more than a bit offsetting.  While the film was being projected, I kept thinking that Austin is one of the youngest cities in the nation with a median age of 28.   This teacher can’t find anyone else to go out with?  The city is crawling with young adults and she has to ‘hook-up’ with a kid. It was unbelievable and wrong on so many levels.

	But the performance of Lindsay Burdge was as interesting as it was offsetting.  Her downward spiral is sad and pathetic but somehow fascinating to watch.  She shows the depth of loneliness and how far someone will go to find a human connection.  Director Hannah Fidell is meticulous in her examination of a psyche. 

	After a little break at the hospitality suite to wash the last film out of my brain, I decided to take-in Bounty Killers.  All I knew about the film is the title.  Mark Walters of BigFanBoy.com introduced the film.  He brought up the director and let the audience know that some of the cast and crew were in the audience. 

	Bounty Killers is set in a post-apocalyptic action-adventure where the United States has become a wasteland and bounty killers are hired by the nine to hunt down white collar criminals and exterminate them. 

	The story concerns Drifter (Jason Dodson) and Mary Death (Christian Pitre) two of the most successful bounty hunters on the planet.   They have a love-hate relationship that becomes challenged when Drifter is named as a CEO on the death list with one of the highest bounty offered.  Drifter has to travel across the badlands to meet with the council and get the death warrant suspended.  Along the way, he must battle against Mary Death and a horde of bestial creatures as well as corporate interests who have a monetary investment in a new world order future.

	It is based on a graphic novel and it revels in its Road Warrior style of the future.  It carries its fan-boy credentials on its sleeve while running rough-shot across the desert terrain.   To put this simply, Bounty Killers one of the coolest, hippest little flicks to come along all year and one of my favorites of 2013.  Much like Tucker and Dale VS Evil and The Bill Hicks documentary that played at DIFF in years past, I can easily see this work end up on my Top Ten List of 2013.  It is the reason we go to the movies, to be blown away.

	After the screening, the director and Mark Walters discussed the film, how it was made and any future screenings.  The makers plan to have the film released in limited markets by summer.  It is definitely the kind of flick that would do well in the hot dog days.  

#### 2013 Dallas International Film Festival–Tuesday
With the film festival in full throttle, the movies start to mix together.  When one sees three films in a day, the details of one tend to seep into another.  That is why film critics take note on each and every film.  There is nothing like spending the entire day watching films at the Angelika. 

	Rushlights is the first film of the day, a movie which is part of the Texas Competition.  The movie is slated with the note ‘based on true events’.  I am always a bit skeptical when I see that disclaimer.  So many films over the year have used that moniker just to lend an air of believability.

	The story starts in California with Sarah (Haley Webb) meeting Billy (Josh Henderson).  She is a bit of a broken young woman who has had a problem with addiction.  Billy rescues Sarah from a drug/crime scene, accidentally taking the wrong bag in their haste.  They discover that the drug overdosed girl has a giant estate in Texas she recently inherited from a distant uncle.  Billy decides that they should go to this small West Texas town, pretending that Sarah is the dead girl. 

	Once they get into town, the two meet both the local sheriff (Beau Bridges) and the local lawyer (Aiden Quinn).  The two are brothers and on different sides of the world in terms of believing that Sarah is the right woman.  With a seven figure sum waiting in probate, others see ways to get part of the money.  The film proves the old Biblical adage that the love of money is the root of all evil.

	This is a fascinating film in the vein of a Blood Simple, the brilliant Coen Brothers debut.  The look is nothing like a low-budget feature but a giant production with sure camera moves and a dusty, gritty reality.  The cast of professional actors make the film feel much more like a major motion picture than a standard independent feature.  Writer director Antoni Stutz has combined the classic noir with Texas pride in a film that deserves a major release.   

	There are other films opening this week and one has to see films that are not part of the DIFF.  Disconnect was shown at the Angelika but not a part of the festival.  There will be a separate review of the film at the end of the week. 

	Diving Normal had its world premiere late at night at the Angelika.  The director, the makers and all the major cast members were in attendance.  They had friends and family who had flown great distances just to make the screening.

	The film is a romantic triangle.  Dana (Susie Abromeit) is a former actress/model who works at a doctor’s office. She also has a substance abuse problem.  Dana went to high school with Fulton (Phillippe Karner).  He is a successful graphic novelist who is having a major book published.  Fulton lives next door to Gordon (Scotty Crowe).   Gordon is a slightly mentally challenged individual who works at the library.  The story is how Fulton and Dana begin dating.  Fulton falls for Dana and Gordon falls for Dana.  The story is of how messy love can become with damaged people.

	After the screening, the director and the actors took the stage to talk about their film.  The two male actors Scotty Crowe and Phillippe Karner said they have been performing the play Diving Normal for about five years and were also producers on the cinematic production.  According to director Kristjan Thor, the film took only 18 days to complete.  He said that at such a fast pace, there was little time for re-shoots and multiple takes.  Part of the film takes place at a public pool.  According to Phillippe, they shot all the scenes in one night.

	The film is a bit slow but shows how the tender seed of love is nourished and flowers into something unexpected and special.     

#### 2013 Fantastic Fest Announces Opening Night Programming
 

	Fantastic Fest is excited to announce Robert Rodriguez's Machete Kills will have its world premiere on September 19, 2013 as the opening night film for the 2013 festival, which will take place in Austin, Texas at the new Alamo Drafthouse Lakeline location from September 19-26, 2013. Talent from the film, including Danny Trejo, Alexa Vega and Robert Rodriguez, will be in attendance.  Additional talent to be confirmed closer to festival.

	"Every year we compile our dream targets for opening night film; MACHETE KILLS was at the top of that list," said Fantastic Fest Co-founder & Creative Director Tim League. "We are going to pull out all the stops to ensure Robert's world premiere red carpet experience is literally blood red."

	"Fantastic Fest has quickly become the best place for fans to first experience the newest and coolest genre movies and blockbusters," said director Robert Rodriguez. "I am honored and extremely excited for Machete Kills to have its world premiere right here in Austin and kick off Fantastic Fest." 

	In Machete Kills, Danny Trejo returns as ex-Federale agent Machete, who is recruited by the President of the United States for a mission which would be impossible for any mortal man – he must take down a madman revolutionary and an eccentric billionaire arms dealer who has hatched a plan to spread war and anarchy across the planet.

	The talented and eclectic cast includes: Danny Trejo, Michelle Rodriguez, Sofia Vergara, Amber Heard, Carlos Estevez, Lady Gaga, Antonio Banderas, Jessica Alba, Demian Bichir, Alexa Vega, Vanessa Hudgens, Cuba Gooding, Jr., William Sadler, Marko Zaror and Mel Gibson.

	Presented by Open Road Films, Machete Kills is directed by Robert Rodriguez, produced by Robert Rodriguez, Aaron Kaufman, Iliana Nikolic, Sergei Bespalov, Alexander Rodnyansky and Rick Schwartz, from a screenplay by Kyle Ward, based on a story by Marcel Rodriguez and Robert Rodriguez.  Machete Kills releases in U.S. theaters on October 4, 2013.

	For further information on Machete Kills visit https://twitter.com/MacheteKills and https://www.facebook.com/MacheteKills

	 

	 

#### 2013 SAG Awards Viewing Party: Becka Rose
Selig Film News interviews local Dallas filmmakers at the 2013 SAG Awards viewing party in Grand Prairie, Texas. The event was hosted by the Dallas SAG-AFTRA chapter and TXMPA.

	httpv://www.youtube.com/watch?v=oIaj2vo-TZw

#### 2013 SAG Awards Viewing Party: Dallas County Judge Clay Jenkins
Selig Film News interviews local Dallas filmmakers at the 2013 SAG Awards viewing party in Grand Prairie, Texas. The event was hosted by the Dallas SAG-AFTRA chapter and TXMPA.

	httpv://www.youtube.com/watch?v=wc5d6HDdL0E

	 

#### 2013 SAG Awards Viewing Party: Jackie McCall
Selig Film News interviews local Dallas filmmakers at the 2013 SAG Awards viewing party in Grand Prairie, Texas. The event was hosted by the Dallas SAG-AFTRA chapter and TXMPA.

	httpv://www.youtube.com/watch?v=asGhlHHNBxo

#### 2013 SAG Awards Viewing Party: Sen. Royce West
Selig Film News interviews local Dallas filmmakers at the 2013 SAG Awards viewing party in Grand Prairie, Texas. The event was hosted by the Dallas SAG-AFTRA chapter and TXMPA.

	httpv://www.youtube.com/watch?v=RD7CsFxoXcQ

#### 2013 TCM Classic Film Festival Adds Legendary Stars and Filmmakers, Fascinating Presentations and More
With just over two months left before its star-studded opening-night gala, the 2013 TCM Classic Film Festival is packing its slate. Set to make appearances at this year's festival are actors Max von Sydow, Ann Blyth, Eva Marie Saint, Mitzi Gaynor, France Nuyen and Jacqueline White, as well as filmmakers Kevin Brownlow, Jerry Schatzberg, David Zucker, Jerry Zucker and Jim Abrahams. In addition, TCM will partner with the Academy Film Archive on a trio of screenings.

	The TCM Classic Film Festival is also adding the legendary El Capitan Theatre in Hollywood as a festival venue. The El Capitan Theatre made its debut on May 3, 1926, as "Hollywood's First Home of Spoken Drama." Through an extensive museum-grade renovation, this grand theater has been restored to its original elegance, boasting a Spanish Colonial exterior and a colorful and lavish East Indian interior designed by San Francisco architect G. Albert Lansburgh.
	The TCM Classic Film Festival, which takes place Thursday, April 25 – Sunday, April 28 in Hollywood, will pay tribute to von Sydow, who will be on hand for screenings of Ingmar Bergman's The Seventh Seal (1957) and William Friedkin's The Exorcist (1973). The festival will also pay tribute to Blyth, who will attend screenings of two of her most popular films, Michael Curtiz's Mildred Pierce (1945) and Vincente Minnelli's Kismet (1955). Saint will participate in a screening of Elia Kazan's On the Waterfront (1954), the film that won her an Academy Award®. And Gaynor and Nuyen will appear at the festival to participate in a screening of the Rodgers & Hammerstein musical South Pacific (1958).
	White is set to attend Richard Fleischer's The Narrow Margin (1952), one of three screenings of new 35mm prints presented in partnership with Academy Film Archive. Also screening as part of this collection will be the hilarious sailors-on-leave musical On the Town (1949) and the jungle drama Tarzan Finds a Son! (1939), which will include an Academy Conversations presentation by Oscar®-winning visual-effects artist Craig Barron and Oscar-winning sound designer Ben Burtt.
	Filmmaker and cinema historian Kevin Brownlow is set to introduce the world premiere of the newly restored silent classic The Big Parade (1925), while the Zucker brothers and Abrahams will participate in a screening of their zinger-filled comedy classic Airplane! (1980). And Schatzberg will be on hand for the U.S. premiere of the 40th anniversary restoration of his film Scarecrow (1973). The TCM Classic Film Festival has also added a rare screening of The Desert Song (1943), a film that has not been shown in decades.
	Passes for the 2013 TCM Classic Film Festival are on sale now and can be purchased by calling the festival box office at (877) 826-5764 on business days between 10 a.m. – 5 p.m. (ET), or 24 hours a day through the official festival website: http://www.tcm.com/festival. The site also features additional information about the festival, including video and photos from past festivals.
	The following are descriptions of the newly added films and events lined up for the 2013 TCM Classic Film Festival:
	Tribute to Max von Sydow
	The TCM Classic Film Festival salutes two-time Oscar nominee Max von Sydow with screenings of two of his most memorable roles. The actor will be on hand for The Seventh Seal (1957) and The Exorcist (1973).
	The Seventh Seal (1957)
	The first of eleven films Max von Sydow under the direction of Swedish master Ingmar Bergman, The Seventh Seal casts him as a knight returning home from the Crusades only to find his land tormented by the Black Plague and rampant superstition. The film's depiction of the knight playing a game of chess against Death is provides one of the most indelible images in cinema history. Gunnar Björnstrand, Bengt Ekerot, Nils Poppe and Bibi Andersson co-star.
	The Exorcist (1973)
	Max von Sydow turns in a Golden Globe®-nominated performance as an elderly priest called upon to perform an exorcism on a little girl possessed by the devil in one of the most potent horror films ever made. William Peter Blatty won an Oscar for adapting his best-selling novel for this blockbuster directed by William Friedkin. Linda Blair and Ellen Burstyn each scored Oscar nominations as the little girl and her mother, as did Jason Miller for his debut performance as a priest and psychologist struggling with doubts about faith. Mercedes McCambridge provides the bone-chilling vocal effects.
	Tribute to Ann Blyth
	The TCM Classic Film Festival honors actress Ann Blyth, who enjoyed a fabulous career as both a musical and dramatic actress. Blyth will attend screenings of Mildred Pierce (1945) and Kismet (1955).
	Mildred Pierce (1945)
	Ann Blyth earned an Oscar nomination for her work as a neurotic young woman in Michael Curtiz's film version of James M. Cain's novel. Joan Crawford won for Best Actress as her mother, the title character whose attempts to build a restaurant empire paves the way for drama and eventually murder. Jack Carson, Zachary Scott and Eve Arden co-star.
	Kismet (1955)
	Ann Blyth and Howard Keel star in this tuneful Vincente Minnelli confection based on the popular Broadway musical. The Arabian Nights-inspired setup has Keel playing a poet who talks his way out of trouble while his daughter, played by Blyth, falls in love a young Caliph. Robert Wright and George Forrest's song score includes tunes based on the music of Alexander Borodin. Dolores Gray and Vic Damone co-star.
	The Academy Film Archive and TCM Present…
	TCM is teaming up with the Academy of Motion Picture Arts and Sciences' Academy Film Archive to present three films during the 2013 TCM Classic Film Festival, all with newly struck 35mm prints.
	Tarzan Finds a Son! (1939) – Featuring an Academy Conversations presentation by Oscar®-winning visual-effects artist Craig Barron and Oscar-winning sound designer Ben Burtt
	This fourth film in MGM's series of Tarzan movies features Johnny Weissmuller in the title role, with Maureen O'Sullivan in what was originally intended to be her last appearance as Jane and Johnny Sheffield as Boy. Visual-effects artist Craig Barron and sound designer Ben Burtt will introduce the film with a special presentation about the Tarzan series' visual and sound effects, which at the time were cutting edge. Print courtesy of the Academy Film Archive; screened courtesy of Warner Bros. Classics.
	On the Town (1949)
	Three sailors on a 24-hour leave hit the streets of New York in this brilliant film version of the popular Broadway musical. Gene Kelly, who co-directed with Stanley Donen, stars with Frank Sinatra, Ann Miller, Betty Garrett, Jules Munshin and Vera-Ellen. The score features music by Leonard Bernstein and Roger Edens and lyrics by Betty Comden and Adolph Green, with memorable songs like "New York, New York," "Prehistoric Man," "Come up to My Place" and "You Can Count On Me." Print courtesy of the Academy Film Archive.
	The Narrow Margin (1952) – Featuring an appearance by star Jacqueline White
	This gripping train-bound film noir by director Richard Fleischer stars Charles McGraw as a police detective assigned to escort Marie Windsor as the widow of a mob boss. But a case of mixed identities soon has a mob hitman going after a different woman, played Jacqueline White. Considered by many critics to be an excellent example of its genre, this film was nominated for an Oscar for Martin Goldsmith and Jack Leonard's story. Print courtesy of the Academy Film Archive.

	Additional Screenings
	The Big Parade (1925) – World premiere of new restoration introduced by filmmaker and historian Kevin Brownlow
	John Gilbert and Renée Adorée star in director King Vidor’s influential World War I tale of an idle rich boy turned soldier who finds friendship, love and loss in the trenches of France. This presentation features a pre-recorded original score by composer Carl Davis. Filmmaker and historian Kevin Brownlow, one of the preeminent authorities on silent film, will introduce the film, which has been beautifully restored by Warner Bros. in partnership with Photoplay Productions.
	The Desert Song (1943)
	The TCM Classic Film Festival proudly presents a rare screening of this musical that has been out of the public eye for decades. Dennis Morgan, Irene Manning and Bruce Cabot star in the film, which is adapted from a Sigmund Romberg operetta and directed by Robert Florey. Shot in three-strip Technicolor, The Desert Song tells the story of a hero who joins forces with a nomadic Arab tribe to battle against Nazis, a topical reference designed to give the tale a contemporary twist. Charles Novi and Jack McConaghy's art direction earned an Oscar nomination. Print courtesy of Warner Bros. Classics.
	On the Waterfront (1954) – U.S. premiere of new restoration, featuring an appearance by Eva Marie Saint
	Eva Marie Saint, who attended the very first TCM Classic Film Festival to participate in a screening of North by Northwest (1959), returns this year for a screening of the film that earned her an Academy Award for Best Supporting Actress. Restored in 4K by Sony Pictures Entertainment, Elia Kazan's grippingly realistic tale of corruption and social justice features Saint as the girlfriend of a young man (Marlon Brando, also an Oscar winner) who speaks truth to power. Karl Malden, Rod Steiger, Lee J. Cobb and Leif Erickson also star in this Best Picture honoree, which also features a powerful music score by Leonard Bernstein.
	South Pacific (1958) – Featuring an appearance by Mitzi Gaynor and France Nuyen
	Rodgers and Hammerstein's beloved musical gets a colorful treatment from director Joshua Logan. Golden Globe nominee Mitzi Gaynor stars as a naïve U.S. Navy nurse who finds love and drama in the South Seas. Rossano Brazzi is the French plantation owner for whom she holds a candle. France Nuyen is a young Polynesian woman who falls for an American lieutenant, played by John Kerr. The cast also features Ray Walston, Juanita Hall and Russ Brown, while the memorable song score includes "Some Enchanted Evening," "There Is Nothing Like a Dame," "I'm Gonna Wash That Man Right Outa My Hair" and "Bali Ha'i."
	Scarecrow (1973) – U.S. premiere of 40th anniversary restoration, featuring an appearance by director Jerry Schatzberg
	Director Jerry Schatzberg will be on hand to introduce his film about two drifters – a fiery ex-con who wants to start a car wash and an ex-sailor who just left his wife – who head east from California to Pittsburgh to find a better life. This intriguing character study stars Gene Hackman and Al Pacino and features exceptional cinematography by Vilmos Zsigmond. Scarecrow, which has been newly restored by Warner Bros., earned the Grand Prix at the Cannes Film Festival.
	Airplane! (1980) – Featuring an appearance by writer-directors David Zucker, Jerry Zucker and Jim Abrahams
	Zingers and one-liners fly by a mile a minute in this hilarious spoof of disaster movies from writer-directors David Zucker, Jerry Zucker and Jim Abrahams. Robert Hays plays a troubled pilot who must land a passenger jet crippled by food poisoning, with Julie Hagerty as his former girlfriend, a flight attendant. The all-star cast includes Peter Graves, Lloyd Bridges, Kareem Abdul-Jabbar, Leslie Nielsen, Robert Stack and a jive-talking Barbara Billingsley. Elmer Bernstein's score provides just the right touch. Airplane! served as the model for numerous spoof films to come, including the Zucker-Abrahams comedy The Naked Gun: From the Files of Police Squad and its sequels.

	About the 2013 TCM Classic Film Festival

	Each spring, the TCM Classic Film Festival welcomes 25,000 movie fans from around the globe to Hollywood to celebrate the art and history of cinema. A destination event, the TCM Classic Film Festival features more than a hundred screenings of classic movies, along with appearances by legendary stars, live interviews, extensive panel discussions, special exhibits and more.
	Set to take place Thursday, April 25 – Sunday, April 28, the 2013 TCM Classic Film Festival will open with a gala presentation of the newly restored musical classic Funny Girl (1968). The lineup for the festival includes appearances by Jane Fonda, who will have her hand and footprints enshrined at the TCL Chinese Theatre prior to a screening of On Golden Pond (1981); Tippi Hedren, who will be on hand for a 50th anniversary screening of the Alfred Hitchcock classic The Birds (1963); and documentary filmmaker Albert Maysles whose extraordinary career will be celebrated with presentations of his films Gimme Shelter (1970) and Salesman (1968). The festival will also celebrate Bugs Bunny's 75th Birthday, with a collection of shorts curated and presented by Leonard Maltin and Jerry Beck. And silent film composer Carl Davis will be on hand to conduct his score for the classic It (1927). Among the many restorations set to premiere at the festival are The Big Parade (1925), The General (1926), Giant (1956) and The Great Escape (1963), Badlands (1973) and Scarecrow (1973), plus many more.
	TCM host and film historian Robert Osborne serves as official host of the 2013 TCM Classic Film Festival, with TCM's Ben Mankiewicz also introducing films and events during the festival. The Hollywood Roosevelt Hotel, which has a longstanding role in movie history and was the site of the first Academy Awards® ceremony, will once again serve as the official hotel for the festival, as well as a central gathering point for attendees. Screenings and events will also be held at the TCL Chinese Theatre, the Chinese 6 Theatres and the Egyptian Theatre. The Hollywood Roosevelt will also offer special rates for festival attendees.
	Cinematic Journeys: Travel in the Movies, the theme for the 2013 TCM Classic Film Festival, will explore how movies can carry viewers beyond their hometowns to distant or imaginary locales, where they can be transformed by great storytelling. Often, the mode of travel provides the filmic inspiration, whether it's planes, trains, or automobiles. At other times, the trip itself serves as the central narrative, as in the case of many "road movies." With Hollywood as the starting point, TCM's cinematic excursion will take festival attendees on a fascinating journey to worlds both familiar and new.
	The roster of official partners for the fourth-annual celebration includes Verizon, the official lead partner; Citi, the official card of the festival; Porsche, the official automobile of the festival; Delta Air Lines, the official Airline of the festival; Vanity Fair, a festival partner and co-presenter of the opening-night after party; and Bonhams, a festival partner that will provide film-related exhibit items, conduct an on-site valuation session for passholders and co-present a slate of British films as part of the festival lineup.

#### 2014 AFF: Bruce Greenwood & Ella Purnell – WILDLIKE
Gadi Elkon of Selig Film News interviews Bruce Greenwood & Ella Purnell from the film WILDLIKE. The interview took place during the 2014 Austin Film Festival in Austin, Texas at the Driskill Hotel.

	 

#### 2014 AFF: Jay Martin & Jason Ritter – 7 MINUTES
Gadi Elkon of Selig Film News interviews Jay Martin & Jason Ritter from the film 7 MINUTES . The interview took place during the 2014 Austin Film Festival in Austin, Texas at the Driskill Hotel.

	 

#### 2014 AFF: Joe Piscatella – #chicagogirl
Gadi Elkon of Selig Film News interviews Director Joe Piscatella from the film #chicagogirl . The interview took place during the 2014 Austin Film Festival in Austin, Texas at the Driskill Hotel.

	 

#### 2014 AFF: Luke Mitchell & Zane Holtz – 7 MINUTES
Gadi Elkon of Selig Film News interviews Luke Mitchell & Zane Holtz. The interview took place during the 2014 Austin Film Festival in Austin, Texas at the Driskill Hotel.

	 

#### 2014 AFF: PHANTOM HALO
Gadi Elkon of Selig Film News interviews the filmmakers from the film PHANTOM HALO. The interview took place during the 2014 Austin Film Festival in Austin, Texas at the Driskill Hotel.

	 

#### 2014 AFF: SKIN DEEP
Gadi Elkon of Selig Film News interviews the filmmakers from the film SKIN DEEP. The interview took place during the 2014 Austin Film Festival in Austin, Texas at the Driskill Hotel.

	 

#### 2014 AFF: Stephen Falk
Gadi Elkon of Selig Film News interviews Stephen Falk from the TV show ORANGE IS THE NEW BLACK and WEEDS. The interview took place during the 2014 Austin Film Festival in Austin, Texas at the Driskill Hotel.

	 

#### 2014 AFF: TERRIBLE LOVE
Gadi Elkon of Selig Film News interviews the filmmakers from the film TERRIBLE LOVE. The interview took place during the 2014 Austin Film Festival in Austin, Texas at the Driskill Hotel.

	 

#### 2014 AFF: THE BARKELY MARATHONS: THE RACE THAT EATS ITS YOUNG
Gadi Elkon of Selig Film News interviews the filmmakers from the film THE BARKELY MARATHONS: THE RACE THAT EATS ITS YOUNG. The interview took place during the 2014 Austin Film Festival in Austin, Texas at the Driskill Hotel.

	 

#### 2014 AFF: THE SIDEWAYS LIGHT
Gadi Elkon of Selig Film News interviews the filmmakers from the film THE SIDEWAYS LIGHT. The interview took place during the 2014 Austin Film Festival in Austin, Texas at the Driskill Hotel.

	 

#### 2014 DALLAS INTERNATIONAL FILM FESTIVAL CALL FOR ENTRIES CONFIRMED PRIZE MONEY TOTALING $40,000
The Dallas Film Society has announced that submissions for the 8th annual Dallas International Film Festival open today.  The Dallas International Film Festival (DIFF) is scheduled for April 3 – 13, 2014.

	In its seven year history, the festival has established itself as one of the premiere film festivals in North America.  Renowned for honoring filmmakers with cash prizes and opportunities, filmmakers and industry professionals have highlighted DIFF as being ‘one to watch’.  To date, the festival has received over 10,000 submissions, screened 1300 films from 50 countries, hosted over 1200 filmmakers and featured 75 world premieres and 21 U.S premieres.

	“Considered the filmmakers festival by respected artists and new talent, the Dallas International Film Festival is an open, diverse and fun festival” said DIFF senior programmer, Sarah Harris. “We are dedicated to the mission of showcasing the best films in North Texas and celebrating talents from across the globe. We love film. We live film. And we want to make sure that we create an experience that exemplifies our dedication to filmmakers and their achievements.”

	Each Grand Jury Prize winner will receive software, provided by MOVIE MAGIC. The Embrey Family Foundation’s $10,000 Silver Heart Award returns and is presented to the film most dedicated to fighting injustices and creating social change for the improvement of humanity. The lucky filmmakers who win the Texas Competition category will enjoy a camera rental package worth $30,000 for their next production, courtesy of PANAVISION. 

	Early deadline for submissions is Friday, October 18, 2013.  Regular deadline is Friday, December 6, 2013.  Late deadline is Friday, December 13, 2013.  A link for film submissions and information on submissions is available at www.dallasfilm.org.

	Other questions may be sent to submissions@dallasfilm.org.   

	Confirmed awards for 2014 will include: Grand Jury Prize – Narrative Feature; Grand Jury Prize – Documentary Feature; Grand Jury Prize – Animated Short Film, presented by REEL FX; Grand Jury Prize – Short Film; Grand Jury Prize – Student Short Film; Grand Jury Prize – Texas Competition, presented by PANAVISION; Silver Heart Award, presented by the Embrey Family Foundation; and Audience Awards for Best Narrative Feature, Best Documentary Feature, and Best Short Film.

#### 2014 Stars & Stripes Film Festival Schedule
The Stars & Stripes Film Festival, benefiting Sons of the Flag, announces their highly anticipated film line up and screening times. The film festival takes place at the Angelika Film Center from November 6th through November 9th. The films selected depict wars and battles ranging from World War II to the Iraq War. The Dallas Film Society provided logistics and programming for the Stars and Stripes Film Festival. 

	 

	Thursday, November 6th

		Act of Valor (2012) – 7:00 p.m.
	

	 

	Friday, November 7th

		Tora! Tora! Tora! (1970) – 12:30 p.m.
	

		Pork Chop Hill (1959) – 4:00 p.m.
	

		9/11 – 7:00 p.m.
	

		Stripes (1981) – 10:00 p.m.
	

	 

	Saturday, November 8th

		Saving Private Ryan (1998) – 11:00 a.m.
	

		Sands of Iwo Jima (1949) – 3:00 p.m.
	

		Stalag 17 (1953) – 5:30 p.m.
	

		Black Hawk Down (2001) – 8:15 p.m.
	

		Top Gun (1986) – 10:45 p.m.
	

	 

	Sunday November 9th

		Wings (1927) – 12:00 p.m.
	

		Platoon (1986) – 3:30 p.m.
	

		Where Eagles Dare (1968) – 6:30 p.m.
	

	For more details on the Stars & Stripes Film Festival please visit www.sonsoftheflag.org/stars-stripes-film-festival/ and to purchase tickets visit www.angelikafilmcenter.com. All tickets are $15 per movie, and active duty and veterans can attend free of charge.

	 

#### 2014 Student Academy Awards® Competition Now Underway
 

	The Academy is now accepting applications for its 2014 Student Academy Awards competition. Past Student Academy Award® winners have gone on to receive 46 Oscar® nominations and have won or shared eight awards.  Winners include Pete Docter, John Lasseter, Spike Lee, Trey Parker and Robert Zemeckis.

	Gold, Silver and Bronze Medal awards, along with cash prizes, may be presented to student filmmakers in the following categories: Alternative, Animation, Narrative, Documentary and Foreign Film.

	The rules and online application forms are available at www.oscars.org/saa.

	The U.S. competition is open to all full-time college and university students at accredited institutions, whose films are made within the curricular structure of a film program or class at their respective schools. For 2014, the Academy has again limited the accepted accreditation agencies for U.S. institutions to the following: Middle States Association of Colleges and Schools; New England Association of Schools and Colleges; North Central Association of Colleges and Schools; Northwest Commission on Colleges and Universities; Western Association of Schools and Colleges; and the Southern Association of Colleges and Schools. U.S. entries must be submitted by Tuesday, April 1, 2014.

	In the Foreign Film category, entries are accepted only from full-time college and university students attending schools that are members of the international film school organization known as CILECT (www.cilect.org) and located outside the borders of the United States. The deadline to submit a foreign student film for consideration is Friday, March 21, 2014.

	The 41st Annual Student Academy Awards presentation will be held in June at the Academy’s Samuel Goldwyn Theater in Beverly Hills.

	The Academy established the Student Academy Awards in 1972 to support and encourage excellence in filmmaking at the collegiate level.

#### 2014 TCM Classic Film Festival to Open with Gala Screening of Newly Restored Oklahoma! (1955), with Live Appearance by Star Shirley Jones
Turner Classic Movies (TCM) will open the 2014 edition of the TCM Classic Film Festival with the world premiere of a brand new restoration of the beloved Rodgers & Hammerstein musical Oklahoma! (1955). TCM's own Robert Osborne, who serves as official host for the festival, will introduce Oklahoma!, with the film's star, Academy Award®-winner Shirley Jones, in attendance. Vanity Fair will also return for the fifth year as a festival partner and co-presenter of the opening night after-party. Marking its fifth year, the TCM Classic Film Festival will take place April 10-13, 2014, in Hollywood. The gathering will coincide with TCM's 20th anniversary as a leading authority in classic film.

	In addition, the festival has added several high-profile guests to this year's lineup, including Oscar®-winning director William Friedkin, who will attend for the screening of the U.S. premiere restoration of his suspenseful cult classic Sorcerer (1977); Kim Novak, who will participate in a screening of the charming Bell Book and Candle (1958); actor Ryan O'Neal, who will introduce the depression-era comedy Paper Moon (1973); legendary documentarian Albert Maysles, who will return to the festival for a screening of his masterpiece Grey Gardens (1975);  filmmaker Ira Wohl, who will be on hand for his Academy Award®-winning documentary Best Boy (1979); and three-time Oscar®-winning film editor Thelma Schoonmaker (Raging Bull, The Aviator, The Departed), who will participate in a special conversation at Club TCM, the festival's central gathering point.

	Among the many previously announced events slated for the 2014 TCM Classic Film Festival, TCM will honor legendary actor, filmmaker and humanitarian Jerry Lewis with a multi-tiered celebration of his remarkable career. Lewis will have his hand and footprints enshrined in concrete in front of the world-famous TCL Chinese Theatre IMAX. In addition, Lewis will be on-hand for a screening of one of his most memorable films: The Nutty Professor (1963). This year's TCM Classic Film Festival will also pay tribute to Quincy Jones, who will appear at multiple events during the festival, including a 50th anniversary screening of Sidney Lumet's powerful drama The Pawnbroker (1964), which marked Jones' debut as a film composer; and Richard Dreyfuss, with screenings of two of his most beloved films, The Goodbye Girl (1977) and Mr. Holland's Opus (1995).

	Other previously announced festival events include a screening of the recently restored Gone with the Wind (1939) and a presentation of The Wizard of Oz (1939) in its stunning new IMAX® 3D format. Both films are celebrating their 75th anniversaries in 2014. The festival will celebrate the 50th anniversary of Walt Disney's Mary Poppins (1964) with a special presentation, while Mel Brooks will appear for his comedy classic Blazing Saddles (1974), along with Maureen O'Hara for the world premiere restoration of John Ford's Oscar®-winning How Green Was My Valley (1941), and Margaret O'Brien for Vincente Minnelli's perennial musical favorite Meet Me in St. Louis (1944). The festival will also include the following world premiere restorations: Billy Wilder's Double Indemnity (1944), which will be celebrating its 70th anniversary; Orson Welles' Touch of Evil (1958); William Wyler's Best Picture Oscar® winner The Best Years of Our Lives (1946); the Beatles' hit A Hard Day's Night (1964); the Frank Capra comedy-drama Mr. Deeds Goes to Town (1936); Godzilla: The Japanese Original (1954); and the Lena Horne musical Stormy Weather (1943). In addition, the festival will feature a screening of the Harold Lloyd comedy classic Why Worry? (1923), with legendary silent-film composer Carl Davis conducting the live world premiere performance of his new original score, as well as recent restorations of Charlie Chaplin's City Lights (1931) and Alfred Hitchcock's The Lodger (1927), which will feature the Mont Alto Motion Picture Orchestra performing their original score for the film.

	Passes for the 2014 TCM Classic Film Festival can be purchased exclusively through the official festival website: http://www.tcm.com/festival. Descriptions for the newly announced additions to the festival lineup are included below. Additional screenings and events for the 2014 TCM Classic Film Festival will be announced over the coming months.

	 

	Opening Night Gala – Shirley Jones and Oklahoma! (1955)

	Oklahoma! (1955)

	4K restoration presented in collaboration with Twentieth Century Fox

	Live appearance by Shirley Jones

	Few actresses get to make their big-screen debuts in a film as eagerly awaited as Oklahoma!, but that's just what happened to Shirley Jones when Richard Rodgers and Oscar Hammerstein chose her over Joanne Woodward to star in the film version of their first big hit. The songwriters held up making the film until they could get just the right picture. With the arrival of Todd-AO, Mike Todd's patented wide-screen process, they finally knew they could reveal the majesty of the frontier in all its glory, including corn as high as an elephant's eye (16 feet tall, to be exact). But despite the production's mammoth size, the focus remained simple, detailing the romance of farm girl Jones and cowboy Gordon MacRae. Agnes de Mille re-created much of her stage choreography, which had introduced modern dance to the stage musical, while director Fred Zinnemann brought a surprisingly realistic approach to the production.

	This unique 4k presentation, painstakingly restored from 65mm Todd-AO elements by Twentieth Century Fox and Fotokem, will be screened at 30 frames per second—the same frame rate as when the film was originally released in 1955. The original 6-track soundtrack has been also restored and re-mastered at Twentieth Century Fox, in collaboration with End Point Audio and Chase Audio by Deluxe.

	 

	William Friedkin and Sorcerer (1977)

	Sorcerer (1977) – U.S. Premiere Restoration

	Presented in collaboration with Paramount and Warner Bros.

	Live appearance by William Friedkin

	This adaptation of the novel by Georges Arnaud, which also inspired Henri-Georges Clouzot's suspense classic The Wages of Fear (1953), is director William Friedkin's favorite of all his films, mainly because it came closer than any other to his original vision. This tale of four men in a South American backwater who sign on to drive a cargo of dynamite through perilous terrain started as a low-budget film. As Friedkin expanded his vision to include nail-biting sequences as the trucks cross a rickety rope bridge and navigate treacherous mountain roads, the budget rose to $22 million. Initially a critical and box-office failure, partly because of overwhelming competition from Star Wars (1977), the film has enjoyed a critical renaissance in recent years. Now hailed as one of the masterpieces of the '70s, the film has been praised for its economical storytelling, lavish production values and Friedkin's expert manipulation of the themes of fate and human responsibility. In 2013, the director supervised this new, digital restoration that premiered to great acclaim at the Venice Film Festival.

	 

	Kim Novak and Bell Book and Candle (1958)

	Bell Book and Candle (1958)

	Presented in collaboration with Sony Pictures

	Live appearance by Kim Novak

	The same year James Stewart and Kim Novak co-starred in Vertigo, which was recently declared the greatest movie ever made by the British Film Institute, they also teamed for this amiable romantic comedy with a supernatural twist. The two very different films are closely associated, as Paramount and Columbia worked out a deal to cast Stewart in this film and use Novak's services on the Hitchcock picture. Novak stars as a Greenwich Village witch who casts a love spell on Stewart to steal him from an old college rival. It's hard to believe she would need magic to make a man fall in love with her, particularly with James Wong Howe's cinematography capturing her at her most beautiful. And as if Novak weren't alluring enough to turn anyone to the dark arts, she has a family of delightful eccentrics – brother Jack Lemmon and aunt Elsa Lanchester – to sweeten the deal. A year before he shot to stardom in Some Like It Hot (1959), Lemmon steals all of his scenes as a mischievous warlock who plays bongos at the local jazz club and uses his magic to punk passersby.

	 

	Ryan O'Neal and Paper Moon (1973)

	Paper Moon (1973)

	Presented in collaboration with Paramount Pictures

	Live appearance by Ryan O'Neal

	Peter Bogdanovich's love affair with the past served him well in this adaptation of Joe David Brown's novel Addie Pray. Not only does he lovingly re-create rural Kansas and Missouri during the Depression, but his work reflects the best of Hollywood's top Golden Age directors. The deep-focus black-and-white landscapes capture the scenic expanses of John Ford's films (at one point, the leads pass a movie theatre showing Ford's 1935 film Steamboat Round the Bend), while the fast-paced banter between con artist Ryan O'Neal and real-life daughter Tatum, as the tough little girl who becomes his partner in crime, echoes the comic dialogue in Howard Hawks' films. One critic even referred to the picture as Preston Sturges' last film. Bogdanovich had been eager to work with O'Neal again after they made What's Up, Doc? (1973) and convinced O'Neal's daughter to take a stab at acting. He got such a good performance out of her that she won the Oscar for Best Supporting Actress, even beating co-star Madeline Kahn, who plays the carnival dancer with whom O'Neal memorably takes up.

	 

	Albert Maysles and Grey Gardens (1975)

	Grey Gardens (1975)

	Presented in collaboration with Janus Films and the Academy of Motion Picture Arts and Sciences

	Live appearance by Albert Maysles

	This poignant and strikingly original documentary is a tribute to two women who, for more than 20 years, colored outside the lines and did it beautifully. Once the queens of society, Edith Bouvier Beale and her daughter, also named Edith Bouvier Beale, withdrew from the world in the '50s only to be rediscovered by pioneering documentarians Albert and David Maysles. The brothers originally set out to do a film about Princess Lee Radziwill, Jacqueline Kennedy Onassis' sister. When they met the Beales during their research, however, they were so intrigued by the world they had created in their decaying East Hamptons mansion, they decided to make a film about them instead. One of the Maysles' greatest gifts in films like Gimme Shelter (1970) and Salesman (1968) is to take themselves out of the picture, and that gift is evident here. In filming mother and daughter, "Big Edie" and "Little Edie," they let their subjects shape the film through their daily routines, reminiscences, spontaneous musical performances and frequent bickering. The result is a poetic, often comic evocation of eccentricity and of two women who never stopped being themselves.

	 

	Ira Wohl and Best Boy (1979)

	Best Boy (1979)

	Live appearance by Ira Wohl

	Family and time are the foci of this intensely moving documentary currently marking its 35th anniversary. Filmmaker Ira Wohl spent four years following his elderly aunt and uncle as they dealt with the need to create a future for their mentally challenged son, Philly. Originally, Wohl had simply set out to help Philly become more independent. Two days before Philly's first meeting with a neurologist to determine exactly what his potential for independent living was, Wohl decided to film the encounter. Within a day, Wohl realized that this was a story he needed to tell, so he continued to document Philly's growing independence and his development of an extended family of caregivers, as well as the effect this had on his family relationships. Best Boy was met with glowing reviews and won the Oscar® for Best Documentary. It inspired a sequel, Best Man (1997), focusing on Philly's life in a group home and the preparations for his Bar Mitzvah.

	 

	About the 2014 TCM Classic Film Festival

	For the fifth consecutive year, thousands of movie lovers from around the globe will descend upon Hollywood for the TCM Classic Film Festival. The 2014 festival is set to take place Thursday, April 10 – Sunday, April 13, coinciding with TCM's 20th anniversary as a leading authority in classic film. Over four packed days and nights, attendees will be treated to an extensive lineup of great movies, appearances by legendary stars and filmmakers, fascinating presentations and panel discussions, special events and more.

	Passes for the 2014 TCM Classic Film Festival can be purchased through the festival website at http://www.tcm.com/festival. Pass availability is limited, so those wishing to attend the festival are encouraged to buy their passes quickly.

#### 2014 Texas Black Film Festival: Bart Weiss
Dev Shapiro of Selig Film News interviews Bart Weiss at the 2014 Texas Black Film Festival.  Bart talks about Dallas VideoFest and Yiddish Cinema. 

	 

	httpvh://www.youtube.com/watch?v=dGQwjcaOkG8

#### 2014 The Art of Film: Don Stokes
Don Stokes walks the red carpet and talks to Selig Film News at the 2014 The Art of Film event in Dallas.

	The Art of Film is held by the Dallas Film Society in order to honor some of the biggest names in film and to also raise funds which will be directed to the year-round programming of the Dallas Film Society, a 501 (c) (3) non-profit organization, and more specifically the 2015 Dallas International Film Festival, presented by AutoNation and the 2015 DFS Summer Camp, presented by SMU – Division of Film & Media Arts.

#### 2014 The Art of Film: Elvis Mitchell
Film critic Elvis Mitchell walks the red carpet and talks to Selig Film News at the 2014 The Art of Film event in Dallas, Texas.

	The Art of Film is held by the Dallas Film Society in order to honor some of the biggest names in film and to also raise funds which will be directed to the year-round programming of the Dallas Film Society, a 501 (c) (3) non-profit organization, and more specifically the 2015 Dallas International Film Festival, presented by AutoNation and the 2015 DFS Summer Camp, presented by SMU – Division of Film & Media Arts.

#### 2014 The Art of Film: Lee & Sarah Papert
Lee & Sarah Papert walks the red carpet and talks to Selig Film News at the 2014 The Art of Film event in Dallas, Texas.

	The Art of Film is held by the Dallas Film Society in order to honor some of the biggest names in film and to also raise funds which will be directed to the year-round programming of the Dallas Film Society, a 501 (c) (3) non-profit organization, and more specifically the 2015 Dallas International Film Festival, presented by AutoNation and the 2015 DFS Summer Camp, presented by SMU – Division of Film & Media Arts.

#### 2014 The Art of Film: Marisa Tomei
Academy Award winning actress Marisa Tomei walks the red carpet and talks to Selig Film News at the 2014 The Art of Film event in Dallas, Texas.

	The Art of Film is held by the Dallas Film Society in order to honor some of the biggest names in film and to also raise funds which will be directed to the year-round programming of the Dallas Film Society, a 501 (c) (3) non-profit organization, and more specifically the 2015 Dallas International Film Festival, presented by AutoNation and the 2015 DFS Summer Camp, presented by SMU – Division of Film & Media Arts.

#### 2014 The Art of Film: Mark & Pam Denesuk
Mark & Pam Denesuk walks the red carpet and talks to Selig Film News at the 2014 The Art of Film event in Dallas, Texas.

	The Art of Film is held by the Dallas Film Society in order to honor some of the biggest names in film and to also raise funds which will be directed to the year-round programming of the Dallas Film Society, a 501 (c) (3) non-profit organization, and more specifically the 2015 Dallas International Film Festival, presented by AutoNation and the 2015 DFS Summer Camp, presented by SMU – Division of Film & Media Arts.

#### 2014 The Art of Film: Michael Cain
Filmmaker Michael Cain walks the red carpet and talks to Selig Film News at the 2014 The Art of Film event in Dallas, Texas.

	The Art of Film is held by the Dallas Film Society in order to honor some of the biggest names in film and to also raise funds which will be directed to the year-round programming of the Dallas Film Society, a 501 (c) (3) non-profit organization, and more specifically the 2015 Dallas International Film Festival, presented by AutoNation and the 2015 DFS Summer Camp, presented by SMU – Division of Film & Media Arts.

#### 2015 Austin Film Festival Award Winners
 

	Austin Film Festival (AFF), the premier Festival to recognize the writer’s contribution to film, is pleased to announce its 2015 Jury and Hiscox Audience and Courage Award Winners in Film, as well as the Screenplay & Teleplay Competition winners.

	 

	The following Jury award winners were selected by category:

	 

		Narrative Feature: The Exile, written by Arturo Ruiz Serrano
	

		Documentary Feature: Monsterman, directed by Antti Haase
	

		Comedy Vanguard Feature: Baby, Baby, Baby, written by Brian Klugman
	

		Dark Matters Feature: Sunny Side Up, written by Willem Bosch
	

		Dark Matters Feature Honorable Mention: The Lion’s Path, written by Sophie-Anne Beaudry
	

		Narrative Short: Vainilla, written by Susana López Rubio
	

		Narrative Student Short: Kimi Kabuki, written by Yoko Okumura
	

		Documentary Short: Chau, Beyond the Lines, directed by Courtney Marsh
	

		Animated Short: The Meek, written by Joe Brumm
	

		Scripted Digital Series: School Nurse, created by Tom Beach, Laura Boersma, and John Stewart Muller
	

	 

	After each Festival screening, audiences voted for the Hiscox Audience Awards, recognizing film favorites among the 2015 slate.

	The following Hiscox Audience Award winners were selected by category:

	 

		Narrative Feature: Keep In Touch, written by Sam Kretchmar and Michael Covino
	

		Documentary Feature: Mully directed by Scott Haze
	

		Documentary Feature Honorable Mention: Of Dogs and Men directed by Michael Ozias
	

		Dark Matters Feature:Reparation written by Kyle Ham and Steve Timm
	

		Comedy Vanguard Feature: Baby, Baby, Baby written by Brian Klugman
	

		Narrative Short: Best Wishes from Millwood written by Max Baker
	

		Documentary Short: The Trials of Constance Baker Motley directed by Rick Rodgers
	

		Animated Short: The Present written by Fabio Cavalcanti and Jacob Frey
	

		Narrative Student Short: Amateur Dictator written by Zach Carver
	

		Scripted Digital Series: Master Class created by Justin Wright Neufeld
	

		Heart of Film: A Single Frame directed by Brandon Dickerson
	

		Stories From Abroad: El Jeremías written by Ana Sofía Clerici
	

		Texas Independent: Jack’s Apocalypse written by Will Moore
	

		Marquee Feature: Until 20 directed by Jamila Paksima and written by Geraldine Moriba
	

	 

	One film was selected to receive the inaugural Hiscox Courage Award. Voted on by the audience, the Hiscox Courage Award is presented to the film that best embodies the virtue of courage and to the filmmaker who best embraced the risk to share the story. The first ever Courage Award went to Jamila Paksima’s and Geraldine Moriba’s Until 20, the story of Texan James Ragan’s quest to live a full and meaningful life despite his terminal battle with osteosarcoma.

	“Hiscox was honored to support Austin Film Festival and all of the inspirational films, filmmakers and subjects that made the week so special,” said Ben Walter, CEO of Hiscox USA. “We’re grateful to give the first Hiscox Courage Award to Until 20 and hope more people will be able to share the courageous life and story of James Ragan depicted in this film.”

	In continuation of AFF’s mission to find and support independent filmmakers, three films were already picked up for distribution at this year’s Festival including Comedy Vanguard 3rd Street Blackout, The Teller and the Truth picked up by FilmBuff, and James Franco’s Memoria which was acquired by Monterey Media.
	"Austin Film Festival is an exceptional source for a true audience reaction for independent films,” said Jere Rae-Mansfield, CFO & Managing Partner of Monterey Media. “We are so pleased to join them in our acquisition news.”

	 

	The following Screenplay Competition winners were selected by category:

	 

		Drama Screenplay Award presented by the Writers Guild of America, East: Detroit by Robert Rue
	

		Comedy Screenplay Award: Maxwell 2.0 by Paul Sanford
	

		Enderby Entertainment Award: The Great Debate by David Hoffman
	

		Darkwoods Productions Sci-Fi Award: The Innkeeper by Michael Catinari
	

		Horror Award: 77 Minutes by Shani Grewal
	

		AMC One-Hour Teleplay Pilot Award: Friend of the Devil by Michael Ouellette
	

		Sitcom Teleplay Pilot Award: Newsperson by Michael Drake
	

		Short Screenplay Award: The New World by Brian Rawlins
	

		Scripted Digital Series Award: Creepypasta by Will Zech& Alex Cope
	

		One-Hour Teleplay Spec Award: The Americans: Custody by Larry Caldwell
	

		Sitcom Teleplay Spec Award: Workaholics: Bring Your Kid To Work Day by Greg Brainos

#### 2015 Dallas International Film Festival Announces Full Lineup
 

	The Dallas Film Society announced today the complete lineup of films chosen to screen at the 9th annual Dallas International Film Festival presented by AutoNation, taking place April 9-19. The 11 day Festival will screen 165 films representing 32 countries. A total of 17 premieres will be featured, including 10 World Premieres, three North American Premieres and four US Premieres.

	The Dallas Film Society announced today the complete lineup of films chosen to screen at the 9th annual Dallas International Film Festival presented by AutoNation, taking place April 9-19. The 11 day Festival will screen 165 films representing 32 countries. A total of 17 premieres will be featured, including 10 World Premieres, three North American Premieres and four US Premieres.

	The Festival’s Opening Night Film, presented by U.S. Risk /Kara & Randall Goss, will be I’LL SEE YOU IN MY DREAMS, starring Emmy and Tony Award-winner Blythe Danner. Well-known for her respected roles in films such as ALICE and THE GREAT SANTINI, Danner will attend the screening to accept the Dallas Star Award, presented by the Dallas Film Society to honor individuals who have made significant contributions to modern cinema and the advancement of the art of film. In addition to her work in film, the actress has won two Emmy Awards for her role in Showtime’s Huff and was nominated twice for roles in Will and Grace and WE WERE THE MULVANEYS. Her list of career accomplishments continues with a Tony Award for her Broadway debut in Butterflies Are Free and nominations for roles in Betrayal, A Streetcar Named Desire and Follies. Danner’s other notable film roles include the MEET THE PARENTS TRILOGY, WHAT’S YOUR NUMBER?, and SYLVIA.

	Also receiving a Dallas Star Award is director John Landis, who is traveling to Dallas to celebrate the 35th anniversary of THE BLUES BROTHERS. Landis will receive his award during Dallas Film Society Honors, co-presented by the Arthur E. Benjamin Foundation, Sheri Deterling, Geoff Hawkes and the Highland Dallas. The ceremony will take place at the Highland Dallas. Landis has left a lasting impression on the film world as director of many iconic comedies such as NATIONAL LAMPOON’S ANIMAL HOUSE, ¡3 AMIGOS!, COMING TO AMERICA, TRADING PLACES, and INTO THE NIGHT. John Landis also wrote and directed AN AMERICAN WEREWOLF IN LONDON and the groundbreaking theatrical short MICHAEL JACKSON’S THRILLER.

	The Festival will also celebrate the incredible life and career of Texas writer, actor and producer L.M. Kit Carson by featuring his 1983 film BREATHLESS. Carson is recognized for writing the Palme d’Or winning PARIS, TEXAS, and also for inventing the first ‘mockumentary’ with his film DAVID HOLZMAN’S DIARY. Carson will receive a posthumous Dallas Star Award, which will be presented to his son, Hunter Carson, during DFS Honors.

	“Completing the lineup for our 9th festival is such a major accomplishment,” said James Faust, artistic director of the Dallas Film Society. “We are proud to have another amazing group of films, filmmakers, and award recipients to present to the DFW community.”

	This year, BAFTA winners and Golden Globe nominees and Phil Lord and Christopher Miller will receive the Texas Avery Animation Award presented by Reel FX during DFS Honors. The Texas Avery Animation Award honors a lifetime achievement in animation filmmaking. Lord and Miller wrote and directed the award winning film THE LEGO MOVIE, for which they earned the BAFTA and BFCA Critics Choice Awards for Best Animated Feature, the National Board of Review for Best Original Screenplay and the Annie Award for Outstanding Achievement in Writing. The film has earned $468 million at the worldwide box office and to-date, is the 4th highest grossing domestic feature of 2014. Additionally, the pair also wrote and directed 2009's hit animated feature CLOUDY WITH A CHANCE OF MEATBALLS, which earned a Golden Globe and Critics Choice nomination for Best Animated Feature along with four Annie Award nominations for excellence in animation, including Best Direction and Best Screenplay. This will be the 9th year of the award and the second time that there will be two recipients of the award. Fellow Golden Globe Nominees Jorge R. Gutierrez and Brad Booker, director and producer of Reel FX's THE BOOK OF LIFE, will present the award to Lord and Miller.  
	 

	"For the past eight years, Reel FX has sponsored the Texas Avery Animation Award, which honors achievement in the animation industry," said Steve O'Brien, CEO of Reel FX. "This year, we give the award to two awesome recipients – Phil Lord and Christopher Miller. With films like this year's blockbuster hit THE LEGO MOVIE and 2009's CLOUDY WITH A CHANCE OF MEATBALLS, they have cemented their place in animation history with unique visuals and stories as well as some pretty catchy lyrics. We feel their creativity and versatility embody the spirit of the award and its namesake, Tex Avery."

	DIFF will also be presenting Audience Awards to filmmakers in three categories. Audience Awards, sponsored by the Arthur E. Benjamin Foundation, Sheri Deterling and Geoff Hawkes, will be given for Best Narrative Feature, Best Documentary Feature, and Best Short Film. The winner for Best Narrative Feature and Best Documentary Feature will each receive a cash prize of $3,500. The winner for Best Short Film will receive a cash prize of $3,000.

	The Embrey Family Foundation will present The Silver Heart Award and a $10,000 cash prize to one inspirational filmmaker or film to honor their dedication for fighting injustices and/or creating social change for the improvement of humanity. The films below marked with ♥ are eligible for the Silver Heart Award.

	Online ticket sales will be available for members only beginning Monday, March 16 at www.DallasFilm.org, with online ticket sales opening to the public on Thursday, March 19. The physical Prekindle Box Office will open on Thursday, March 26. The Prekindle Box Office will be located at Mockingbird station at 5321 E. Mockingbird Ln., Suite 100. For more Box Office information, call 469-828-1719.

	 

	Opening Night Film presented by U.S. Risk/Kara & Randall Goss

	 

	I’LL SEE YOU IN MY DREAMS (USA)

	Director: Brett Haley

	Cast: Blythe Danner; Martin Starr; Sam Elliott; Malin Akerman; June Squibb; Rhea Perlman; Mary Kay Place

	I’LL SEE YOU IN MY DREAMS, directed by Brett Haley, had its World Premiere at the 2015 Sundance Film Festival where it received a standing ovation for its star, Blythe Danner. The film stars Ms. Danner as a widow who’s settled into her life and her age, until a series of events propel her into a renewed engagement with people and the world around her.

	 

	Centerpiece Film

	PLAYING IT COOL (USA) – North American Premiere

	Director: Justin Reardon

	Cast: Chris Evans; Michelle Monaghan; Luke Wilson; Aubrey Plaza; Topher Grace; Anthony Mackie

	It’s this generation’s SWINGERS meets (500) DAYS OF SUMMER. The story is fresh, quirky, and weirdly relatable as this young, slightly pretentious man falls for an unlikely girl, and will stop at nothing to get her even after realizing she’s already in a relationship.

	 

	Premiere Series

	 

	5 FLIGHTS UP (USA)

	Director: Richard Loncraine

	Cast: Morgan Freeman; Diane Keaton; Cynthia Nixon

	Over one crazy weekend, a long-time married couple discovers that finding a new apartment is not about winding down, but starting a new adventure.

	 

	ENDGAME (USA) – World Premiere

	Director: Carmen Marron

	Cast: Jon Gries; Efren Ramirez; Rico Rodriguez; Justina Machado

	A coming of age movie about a young man, struggling to step out of his brother’s shadow, who reluctantly joins the school chess team after a family tragedy and discovers both solace and self-worth.

	 

	LOVE & MERCY (USA)

	Director: Bill Pohlad

	Cast: John Cusack, Paul Dano, Elizabeth Banks, Paul Giamatti

	LOVE & MERCY presents an unconventional portrait of Brian Wilson, the mercurial singer, songwriter and leader of The Beach Boys. Set against the era defining catalog of Wilson’s music, the film intimately examines the personal voyage and ultimate salvation of the icon whose success came at extraordinary personal cost.

	 

	MANGLEHORN (USA)

	Director: David Gordon Green

	Cast: Al Pacino, Holly Hunter, Harmony Korine, Chris Messina

	Left heartbroken by the woman he loved and lost forty years ago, A.J. Manglehorn (Al Pacino) is an eccentric small-town locksmith toiling away at his work while constantly consumed inside by memories of the great love he let slip through his fingers. This humble locksmith's daydreams have a surreal quality. We see life through the lens of his experience, tinged by a hard-won wisdom that's equal parts pragmatism and whimsy as he tries to start his life over again with the help of a new friend (Holly Hunter). David Gordon Green’s MANGLEHORN weaves humor and insight to guide Al Pacino in one of his strongest performances in years.

	 

	RESULTS (USA)

	Director: Andrew Bujalski

	Cast: Kevin Corrigan; Guy Pearce; Cobie Smulders; Brooklyn Decker; Anthony Michael Hall; Constance Zimmer; Giovanni Ribisi

	Recently divorced, newly rich, and utterly miserable, Danny (Kevin Corrigan) would seem to be the perfect test subject for a definitive look at the relationship between money and happiness. Danny’s well-funded ennui is interrupted by a momentous trip to the local gym, where he meets self-styled guru/owner Trevor (Guy Pearce) and irresistibly acerbic trainer Kat (Cobie Smulders). Soon, their three lives are inextricably knotted both professionally and personally.

	 

	SLOW WEST (United Kingdom/New Zealand)

	Director: John Maclean

	Cast: Kodi Smit-McPhee; Michael Fassbender; Ben Mendelsohn; Caren Pistorius; Rory McCann

	At the end of the 19th century, sixteen-year-old Jay Cavendish (Kodi Smit-McPhee) journeys across the American frontier in search of the woman he loves. He is joined by Silas (Michael Fassbender), a mysterious traveler, and hotly pursued by an outlaw along the way.

	 

	THE WOLFPACK (USA)

	Director: Crystal Moselle

	Locked away from society in an apartment on the Lower East Side of Manhattan, the Angulo brothers learn about the outside world through the films that they watch. Nicknamed the Wolfpack, the brothers spend their childhood re-enacting their favorite films using elaborate homemade props and costumes. Everything changes when one of the brothers escapes, and the power dynamics in the house are transformed. The Wolfpack must learn how to integrate into society without disbanding the brotherhood.

	 

	X+Y (United Kingdom)

	Director: Morgan Matthews

	Cast: Asa Butterfield; Sally Hawkins; Rafe Spall; Eddie Marsan

	Preferring to hide in the safety of his own private world, Nathan struggles to connect with people, often pushing away those who want to be closest to him, including his mother, Julie. Without the ability to understand love or affection, Nathan finds the comfort and security he needs in numbers and mathematics.

	 

	Narrative Feature Competition

	 

	ABOUT A GIRL (CHARLEEN MACHT SCHLUSS) (Germany)

	Director: Mark Monheim

	Cast: Jasna Fritzi Bauer; Heike Makatsch; Aurel Manthei; Simon Schwarz; Sandro Lohmann; Lauritz Greve; Dorothea Walda

	Charleen, 15, quick-witted and sassy, is Kurt Cobain’s biggest fan and wonders why “growing up” has to be so complicated. One day, feeling especially melodramatic and rebellious, she decides to pull the plug on her life. Luckily, she fails – and discovers what fun life and love can really be!

	 

	ECHOES OF WAR (USA) – World premiere

	Director: Kane Senes

	Cast: James Badge Dale; Ethan Embry; William Forsythe; Maika Monroe

	A Civil War veteran returns home to the quiet countryside, only to find himself embroiled in a conflict between his family and the brutish cattle rancher harassing them.

	 

	LADYGREY 

	Director: Alain Choquart

	Cast: Peter Sarsgaard; Jérémie Renier; Emily Mortimer; Claude Rich; Liam Cunningham

	South Africa, 10 years after the end of Apartheid. A South African black and white community located at the foot of the Drakensberg Mountains, lives in the trauma of unsolved killings. None of them has forgotten but they all choose to remain silent. A young woman, who has just arrived in the community, will shatter the fragile balance…

	 

	RADIATOR (United Kingdom)

	Director: Tom Browne

	Cast: Richard Johnson; Gemma Jones; Daniel Cerqueira

	A dark, difficult comedy concerning the middle aged Daniel who returns home to help his elderly parents, Leonard and Maria who live in squalor, eccentrically.

	 

	SOME BEASTS (USA) – World Premiere

	Director: Cameron Nelson

	Cast: Frank Mosley; Lindsay Burdge; Heather Kafka

	Living in an insular farming community, Sal Damon, a modern-day Thoreau, seeks solace from a past relationship in Appalachia. After his neighbor dies and he discovers a feral child living on the lam, he must reconcile his place in a world that lives outside of the law.

	 

	SWEET KANDY (USA)

	Director: Nicholas Peate

	Cast: Reginald “Reg” E. Cathey; Charles “Charlie” Robinson; Novella Nelson; Marco St. John

	Bored and dissatisfied with her small town life, 18 year-old Kandy wants and needs a change. She gets her chance when she meets Val, a charming drifter. They run away together. Needing money, Val agrees to deliver a drug package, but when the deal goes wrong he is arrested. In love, out of luck and locked up, Val risks everything to escape and find Kandy before she marries another man and he loses her forever. Set amid the heat and funk of New Orleans, SWEET KANDY is a tale of two young lovers looking for a chance. Cast includes actual inmates from the Louisiana State penitentiary.

	 

	THIS ISN’T FUNNY (USA)

	Director: Paul Ashton

	Cast: Katie Page; Paul Ashton; Edi Gathegi; Anthony LaPaglia; Mimi Rogers; Gia Carides; David Pasquesi; Danielle Panabaker

	Eliot, a stand-up comedian with severe anxiety disorder, meets Jamie, a perpetual traveler who can’t settle down. They fall in love. They push each other’s buttons. Sometimes meeting the right person at the wrong time can be the best thing that ever happened to you.

	 

	Documentary Feature Competition

	THE AMINA PROFILE (Canada) ♥

	Director: Sophie Deraspe

	Amina Arraf, a pretty Syrian-American revolutionary who’s having an online affair with Montrealer Sandra Bagaria, launches the provocatively named blog A Gay Girl in Damascus. As the Syrian uprising gains momentum, the blog attracts a huge following. But it’s Amina’s subsequent abduction that sparks an international outcry to free her.

	 

	BARGE (USA)

	Director: Ben Powell

	Dry land’s misfits find purpose and direction twenty-eight days at a time as the steady hands of a towboat due for the port of New Orleans. From a green deckhand following his father and grandmother into the family business, to a former convict working his way to First Mate, job by job; as long as the boat’s moving they’re making money.

	 

	CARTEL LAND (USA/Mexico) ♥

	Director: Matthew Heineman

	Filmmaker Matthew Heineman embeds himself in the heart of darkness as Nailer, “El Doctor,” and the cartel each vie to bring their own brand of justice to a society where institutions have failed. CARTEL LAND is a chilling meditation on the breakdown of order and the blurry line between good and evil.

	 

	FRAME BY FRAME (USA) ♥

	Director: Alexandria Bombach; Mo Scarpelli

	After decades of war and an oppressive Taliban regime, four Afghan photojournalists face the realities of building a free press in a country left to stand on its own – reframing Afghanistan for the world and for themselves.

	 

	HOLBROOK/TWAIN: AN AMERICAN ODYSSEY (USA)

	Director: Scott Teems

	Featuring: Sean Penn, Martin Sheen, Emile Hirsch

	Hal Holbrook’s Mark Twain is an icon of American theatre. Since first walking onto the stage in 1954, Holbrook has performed his one-man show on Broadway, in all fifty states, in twenty countries, behind the Iron Curtain, and before five U.S. Presidents. Millions have seen the Tony and Emmy award-winning show, and countless actors and scholars have been influenced by the work. This documentary celebrates the sixtieth consecutive year of Holbrook’s one-man masterpiece. This is the epic story of “Mark Twain Tonight!” This is the story of an American odyssey.

	 

	WELCOME TO LEITH (USA) ♥

	Director: Michael Beach Nichols; Christopher K. Walker

	A white supremacist attempts to take over a small town in North Dakota.

	 

	WESTERN (USA/Mexico)

	Director: Bill Ross; Turner Ross

	For generations, all that distinguished Eagle Pass, Texas from Piedras Negras, Mexico was the Rio Grande. But when darkness descends upon these harmonious border towns, a cowboy and lawman face a new reality that threatens their way of life.

	 

	Documentary Showcase

	 

	BEING EVEL (USA)

	Director: Daniel Junge

	Featuring: Johnny Knoxville; Tony Hawk; Travis Pastrana; Robbie Madison; Mat Hoffman

	Millions know the man, but few know his story. In BEING EVEL, Academy Award® winning filmmaker Daniel Junge (SAVING FACE) and actor/producer Johnny Knoxville take a candid look at American daredevil and icon Robert “Evel” Knievel, while also reflecting on our voracious public appetite for heroes and spectacle. 

	 

	DO I SOUND GAY? (USA) ♥

	Director: David Thorpe

	Featuring: David Sedaris; Dan Savage; Tim Gunn; Margaret Cho

	Uncomfortable with sounding “too gay,” journalist and filmmaker David Thorpe meets with a speech pathologist to discover his true voice. What began as a personal journey quickly became a larger examination of sexuality and identity. A witty and insightful documentary, DO I SOUND GAY?, reminds us that being comfortable and authentic in your own voice—no matter how it sounds—is ultimately what’s most important.

	 

	FRESH DRESSED (USA)

	Director: Sacha Jenkins

	With funky, fat-laced Adidas, Kangol hats, and Cazal shades, a totally original look was born—Fresh—and it came from the black and brown side of town where another cultural force was revving up in the streets to take the world by storm. Hip-hop, and its aspirational relationship to fashion, would become such a force on the market that Tommy Hilfiger, in an effort to associate their brand with the cultural swell, would drive through the streets and hand out free clothing to kids on the corner.

	 

	RAIDERS!: The Story of the Greatest Fan Film Ever Made (USA)

	Director: Jeremy Coon; Tim Skousen

	In 1982, two 12 year-olds in Mississippi set out to remake their favorite film: RAIDERS OF THE LOST ARK. It took seven turbulent years that tested the limits of their friendship and nearly burned down their mother’s house. By then end, they had completed every scene except one… the explosive airplane scene. Thirty years later, they attempt to finally realize their childhood dream by building a replica of the 75-foot “Flying Wing” plane from RAIDERS in a mud pit in the backwoods of Mississippi… and then blow it up! This is the story behind the making of what is known as “the greatest fan film ever made.” 

	 

	SHE’S THE BEST THING IN IT (USA)

	Director: Ron Nyswaner

	Featuring: Frances McDormand; Melissa Leo; Tyne Daly; Estelle Parsons; Valerie Harper; Charlotte Rae; Doug Wright.

	At age 79, veteran character actor Mary Louise Wilson has won a Tony but can't get a job on stage. So she returns to her hometown, New Orleans, to teach her first acting class to skeptical members of the YouTube generation. While demanding emotional honesty from her students, she examines the sacrifices she's made for her career and wonders whether her life has been successful. Eventually her love of acting is rekindled.

	 

	World Cinema presented by the Dallas Convention & Visitors Bureau

	 

	THE AMBASSADOR TO BERN (A BERNI KOVET) (Hungary)

	Director: Attila Szász

	Cast: János Kulka; Tamás Szabó Kimmel; József Kádas; Rozi Lovas; Rémusz Szikszai; Mónika Balsai; Laszlo I. Kish

	First-time director Attila Szász’s political thriller chronicles the day of August 16, 1958, when two Hungarian immigrants break into the Hungarian embassy in Bern and take the ambassador hostage. As the Swiss police surround the building and a group of Hungarian immigrants shows up on the street to demonstrate, a tense, twist-filled hostage drama plays out behind the closed doors of the embassy. The screenplay by Norbert Köbli (’The Exam’) is based on a true story about the aftermath of the 1956 Hungarian revolution.

	 

	A BORROWED IDENTITY (Israel)

	Director: Eran Riklis

	Cast: Tawfeek Barhom; Ali Suliman

	Eyad is given a chance to be the first and only Arab accepted into a prestigious Jewish boarding school in Jerusalem. Being an outsider, Eyad wants to belong, even if he doesn’t know exactly to whom or to what. But then he falls in love with Naomi, a Jewish girl, and is forced to leave the school when their relationship is uncovered, Eyad faces a decision that will change his life forever.

	 

	THE CUT (KESIK) (Germany/France/Poland/Italy/Canada/Turkey)

	Director: Fatih Akin

	Cast: Tahar Rahim; Simon Abkarian; Makram Khoury; Hindi Zahra; Kevork Malikyan

	Mardin, 1915: one night, the Turkish police round up all the Armenian men in the city, including the young blacksmith, Nazaret Manoogian, who is separated from his family. Years later, after managing to survive the horrors of the genocide, he hears that his two daughters are also still alive. He becomes fixated on the idea of finding them and sets off to track them down.

	 

	HOLLOW (DOAT HON) (Vietnam)

	Director: Ham Tran

	Cast: Kieu Chinh; Jayvee Mai The Hiep; Ngoc Hiep Nguyen

	A young girl falls into a river and drowns. When her body is found in a remote village along the river, her uncle arrives to claim her body, only to find that she is very much alive. But when she returns to her family, unexplainable occurrences lead them to believe she is possessed. 

	 

	JASMINE (Hong Kong/USA) – North American Premiere

	Director: Dax Phelan

	Cast: Jason Tobin; Eugenia Yuan; Byron Mann; Sarah Lian

	JASMINE is a gripping and chilling psychological thriller about a man still struggling to come to terms with his grief nearly a year after his wife’s unsolved murder.

	 

	KUNG FU KILLER (YI GEN REN DE UL LIN) (China/Hong Kong) – US Premiere

	Director: Teddy Chan

	Cast: Wang Baoqiang; Donnie Yen

	A vicious killer, Fung (Wang Baoqiang), is going around Hong Kong killing top martial arts experts, leaving a secret weapon called the Eaves Swallow as his calling card. When convicted killer and kung fu expert Hahou (Donnie Yen) hears of this, he offers to help the police catch the killer in return for his freedom.

	 

	THE LOOK OF SILENCE (Denmark/Finland/Indonesia/Norway/UK) ♥

	Director: Joshua Oppenheimer

	In Joshua Oppenheimer’s companion piece to the Oscar®-nominated THE ACT OF KILLING, a family of survivors of the 1965 Indonesian genocide discovers how their son was murdered and the identity of the men who killed him. The youngest brother is determined to break the spell of silence and fear under which the survivors live, and so confronts the men responsible for his brother’s murder – something unimaginable in a country where killers remain in power.

	 

	LOVE AT FIRST FIGHT (LES COMBATTANTS) (France)

	Director: Thomas Cailley

	Cast: Kevin Azais; Adele Haenel

	Facing an uncertain future and a dearth of choices in a small French coastal town, Arnaud meets and falls for the apocalyptic-minded Madeleine, who joins an army boot camp to learn military and survival skills to prepare for the upcoming environmental collapse. Intrigued and excited by Madeleine, Arnaud signs up too. They soon realize the boot camp is harder than they had imagined, but the experience cements them together as the young couple continues to explore their love.

	 

	MARGARITA, WITH A STRAW (India)

	Director: Shonali Bose; Nilesh Maniyar

	Cast: Kalki Koechlin; Sayani Gupta; William Moseley; Revathy

	In this inspirational love story, a Delhi university student and aspiring writer afflicted with cerebral palsy leaves India for New York University, where she falls for a fiery young activist. MARGARITA, WITH A STRAW is a consistently rewarding portrait of a young woman coming of age, making mistakes, and finding the unpredictable path of her own desire.

	 

	TAJRISH: AN UNFINISHED STORY (Iran) – US Premiere

	Director: Pourya Azarbayjani

	Cast: Mohammad Reza Forootan, Shaghayegh Farahani; Afshin Hashemi; Shirin Yazdanbakhsh

	Soroor and Amir first met 20 years ago. Since then, she has been widowed and is now the single mother of child and he got married, but their friendship has remained. 

	 

	WORDS WITH GODS (Mexico)

	Directors: Guillermo Arriaga, Hector Babenco, Álex de la Iglesia, Bahman Ghobadi, Amos Gitai, Emir Kusturica, Mira Nair, Hideo Nakata, Warwick Thornton

	Cast: Demian Bichir; Emir Kusturica; Yilmaz Erdogan; Sarai Givaty; Pooneh Hajimohammadi

	Words with Gods features nine powerful stories of faith, created by some of the world’s most celebrated filmmakers. A dramatic spectrum of beliefs are represented, with each filmmaker speaking about the one closest to the culture they depict in their story: Warwick Thornton deals with Aboriginal Spirituality, Héctor Babenco with Umbanda, Mira Nair with Hinduism, Hideo Nakata with Shinto Buddhism, Amos Gitai with Judaism, Álex de la Iglesia with Catholicism, Emir Kusturica with Orthodox Christianity, Bahman Ghobadi with Islam and Guillermo Arriaga with Atheism. The film is a panoramic global story that confronts birth & death, fateful choices and faith lost & found.

	 

	German Spotlight presented by Lufthansa Airlines

	 

	CONCRETE LOVE – THE BOHM FAMILY (DIE BOEHMS – ARCHITEKTUR EINER FAMILIE) (Germany/Switzerland)

	Director: Maurizius Staerkle-Drux

	Gottfried Böhm is regarded as Germany’s preeminent Architect. His father, wife and three sons are all architects as well. Professional collaboration within the family appears to be an equally fertile and fragile proposition.

	 

	DAS BOOT (1981; West Germany)

	Director: Wolfgang Petersen

	Cast: Jürgen Prochnow; Herbert Grönemeyer, Klaus Wennemann, Hubertus Bengsch, Martin Semmelrogge

	DAS BOOT is an epic film that unfolds almost entirely in the cramped confines of a Nazi U-Boat during World War II. Director Wolfgang Peterson captures an intimate, claustrophobic world in this classic German repertory film.

	 

	FITZCARRALDO (1982; Germany/Peru)

	Director: Werner Herzog

	Cast: Klaus Kinski, Claudia Cardinale, José Lewgoy, Miguel Ángel Fuentes

	Set in South-America at the turn of the 19th century, FITZCARRALDO is loosely based on historic events from the life of rubber baron Carlos Fitzcarraldo. Award-winning German writer/director Werner Herzog’s films are known for their epic quality and this one is no exception.

	 

	METROPOLIS (1927; Germany)

	Director: Fritz Lang

	Cast: Alfred Abel, Brigitte Helm, Gustav Fröhlich, Rudolf Klein-Rogge, Fritz Rasp, Theodor Loos

	In Iconic German director Fritz Lang’s pioneering science-fiction film, METROPOLIS – set in a futuristic urban dystopia – a man loses his hands, head, and heart to change the city he calls home.

	 

	NOWITZKI: THE PERFECT SHOT (Germany) – North American Premiere

	Director: Sebastian Dehnhardt

	Featuring: Dirk Nowitzki, Mark Cuban, Steve Nash, Donnie Nelson, Holger Geschwinder, Kobe Bryant, Jason Kidd

	NOWITZKI: THE PERFEST SHOT is a feature length documentary about NBA superstar Dirk Nowitzki, friendship, and what it really takes to fulfill your dreams.

	 

	STATIONS OF THE CROSS (KREUZWEG) (Germany)

	Director: Dietrich Brüggemann

	Cast: Lea van Acken; Franziska Weisz; Florian Stetter

	Captured in fourteen fixed-angle, single-shot tableaux, STATIONS OF THE CROSS is an indictment of fundamentalist faith and an articulation of one teen’s struggle to define her own life.

	 

	WHO AM I – NO SYSTEM IS SAFE (WHO AM I – KEIN SYSTEM IST SICHER) (Germany)

	Director: Baran bo Odar

	Cast: Tom Schilling; Elyas M’Barek; Hannah Herzsprung; Wotan Wilke Möhring; Antoine Monot, Jr.; Trine Dyrholm; Stephan Kampwirth

	BENJAMIN (TOM SCHILLING) is a nobody, an outsider. This changes when he meets the charismatic MAX (ELYAS M‘BAREK). The two of them couldn‘t be more different, but they share one mutual interest: hacking. Together with Max‘s friends, impulsive STEPHAN (WOTAN WILKE MÖHRING) and paranoid PAUL (ANTOINE MONOT) they form the subversive hacker group CLAY (CLOWNS LAUGHING @ YOU). CLAY provokes with hilarious hacks and has the finger on the pulse of a whole generation. For the first time in his life Benjamin feels like he belongs and even attractive MARIE (HANNAH HERZSPRUNG) starts to notice him. What started out as fun soon turns deadly serious, when Benjamin and CLAY are suddenly investigated by German Secret Service and Europol. With HANNE LINDBERG (TRINE DYRHOLM), the leading Europol cybercrime investigator, at their heels, Benjamin starts to realize that he is no longer a nobody, but one of the most wanted hackers of the world.

	 

	Latino Showcase presented by El Creative, Univision TV & Radio, Colibri

	 

	ALICE IN MARIALAND (ALICIA EN EL PAIS DE MARIA) (Mexico) – US Premiere

	Director: Jesús Magaña Vázquez

	Cast: Bárbara Mori; Stephanie Sigman; Claudio Lafarga

	Tonatiuh (33), a young writer with a melancholy demeanor, and Maria (30), a beautiful model with a sweet gaze, live a tempestuous relationship that ends abruptly in an automobile accident they experience during one of their violent arguments: Maria dies and Tonatiuh is left in a coma. During his agony, he reconstructs details of his relationship with Maria, but in a brief moment of lucidity he sees Alicia (27), an attractive nurse. Tonatiuh incorporates her into his memory and turns her into the salvation of his unconscious gloom. A year later, after he is discharged from the hospital, they meet up. However, Alicia has amnesia, and for him she is but a fleeting memory. They don't recognize each other but are attracted and engage in a passionate relationship, almost as volatile as that of Tonatiuh and Maria, whose memory is ever present, and who will intercede more and more in Tonatiuh's new relationship, until he decides to solve this in an unhealthy manner, but that is – apparently – very effective.

	 

	ASCO (Brazil)

	Director: Ale Paschoalini

	Cast: Guto Nogueira; Sol Faganello
	Asco is the poisonous feeling aroused in a heart broken by the blade of love.

	 

	MR. KAPLAN (Uruguay)

	Director: Álvaro Brechner

	Cast: Héctor Nogurera; Néstor Guzzini

	Jacob Kaplan (Héctor Nogurera), one of many Jews who fled Europe for South America during World War II, lives an ordinary life in Uruguay. At almost 76, he’s become fed up with his community and his family’s lack of interest in its own heritage. MR. KAPLAN is a crowd-pleasing black comedy revolving around a Jewish retiree who is convinced the shy, old German owner of a local seafront restaurant is in fact a former Nazi.

	 

	Texas Competition presented by Panavision – Grand Jury Prize winner receives a camera rental package valued at $30,000 from Panavision.

	 

	DON’T LOOK IN THE BASEMENT 2 (USA) – World Premiere

	Director: Anthony Brownrigg

	Cast: Andrew Sensenig, Frank Mosely; Scott Tepperman; Jim O’Rear; Megan Emerick; Willie Minor

	After 40 years the only known survivor of a mass murder arrives at Green Park mental institution, his presence triggering a series of increasingly disturbing events.

	 

	THE GUY WITH THE KNIFE (USA) ♥ – World Premiere

	Director: Alison Armstrong

	Twenty years after he helped put Jon Buice in a Texas prison, Ray Hill is fighting to free him. Filmed over eight years, THE GUY WITH THE KNIFE  traces the history of the friendship between a prominent gay rights activist and a convicted ‘gay bash’ murderer, set against the backdrop of gay rights, victims’ rights, and prisoners’ rights, in the harsh Texas justice system.

	 

	LONE STAR HOLY WAR (USA) – World Premiere

	Director: Lindell Singleton

	LONE STAR HOLY WAR is a sports documentary that looks into the pride, passion and politics of the century-old rivalry between Texas and Texas A&M. This sports documentary explores the tragic loss of the in-state rivalry and tradition through a historical review, in-depth interviews with former coaches, players, fans, sports analysts plus gripping game footage

	 

	THE LOVE INSIDE (USA) – World Premiere

	Director: Andy Irvine; Mark Smoot

	Cast: Zachary Knighton; Joey Kern; Kat Foster; Betsy Phillips; Bryon Brown; Ashley Spillers; Indigo Rael

	When Vaughn invites his closest friends to a cabin in rural Texas to meet his fiancée, he expects a relaxing weekend reminiscing about the old days. But when a friend arrives with his ex-girlfriend, long repressed feelings are reawakened and his engagement is suddenly thrown into doubt in this subversive romantic comedy.

	 

	RED ON YELLA, KILL A FELLA (USA) – World Premiere

	Director: Duane Graves; Justin Meeks

	Cast: Bridger Zadina; Michael Berryman; Sawyer Bell; Tina Rodriguez; Pepe Serna; Edwin Neal

	In the autumn of 1900, outlaw Claude Barbee puts his “retirement plan” into action, attempting to lead his train-robbing gang across Texas to recover a cash stash hidden after a botched railroad heist. They soon discover they’re being hunted by more than just the law – but rather a merciless, unexpected evil quite possibly greater than themselves.

	 

	SACRIFICE (USA) 

	Director: Michael Cohn

	Cast: Luke Kleintank;  Dermot Mulroney; Melora Walters; Austin Abrams; Brandon Smith; Lewis Tan

	HANK (Luke Kleintank) is a handsome, multi-talented high school student who has just led his football team to a stunning victory during the biggest game of the season. Eager scouts are circling and Hank’s blue-collar parents, (played by Dermot Mulroney and Melora Walters), are counting on their golden boy to win a scholarship to a good college so he can enjoy a brighter future, far away from their hardscrabble life in Texas. Their younger son, TIM (Austin Abrams) more of a loser than a winner, idolizes his older brother and persuades Hank and his friends, KAZ (Brandon Smith) and BENNY (Lewis Tan), to let him tag along on their celebratory hunting trip. It is a decision they soon regret. Tim’s immature behavior after an accidental shooting leads to a series of bad decisions, a second wave of tragedy, and a hasty cover-up. Hank finds himself at the center of a desperate and rapidly deteriorating situation that tests his moral compass and threatens to destroy his family…and his dream.

	 

	THUNDER BROKE THE HEAVENS (USA) – World Premiere

	Director: Tim Skousen

	Cast: Alex Peters; Gavin Howe; Tanner Beard; Tom Nowicki; Hadley Eure

	In a Hansel and Gretel-esque modern fairy tale, siblings Samantha (13) and William Paul (6) must survive on their own after a tragedy kills their family. They are placed in an abusive foster home, but when Samantha overhears that they are to be split up, they escape to live in a crumbling shack in the woods. Life is hard, but they receive help from a mysterious source. When supplies run out and William Paul falls ill, Samantha must find a way for them to survive – before it’s too late.

	 

	Family Friendly

	 

	THE ADVENTURES OF PEPPER AND PAULA (USA)

	Director: Kevin and Robin Nations

	Cast: Allie DeBerry; Mindy Raymond; John Michael Davis; Holt Boggs

	Paula, a world champion gunslinger and the star of a live action Wild West show, is on top of the world, but when her world literally comes to a crash in the form of a horrible accident, it is up to her best friend, her dog Pepper, to save her. As Paula recovers from her accident, Lula Belle (Allie DeBerry of Disney’s ANT FARM) takes over the show. But she’s up to no good and it’s up to Pepper to run that little filly out of town. The result is a fun, action packed, heartwarming story that the entire family can enjoy.

	 

	BATKID BEGINS: THE WISH HEARD AROUND THE WORLD (USA)

	Director: Dana Nachman

	On one day, in one city, the world comes together to grant one 5 year old cancer patient his wish. BATKID BEGINS: THE WISH HEARD AROUND THE WORLD looks at the ‘why’ of this flash phenomenon. Why did the intense outpouring of spontaneous support for a child reverberate around the world and become one of the biggest ‘good news stories’ ever?

	 

	PAPER PLANES (Australia) – US Premiere

	Director: Robert Connolly

	Cast: Sam Worthington; Ed Oxenbould; Deborah Mailman

	Dylan Webber, is an imaginative twelve-year old boy with a knack for folding and flying paper planes. After discovering his talent could take him to the top at the World Junior Paper Plane Championship, Dylan prepares to take on powerful rivals. With a great challenge soaring ahead, and a goal to fly into the number one spot, there’s no telling how far he can go!

	 

	PEE WEE’S BIG ADVENTURE (1985; USA)

	Director: Tim Burton

	Cast: Paul Reubens, Elizabeth Daily, Mark Holton, Diane Salinger, Judd Omen

	Almost as much fairy tale as adventure, Tim Burton’s PEE-WEE’S BIG ADVENTURE is a simple yet brilliantly written story about a boy and his bike.

	 

	Deep Ellum Sounds

	 

	DARE TO DRUM (USA) – World Premiere

	Director: John Bryant

	Featuring: Stewart Copeland

	Musical journeys taken by percussionists often start with a simple rhythmic calling, a seductive sound that can often lead to extensive travels around the world in pursuit of permutations and possibilities of percussion. This film speaks to the uniquely inherent traits that drummers and percussionists possess as natural explorers of music and sound, and how this particular story explores the challenge of translating foreign voices of percussive expression into the dialect of a Western classical orchestra setting. Five accomplished percussionists and a rock star composer come together with a major American orchestra to create a groundbreaking work.

	 

	THE JONES FAMILY WILL MAKE A WAY (USA)

	Director: Alan Berg

	A rural, Pentecostal preacher and a jaded rock critic form an unlikely alliance that pushes them both in unexpected ways.

	 

	Midnight Specials

	 

	CLOSER TO GOD (USA)

	Director: Billy Senese

	Cast: In this dark indie thriller, a genetic scientist creates the first human clone. But an earlier experiment threatens to destroy everything he's built and puts his family in grave danger.

	Jeremy Childs; Shelean Newman; Shannon Hoppe; David Alford; Jake Speck; Isaac Disney

	 

	TURBO KID (Canada/New Zealand)

	Director: Anouk Whissell, François Simard, Yoann-Karl Whissell

	Cast: Munro Chambers; Michael Ironside; Laurence Leboeuf

	TURBO KID is a post-apocalyptic, BMX-powered, blood-splattered love story that follows the epic journey of an orphaned outcast reluctant to be a hero in the wasteland of an alternate future.

	 

	Special Presentations

	 

	7 CHINESE BROTHERS (USA)

	Director: Bob Byington

	Cast: Jason Schwartzman; Eleanore Pienta; Olympia Dukakis; Tunde Adebimpe; Stephen Root

	Larry (Jason Schwartzman) is an unqualified, unemployable, inebriated prankster who rides a tide of booze onto the glorious shores of undiscriminating Quick-Lube. Taking a part time job vacuuming cars and washing windshields, Larry finds himself mixed up with hostile co-workers and unsatisfied customers, while also finding himself smitten with his lovely boss, Lupe Torrez (Eleanore Pienta). Will Larry keep it together long enough to win the girl, provide for man’s best friend (his dog Arrow), and do his grandmother (Olympia Dukakis) proud?

	 

	THE BLUES BROTHERS (1980; USA)

	Director: John Landis

	Cast: John Belushi; Dan Aykroyd; James Brown; Cab Calloway; Ray Charles; Aretha Franklin; John Lee Hooker

	Jake Blues, just out from prison, puts together his old band to save the Catholic home where he and brother Elwood were raised.

	 

	BREATHLESS (1983, USA) – Screening in honor of co-writer L.M. Kit Carson

	Director: Jim McBride

	Cast: Richard Gere, Valérie Kaprisky, Art Metrano, John P. Ryan, William Tepper

	Richard Gere is a petty crook on the run in this 1983 Hollywood remake of Jean-Luc Godard’s French New Wave classic. In their redo of Godard’s milestone director Jim McBride and  co-screenwriter, L.M. Kit Carson provide a more linear narrative than the original, featuring memorable cinematography and production design setting off L.A. locations.

	 

	THE DAY WEST SHOOK TEXAS (USA) – Work-in-Progress Screening

	Director: Jim Gerik

	West, TX is a tiny town about 18 miles north of Waco well-known amongst Texans for its baked goods. But on Wednesday, April 17th, 2013, West earned more of a certain international fame when it was rocked by the explosion of a fertilizer storage plant. While an accident of this magnitude is often only the beginning of the devastation, West stands as an example of how a truly close-knit community reacts in the face of tragedy. Informative eyewitness and first responder accounts illustrate how the citizens banded together on that day and continue to rebuild – both physically and in spirit.

	 

	DIVINE ACCESS (USA)

	Director: Steven C. Prince

	Cast: Billy Burke; Gary Cole; Patrick Warburton; Sarah Shahi; Joe David Moore; Dora Madison; Barak Hadley; Adrienne Barbeau

	DIVINE ACCESS is a road movie, a buddy picture and an often sweet, thought provoking story of redemption. Jack Harriman has seen it all. After he is asked to join a cable access TV show produced by his friend Bob McCord and humiliating the current host of the show, the Reverend Guy Roy Davis, Jack becomes a spiritual celebrity and takes to the road on a speaking tour accompanied by Nigel, a self-proclaimed catcher, Amber, a down on her luck call girl, and Marian, an enigmatic beauty who challenges Jack’s beliefs and questions whether he has some deeper calling. Forces both natural and supernatural lead Jack on a journey to discover his own spiritual truth, culminating in a showdown with Guy Roy Davis.

	 

	DO YOU DREAM IN COLOR? (USA)

	Director: Abigail Fuller; Sarah Ivy
	Connor, Nick, Sarah and Carina are like most teenagers navigating the growing pains of high school, but unlike their peers these four teens face another challenge – they’re blind. DO YOU DREAM IN COLOR? is an enlightening and poignant coming of age story that captures the inspired journey of four courageous teenagers as they strive to achieve their goals:  To be a sponsored skateboarder, to travel the world, to become a rock star and to be the first family member to graduate high school. Their extraordinary stories shine a provocative light on both the social and institutional obstacles faced by people who are blind in the sighted world and what it takes to surmount these barriers.

	 

	THE HUSTLER (1961; USA)

	Director: Robert Rossen

	Cast: Paul Newman, Jackie Gleason, Piper Laurie, George C. Scott

	With oppressive visuals set off by brilliant performances from a star-studded cast lead by Paul Newman, THE HUSTLER looks and feels like the last ‘40s Film Noir.

	 

	THE LEGO MOVIE (2014; USA)

	Director: Phil Lord; Christopher Miller

	Cast: Chris Pratt, Elizabeth Banks, Will Arnett, Will Ferrell, Morgan Freeman, Charlie Day, Alison Brie

	THE LEGO MOVIE is a clever, fun and vibrant world, bringing you back to your childhood and the creativity that came with playing with Legos.

	 

	MOST LIKELY TO SUCCEED (USA) ♥

	Director: Greg Whiteley

	The feature­-length documentary MOST LIKELY TO SUCCEED examines the history of education in the United States, revealing the growing shortcomings of conventional education methods in today’s innovative world. The film explores compelling new approaches that aim to revolutionize teaching as we know it. After seeing this film, the way you think about “school” will never be the same.

	 

	RAGING BULL (1980; USA)

	Director: Martin Scorsese

	Cast: Robert De Niro, Cathy Moriarty, Joe Pesci, Frank Vincent, Nicholas Colasanto

	Recognized as one of the best films about boxing, and maybe the best film of Martin Scorsese’s career, RAGING BULL gave audiences a story that shed light on Italian-Americans’ fight for family and survival in mid 20th-century New York.

	 

	Shorts Competition

	 

	+/- (USA)

	Director: Andy Irvine; Mark Smoot

	A young couple examines their relationship as they await the result of a pregnancy test.

	 

	{THE AND} Marcela & Rock (USA)

	Director: Topaz Adizes

	{THE AND} MARCELA & ROCK is a short documentary that brings the viewer into the emotional space of a modern day relationship. This short film is an intimate conversation between a husband and wife over the obstacles in their union, and is part of the larger interactive relationship genome project (www.theand.us). {THE AND} is the best couples therapy that you’ll ever witness.

	 

	ADJUST-A-DREAM (USA)

	Director: Jonathan Wysocki

	Trust issues are tested as a gay male couple shop for their first mattress.

	 

	AUDREY MAKE A MIXTAPE (USA)

	Director: James Mackenzie

	It’s 1988. Audrey hopes to save her crush from losing his virginity to the queen bee. Weapon of choice? A blank cassette tape.

	 

	BAD GUY #2 (USA)

	Director: Chris McInroy

	Promotions are good, unless you’re bad.

	 

	BUTTER YA’SELF (USA)

	Director: Julian Petschek

	A banana and a hot dog bun are famous.

	 

	CAST IN INDIA (India/USA)

	Director: Natasha Raheja

	Iconic and ubiquitous, thousands of manhole covers dot the streets of New York City. Enlivening the everyday objects around us, this short film is a glimpse of the working lives of the men behind the manhole covers in New York City.

	 

	THE CHICKEN (Germany/Croatia)

	Director: Una Gunjak

	The day-to-day life of a six-year-old girl growing up during unstable times in Sarajevo is shaken up when a chicken joins her family.

	 

	CROOKED CANDY (USA)

	Director: Andrew Rodgers

	Kinder Surprise eggs are enormously popular around the world. From the foil wrapper to the chocolate shell, the plastic yolk capsule to the clever toy inside, Kinder eggs are practically a global rite of childhood. That is, except in the United States, where they’re considered a choking hazard and are illegal. This is the story of a Kinder smuggler.

	 

	CUTAWAY (Canada)

	Director: Kazik Radwanski

	Told solely through close details of hands and objects, this quiet, incredibly perceptive film follows a man through what should have been an ordinary day but an important appointment changes his life.

	 

	DAY 40 (Canada)

	Director: Sol Friedman

	Cast: John Boylan; Rowie Spodek

	In this animated retelling of the Noah’s Ark story, various unholy activities fill the great ship, as the animals discover the darker side of their nature. 

	 

	THE FACE OF UKRAINE: CASTING OKSANA BAIUL (Australia)

	Director: Kitty Green

	Adorned in pink sequins, little girls from across a divided, war-torn Ukraine audition to play the role of gold medal-winning figure skater Oksana Baiul, whose tears of joy once united their troubled country.

	 

	GRAND ZERO (USA)

	Director: Kevin Oeser

	A family man returns to his hometown to settle his parents' estate, but discovers that he is the last person in town who's not part of a legendary network-marketing pyramid scheme.

	 

	HAZE (USA)

	Director: Chloe Domont

	A well-intentioned young man struggles to explain last night.

	 

	KNOCK KNOCK (USA)

	Director: Jeff Betancourt             

	Val and her friends play a game that allows them to communicate with the dead. The Knock Knock Game turns any doorway into a portal to the hereafter, but the girls soon learn that are rules that should never be broken.

	 

	THE LITTLE DEPUTY (Canada)

	Director: Trevor Anderson

	Trevor tries to have a photo taken with his father.

	 

	LOVE ME TINDER (UK)

	Director: Sami Abusamra

	An elder woman and a younger man spend an awkward evening together after meeting on a dating app; a dark comedy about an encounter between two lonely strangers.

	 

	MASTER HOA’S REQUIEM (USA)

	Director: Scott Edwards

	In search of his dead wife's grave, a Vietnamese martial arts master returns 30 years later to the waters that claimed his family in hopes of putting to rest his hellish past.

	 

	MEAT (USA)

	Director: Michael Forstein

	Desperate for work, Darren agrees to a one-day trial as a door-to-door meat salesman.

	 

	MELVILLE (USA)

	Director: James Johnston

	Marcus is dealing with some serious shit but he can't seem to talk to anyone about it.

	 

	MULIGNANS (USA)

	Director: Shaka King

	mulignan(s) /moo.lin.yan(s)/ n. 1. Italian-American slang for a black man. Derived from Italian dialect word for "eggplant." See also: moolie. Source: Urban Dictionary and pretty much every mob movie ever.

	 

	MYRNA THE MONSTER (USA)

	Director: Ian Samuels

	Myrna the monster, a heart-broken alien dreamer from the moon, describes her life to a Los Angeles support group. She talks about her laundromat romance, attempts at becoming an actress, and a transcendent desert drug trip with her best friend Shelly. Her collective experiences give her the courage to make her most personal confession and her most difficult choice. Should she stay or should she go back to her moon lover?

	 

	OASIS (USA)

	Director: Carmen Jimenez

	After her husband dies, Nieves inherits his job as the super of a decaying apartment complex in New York City. But the job becomes more difficult than she anticipated when she discovers a disturbing secret in one of the units.

	 

	OH LUCY! (Japan/Singapore/USA)

	Directo: Atsuko Hirayanagi

	Setsuko, a 55-year-old single 'office lady' in Tokyo, is given a blonde wig and a new identity, “Lucy,” by her young unconventional English instructor. “Lucy” awakens desires Setsuko never knew she had. When the instructor suddenly disappears, Setsuko must come to terms with what remains – herself.

	 

	ONE HITTA QUITTA (USA)

	Director: Ya’Ke Smith

	A boy, who has never had to suffer the consequences for his actions, becomes severely addicted to internet violence, leading him to act out in violent ways himself.

	 

	THE OUTFIT (USA)

	Director: Yen Tan

	An outfit unwittingly triggers rumors about the sexuality of a conservative congressman. Inspired by actual events.

	 

	PAPER WRAP FIRE (USA)

	Director: Raymond Yeung

	A Chinese teenager is left alone in a Community Center where he encounters a handsome man which leads to a discovery that shatters his innocence.

	 

	PINK GRAPEFRUIT (USA)

	Director: Michael Mohan

	A young married couple brings two of their single friends out to Palm Springs for a long weekend. It does not go as planned.

	 

	QUESO FLAMEADO (USA)

	Director: Jean Pesce

	Crispus is a collector of antique murder weapons, champion of dogs, and connoisseur of the popular dish, queso flameado. He also happens to be an assassin for hire.

	 

	ROSS & BETH (New Zealand)

	Director: Hamish Bennett

	The story of a rough as guts farming couple, a sudden loss and an unlikely saviour. And cowshit.

	 

	SPEARHUNTER (USA)

	Director: Adam Roffman; Luke Poling

	SPEARHUNTER follow the story of Col. Gene Morris, who fought to legalize spear-hunting in the state of Alabama and then proceeded to spend $600,000.00 of his own money building The Spear Hunting Museum in Summerdale, AL (a museum dedicated to himself and his spear-hunting prowess). The film also focuses on an offbeat cast of lovers, acolytes, and critics of the megalomaniacal hunter as they remember his distinctive tactics for killing and for leaving a legacy.

	 

	THE STOMACH (UK)

	Director: Ben Steiner

	Frank is a bedridden man in a squalid London house who is able to communicate with the dead in a most unusual fashion. With his health failing, he opts to do one last job before quitting the spirit medium business for good. But some local gangsters have other plans…

	 

	SWEEP (USA)

	Director: Spencer Gillis

	Three men meet in a strained chance encounter at a local recycling center. A tense exchange transforms into a remarkable bond transcending their differences, but a startling arrival leads to an unforgivable parting.

	 

	TEETH (UK/HUNGARY/USA)

	Director: Daniel Gray; Tom Brown
	Things of worth are often neglected in favor of that which is more immediately gratifying. Unfortunately, things that are neglected are often lost forever. In teeth, a misguided and intensely focused man's life is chronicled through his oral obsessions.

	 

	TREADING WATER (USA)

	Director: Lizabeth Cardenas Franke

	After moving back into her childhood home to take care of her elderly father, an independent woman in her thirties finds herself reaching a breaking point as she tries to come to grips with her new reality.

	 

	WE’LL FIND SOMETHING (USA)

	Director: Casey Gooden

	A couple struggles to choose a restaurant while visiting New York.

	 

	Animated Short Competition presented by REEL FX 

	 

	BATH HOUSE (SIMHALL) (Sweden)

	Director: Niki Lindroth van Bahr

	Six animals meet at the swimming pool. The horse, the pool’s manager, is a dedicated, conscientious friend of order. Over the year, the premises have become her whole world. Two wolves come to the pool to bathe. Their relationship is hard to define, but one wolf constantly wields power over the other. Three mice also visit the pool, but they have a different agenda altogether…

	 

	LAVA (USA)

	Director: James Ford Murphy

	Inspired by the isolated beauty of tropical islands and the explosive allure of ocean volcanoes, LAVA is a musical love story that takes place over millions of years.

	 

	MAN ON THE CHAIR (France/South Korea)

	Director: Dahee Jeong
	“Man on the chair” is tormented and constantly doubts his very own existence. It is just merely a picture

	that I created… Perhaps could I be also an image crafted by others?

	 

	MEND AND MAKE DO (UK)

	Director: Bexie Bush
	Cup of tea? Come and take a seat in Lyn's cozy front room, hear her story of love during wartime and watch as her belongings come alive with the hope, fear and humor of one spirited lady.

	 

	PALM ROT (USA)

	Director: Ryan Gillis

	An old crop-duster discovers a mysterious crate floating in the Florida Everglades. Bringing the crate onto his airboat is just the first in a series of decisions he learns to regret.

	 

	THE RAVEN (USA)

	Director: Limbert Fabian; Brandon Oldenburg

	In this chilling and lyrical reinterpretation of Edgar Allan Poe’s poem, a narrator mourning the loss of his love, Lenore, wavers on the brink of insanity. Perhaps hallucinating – or not – he sees a mysterious raven, whispering, “nevermore.”

	 

	TIMBER (Switzerland)

	Director: Nils Hedinger

	A group of logs is about to freeze to death in a cold, icy desert. When they realize that the only fuel for a warming fire is their own body, things start heating up.

	 

	WORLD OF TOMORROW (USA)

	Director: Don Hertzfeldt

	A little girl is taken on a mind-bending tour of her distant future.

#### 2015 Dallas International Film Festival Audience and Jury Award Winners
From the opening night, with lovely Blythe Danner, of DIFF 2015 to the closing weekend SeligFilmNews.com has had the chance to speak with nearly every filmmaker either on the Red Carpet or in the Studio.  Last night the DFS Honors handed out some amazing Star, Audience and Jury awards.  Click through for the list of winners AND corresponding Red Carpet & Studio Interviews.

	

	"The Dallas Film Society has announced the winners of the 9th Annual Dallas International Film Festival’s competition series. This year’s Festival, presented by AutoNation, features 169 films representing 32 countries, with a total of 18 premieres including 11 World Premieres, three North American Premieres and four US Premieres.

	Grand Jury Awards and Special Jury Prizes were presented for the Narrative Feature Competition, Short Film Competition and Texas Feature Competition during Dallas Film Society Honors, co-presented by the Arthur E. Benjamin Foundation, Sheri Deterling, Geoff Hawkes and the Highland Dallas, at The Highland Dallas. Grand Jury Awards were also given for the Documentary Feature Competition, Animated Short Competition and Student Short Competition."

	DALLAS INTERNATIONAL FILM FESTIVAL 2015 AWARD WINNERS:

	Narrative Feature Competition Grand Jury Award

	RADIATOR (United Kingdom)

	Director: Tom Browne

	Cast: Richard Johnson; Gemma Jones; Daniel Cerqueira

	A dark, difficult comedy concerning the middle aged Daniel who returns home to help his elderly parents, Leonard and Maria who live in squalor, eccentrically.

	Narrative Feature Competition Special Jury Prize, Ensemble Acting

	ECHOES OF WAR (USA) – World premiere

	Director: Kane Senes  Writer: John Chriss

	Cast: James Badge Dale; Ethan Embry; William Forsythe; Maika Monroe

	"Receiving the Special Jury Prize for Ensemble Acting in a Narrative Feature is ECHOES OF WAR, directed by Kane Senes."

	Narrative Feature Competition Special Jury Prize, Cinematography

	SOME BEASTS (USA) – World Premiere

	Director: Cameron Nelson  DP: Hutch.

	Cast: Frank Mosley; Lindsay Burdge; Heather Kafka

	"The Special Jury Prize winner for Cinematography in a Narrative Feature is SOME BEASTS, directed by Cameron Nelson and cinematography by Hutch."

	Documentary Feature Competition Grand Jury Award

	BARGE (USA)

	Director: Ben Powell  Producer: Dave Schachter

	"Taking home the Grand Jury Award in the Documentary Feature Competition is BARGE, directed by Ben Powell."

	Short Film Competition Grand Jury Award

	THE CHICKEN (Germany/Croatia)

	Director: Una Gunjak

	The day-to-day life of a six-year-old girl growing up during unstable times in Sarajevo is shaken up when a chicken joins her family.

	Short Film Competition Special Jury Prizes

	THE FACE OF UKRAINE: CASTING OKSANA BAIUL (Australia)

	Director: Kitty Green

	Adorned in pink sequins, little girls from across a divided, war-torn Ukraine audition to play the role of gold medal-winning figure skater Oksana Baiul, whose tears of joy once united their troubled country.

	ONE HITTA QUITTA (USA)

	Director: Ya’Ke Smith

	"Special Jury Awards went to THE FACE OF UKRAINE: CASTING OKSANA BAIUL, directed by Kitty Green, and ONE HITTA QUITTA, directed by Ya’Ke Smith."

	Student Short Film Competition Grand Jury Award

	CAST IN INDIA (India/USA)

	Director: Natasha Raheja

	The Student Short Film Competition Award winner is CAST IN INDIA, directed by NYU student Natasha Raheja.

	Animated Short Film Competition Award

	WORLD OF TOMORROW (USA)

	Director: Don Hertzfeldt

	A little girl is taken on a mind-bending tour of her distant future.

	Texas Film Competition Grand Jury Award 

	SACRIFICE (USA) 

	Director: Michael Cohn

	Cast: Luke Kleintank; Dermot Mulroney; Melora Walters; Austin Abrams; Brandon Smith; Lewis Tan

	The winner of the Texas Film Competition and a camera package rental valued at $30,000, presented by Panavision, is SACRIFICE, directed by Michael Cohn.

	Texas Film Competition Special Jury Prize 

	THE LOVE INSIDE (USA) – World Premiere

	Director: Andy Irvine; Mark Smoot

	Cast: Zachary Knighton; Joey Kern; Kat Foster; Betsy Phillips; Bryon Brown; Ashley Spillers; Indigo Rael

	"A Special Jury Prize for Ensemble Performance was awarded to THE LOVE INSIDE, directed by Andy Irvine and Mark Smoot." 

	Silver Heart Award 

	FRAME BY FRAME (USA)

	Director: Alexandria Bombach; Mo Scarpelli

	"Receiving the Silver Heart Award and a $10,000 cash prize was FRAME BY FRAME, directed by Alexandria Bombach and Mo Scarpelli. The Silver Heart Award was selected by the Embrey Family Foundation and presented to Bombach and Scarpelli in honor of their dedication to fighting injustices and creating social change for the improvement of humanity through their film. 

	Narrative Feature Audience Award

	THUNDER BROKE THE HEAVENS (USA) – World Premiere

	Director: Tim Skousen  Producer:  Jeremy Coon (GO BERKNER RAMS!!)

	Cast: Alex Peters; Gavin Howe; Tanner Beard; Tom Nowicki; Hadley Eure

	"The Audience Award winner for Narrative Feature is THUNDER BROKE THE HEAVENS by Tim Skousen."

	Documentary Feature Audience Award

	BATKID BEGINS: THE WISH HEARD AROUND THE WORLD (USA)

	Director: Dana Nachman

	On one day, in one city, the world comes together to grant one 5 year old cancer patient his wish. BATKID BEGINS: THE WISH HEARD AROUND THE WORLD looks at the ‘why’ of this flash phenomenon. Why did the intense outpouring of spontaneous support for a child reverberate around the world and become one of the biggest ‘good news stories’ ever?

	Short Film Audience Award

	MELVILLE (USA)

	Director: James Johnston Producer: Red Sanders

	Marcus is dealing with some serious shit but he can't seem to talk to anyone about it.

	"Receiving the Audience Award for Best Short Film is MELVILLE, directed by James M. Johnston." 

	For all the Red Carpet and Studio Interviews go, here.

	All press release information, in Italics, is courtesy of the Dallas Film Society, Dallas International Film Festival and Levenson Group.

#### 2015 Ernie Kovacs Award: Bob & Chris Elliott
 

	Dallas VideoFest 28 – October 18, 2015 @ 4:30 pm

	Angelika Film Center – Dallas

	By: Joshua Mills (Edie Adam's son) – The Estate of Edie Adams & Ernie Kovacs

	"If anything, Ernie Kovacs is known for subverting the medium of Television. Where Kovacs style was more visual, the comedy team of Bob & Ray’s humor is more understated, often deadpan. Like Kovacs, Bob & Ray started out on radio where often much of their humor was improvised. Yet if you really look at their humor and its development for a new medium, it came from the same place as Kovacs’: an irreverent, madcap, cockeyed, subversive worldview that lampooned the media and the establishment. They let you in on the joke (“Maybe this guy I’m interviewing doesn’t know what he’s talking about after all.”) and made you feel like part of the gag. Think of these titans of comedy as if one was Picasso and the other Van Gogh. They both used the same canvas of Television to create something totally unique that no one had seen before. In the 1950s Eisenhower America, you didn’t get more “far out” than Ernie Kovacs, Bob Elliott and Ray Goulding.

	"Ironically, more than 30 years after the beginning of Television, it was Bob’s son, Chris Elliott, who was the most subversive comedian on the air. In the 1980s Reagan’s America, it was a rarity to see something so irreverent, bizarre and flat out funny as “The Panicky Guy” on Late Night With David Letterman. Chris Elliott’s characters were about as far away from Who’s The Boss? as you could get in 1984. Yet unlike the genius of programs like SCTV, Monty Python & SNL, Elliott went at it alone. You can draw a straight line from Kovacs to Andy Kaufman and later Chris Elliott. They played with the medium on their own terms. “The Guy Under The Stairs” was as a fully formed (well?….) character whose prop budget was about $1.98. How Kovacs-ian to literally turn the camera around, show us viewers at home that there was indeed was an in-studio audience who were part of the gag!

	"With the career of third generation comedian, Abby Elliott now in full swing (she’s literally the third Elliott to be a featured on SNL), one can only wonder what lies ahead for American Television comedy. Surely Bob’s granddaughter, Chris’ daughter is set to find a way to put a red-hot poker in the eye of the establishment today. No pressure, right?

	"This year’s Ernie Kovacs Award is presented to Bob Elliott & Chris Elliott, whose collective, cockeyed, subversive, free form and abstract humor are more than deserving of the 2015 Ernie Kovacs Award, presented by the Video Association of Dallas at the 28th annual Dallas VideoFest on Sunday, October 18, 2015 at the Angelika Film Center — Dallas."

	 

	ABOUT THE DVF’S KOVACS AWARD:

	The Dallas Video Festival and the Video Association of Dallas announced the first Ernie Kovacs Award at the 1997 Festival. Comedian Joel Hodgson of “Mystery Science 3000” was the first recipient and subsequent annual honorees include “Monty Python’s” Terry Gilliam; “Saturday Night Live” and “Late Night with Conan O’Brien” writer/performer, Robert Smigel; Paul (“Pee-wee Herman”) Reubens; Martin Mull; Texas’ own, Mike Judge; “Rowan & Martin’s Laugh-In” creator, George Schlatter; and Harry Shearer of "The Simpsons" and THIS IS SPINAL TAP.

#### 2015 International Faith & Family Film Festival August 20th-22nd in Dallas, Texas
 

	The International Faith & Family Film Festival is a first-class gathering of high-level entertainment executives, notable Hollywood directors, screenwriters and actors that features exclusive movie screenings and events. It is a major component of MegaFest, a multi-day family festival featuring faith, empowerment and entertainment activities that was founded nine years ago by Bishop T.D. Jakes. Our inaugural film festival event in 2013 was a major success. This year’s MegaFest is expected to host upwards of 100,000 people at the Dallas Convention Center and American Airlines Center.

	 

		The festival will include 10 featured films of different genres from countries around the world.
	

		The festival will also include inspirational morning talks by Hill Harper, Mark Burnett and Roma Downey.
	

		There will be four in-depth panel discussions featuring seasoned industry pros: Faith-Based TV, Marketing in Faith, Diversity in Hollywood, and Faith in the Digital Space.
	

		The event will also feature master classes by Devon Franklin and Keke Palmer moderated by Kevin Frasier of OMG! Insider.
	

		In addition, there will be smaller breakout sessions on directing, acting, producing, writing and film finance featuring top Hollywood players.
	

		Tickets for the three-day event are $99 and entitle registrants to enjoy other events in the Megafest lineup.
	

		Discount family and group packages are available.
	

		The goal of the IFFFF is to entertain, inform, inspire and provide specialized topics of interest to aspiring filmmakers, actors and others who have an interest in the entertainment business.
	

		In its 2013 debut, the International Faith and Family Film Festival set a new standard for discovering and showcasing the best of faith-and-family movies that reflect a biblical worldview.
	

		The IFFFF also stands as a unique ecumenical gathering that unites the various Christian film communities around a common cause of supporting and advancing Christian and family-friendly films and entertainment.
	

		The three major components of the F&F market – Protestant, Catholic and African American Christian – are all powerfully represented in this exciting integrated festival for the second time.
	

		There is a clear desire and support for high-quality Christian and family-friendly films and entertainment. 
	

		An International Faith and Family Film Festival is needed to raise the bar and change perceptions about what constitutes a faith-based film.
	

	More Info Please Visit: http://mega-fest.org/filmfestival/

	 

#### 2015 National Film Registry: “Ghostbusters” Gets the Call
 

	Acting Librarian of Congress David Mao announced today the annual selection of 25 motion pictures to be named to the National Film Registry of the Library of Congress. These films, which epitomize the diversity and richness of the nation’s cinematic heritage, have been identified as motion pictures that deserve to be preserved because of their cultural, historic or aesthetic importance.

	"Selecting a film for the National Film Registry recognizes its importance to cinema and America’s cultural and artistic history," said Mao. "The registry is an invaluable way to advance public awareness of the richness, creativity and variety of our nation’s film heritage."

	Under the terms of the National Film Preservation Act, each year the Librarian of Congress names to the National Film Registry 25 motion pictures that are "culturally, historically or aesthetically" significant. The films must be at least 10 years old. The Librarian makes the annual registry selections after conferring with the distinguished members of the National Film Preservation Board (NFPB) and Library film staff, as well as considering thousands of public nominations. The public is urged to nominate titles for next year’s registry at the NFPB’s website.

	In addition to advising the Librarian of Congress on the annual selection of titles to the National Film Registry, the board also provides counsel on national preservation planning policy. "The National Film Preservation Board focused much of its attention this year on the recognition of photochemical film as a distinct medium. Emerging digital technologies offer many alternative opportunities, but the board encourages the preservation of film on film. Film remains the best existing archival medium and the board encourages archives and rights-holders to continue to preserve titles on film as they have done in the past," NFPB issued in a statement.

	Spanning the period 1894-1997, the films named to the registry include Hollywood blockbusters, documentaries, silent movies, animation, shorts, independent and experimental motion pictures. This year’s selections bring the number of films in the registry to 675, which is a small fraction of the Library’s vast moving-image collection of 1.3 million items.

	The 2015 registry includes such iconic movies as the 1997 film-noir crime classic "L.A. Confidential," starring Russell Crowe and Kevin Spacey; "Top Gun," the 1986 adrenaline-charged Navy drama, starring Tom Cruise and Kelly McGillis; the 1959 melodrama "Imitation of Life," starring Lana Turner; and director Ivan Reitman’s 1984 horror comedy "Ghostbusters," starring Bill Murray and Dan Aykroyd.

	"Making ‘Ghostbusters’ was one of the great joys of my life," said Reitman. "It’s an honor to know that a movie that begins with a ghost in a library, now has a spot on the shelves of the Library of Congress. It’s humbling to be part of a collection of extraordinary films that I have loved all my life."

	One of the more contemporary films on this year’s list is director Frank Darabont’s 1994 movie based on a Stephen King novella. "I can think of no greater honor than for ‘The Shawshank Redemption’ to be considered part of our country’s cinematic legacy," said Darabont. "I express my deepest thanks to all those who chose it for inclusion in the National Film Registry. …and most of all to the audiences who embraced our movie and have kept it alive all these years."

	Also on the list of significant films is one of the earliest film recordings and the oldest surviving copyrighted motion picture, which was produced by Thomas Edison’s team of inventors. Recorded in 1894, "The Sneeze" became synonymous with the invention of movies. Other films on the list that feature pioneering cinematic techniques are the 1906 "Dream of a Rarebit Fiend" and Disney’s 1937 "The Old Mill."

	The documentaries and shorts named to the registry include "Portrait of Jason," an exploration of a gay hustler’s life in his own words; Su Friedrich’s 1990 autobiographical tale about the schism between a daughter and her father, "Sink or Swim"; and "The Story of Menstruation," a 1946 Disney-produced film seen by nearly 93 million women and girls over two decades.

	The silent films selected this year include "A Fool There Was" (1915), starring one of cinema’s first vamps, Theda Bara; Douglas Fairbanks 1920 swashbuckler "The Mark of Zorro"; "Humoresque," the 1920 story of the rise of a Jewish immigrant to violin virtuoso; and the Spanish-language version of Dracula from 1931, which was shot concurrently with the English-speaking film starring Bela Lugosi.

	In 2013, the Library of Congress released a report that conclusively determined that 70 percent of the nation’s silent feature films have been lost forever and only 14 percent exist in their original 35 mm format.

	The Library’s National and International Outreach Service Unit (NIO) National Programs Directorate manages and provides staff support for the Library of Congress National Film Preservation Board, the National Recording Preservation Board and the National Registries for film and recorded sound. This constitutes part of NIO’s broader mission to administer the public-facing programs and activities of the Library of Congress with the mission of "broadening awareness and use of the Library and its resources through outreach and external partnerships."

	Many titles named to the registry have already been preserved by the copyright holder, the filmmaker or archives such as the Library of Congress, Academy Film Archive, George Eastman Museum, Museum of Modern Art or the UCLA Film and Television Archive. In cases where a selected title has not already been preserved, the Library of Congress Packard Campus for Audio Visual Conservation works to ensure that the film will be preserved by some entity and available to future generations, either through the Library’s motion-picture preservation program or through collaborative ventures with other archives, motion-picture studios and independent filmmakers. The Packard Campus is a state-of-the-art facility where the nation’s library acquires, preserves and provides access to the world’s largest and most comprehensive collection of films, television programs, radio broadcasts and sound recordings. It is home to more than 7 million collection items.

	Founded in 1800, the Library of Congress is the nation’s oldest federal cultural institution. It seeks to spark imagination and creativity and to further human understanding and wisdom by providing access to knowledge through its vast collections, programs and exhibitions. Many of the Library’s rich resources can be accessed through its website at loc.gov.

	2015 National Film Registry

	Being There (1979)
	Chance, a simple-minded gardener (Peter Sellers) whose only contact with the outside world is through television, becomes the toast of the town following a series of misunderstandings. Forced outside his protected environment by the death of his wealthy boss, Chance subsumes his late employer’s persona, including the man’s cultured walk, talk and even his expensive clothes, and is mistaken as "Chauncey Gardner," whose simple adages are interpreted as profound insights. He becomes the confidant of a dying billionaire industrialist (Melvyn Douglas, in an Academy Award-winning performance) who happens to be a close adviser to the U.S. president (Jack Warden). Chance’s gardening advice is interpreted as metaphors for political policy and life in general. Jerzy Kosinski, assisted by award-winning screenwriter Robert C. Jones, adapted his 1971 novel for the screenplay which Hal Ashby directed with an understatement to match the subtlety and precision of Sellers’ Academy Award-nominated performance. Shirley MacLaine also stars as Douglas’s wife, then widow, who sees Chauncey as a romantic prospect. Film critic Robert Ebert said he admired the film for "having the guts to take this totally weird conceit and push it to its ultimate comic conclusion." That conclusion is a philosophically complex film that has remained fresh and relevant.

	Black and Tan (1929)
	In one of the first short musical films to showcase African-American jazz musicians, Duke Ellington portrays a struggling musician whose dancer wife (Fredi Washington in her film debut) secures him a gig for his orchestra at the famous Cotton Club where she’s been hired to perform, at a risk to her health. Directed by Dudley Murphy, who earned his reputation with "Ballet mécanique," which is considered a masterpiece of early experimental filmmaking, the film reflects the cultural, social and artistic explosion of the 1920s that became known as the Harlem Renaissance. Ellington and Washington personify that movement, and Murphy—who also directed registry titles "St. Louis Blues" (1929), another musical short, and the feature "The Emperor Jones" (1933) starring Paul Robeson—cements it in celluloid to inspire future generations. Washington, who appeared with Robeson in "Emperor Jones," is best known as "Peola" in the 1934 version of "Imitation of Life."

	Dracula (Spanish language version) (1931)
	Before the advent of sound, the only significant difference between films seen by domestic audiences and foreign ones was the language of the subtitles, which could be adapted for each market. When talkies arrived, American studios began shooting foreign-language versions for international and non-English-speaking domestic markets, generally at the same time they filmed the English versions. In one of the most famous examples of this practice, a second crew—including a different director and stars—shot at night on the same sets used during the day for the English version of the Bram Stoker classic starring Bela Lugosi and directed by Tod Browning. In recent years, the Spanish version of the film, which is 20 minutes longer, has been lauded as superior in many ways to the English one, some theorizing that the Spanish-language crew had the advantage of watching the English dailies and improving on camera angles and making more effective use of lighting. Directed by George Melford (best known for the Valentino sensation "The Sheik"), the Spanish version starred Carlos Villarías (billed as Carlos Villar) as Conde Drácula, Lupita Tovar as Eva Seward, Barry Norton as Juan Harker and Pablo Alvarez Rubio as Renfield.

	Dream of a Rarebit Fiend (1906)
	Based on noted illustrator Winsor McCay’s popular comic strip that ran in the New York Evening Telegram from 1904 to 1914, this short fantasy comedy by film pioneer Edwin S. Porter employed groundbreaking trick photography, including some of the earliest uses of double exposure in American cinema. Porter used camera sleight-of-hand to create the hallucinatory dreams of a top-hatted swell (Jack Brawn) who, after gorging himself on Welsh rarebit, is beset by dancing, spinning furniture and mischievous imps. To create the dream effects, he used a spinning camera and moveable set pieces, along with multiple exposures. Stop-motion and matte paintings added to the film’s whimsical appeal. Porter, who joined Thomas Edison’s company in 1899 and advanced the special effects pioneered by Georges Méliès, completed the seven-minute film in nine days at a cost of $350, which is about $10,000 today. The Museum of Modern Art Department of Film has preserved the film.

	Eadweard Muybridge, Zoopraxographer (1975)
	Created over the course of a decade by Thom Andersen, a onetime UCLA film student, this documentary delves into the work of the man whose pioneering studies and concept of persistence of vision led to the development of motion pictures. The film looks at Eadweard Muybridge’s personal and professional struggles, and examines the philosophical implications of his sequential photographs, or zoopraxographs, as he called his studies of animal locomotion. Andersen re-animates the images Muybridge originally presented on a zoopraxoscope, a predecessor of the projector. The documentary features cinematography by Morgan Fisher, a script by Fay Andersen, music by Mike Cohen, biographical research by Robert Bartlett Haas and narration by Dean Stockwell. When the PBS affiliate set to broadcast the film declined the completed piece, Andersen ultimately sold his work to New Yorker Films, which recognized Andersen’s unique voice as a cultural commentator and helped launch his career. In the Chicago Reader, Jonathan Rosenbaum described the production as "One of the best essay films ever made on a cinematic subject." The UCLA Film & Television Archive, in consultation with Thom Andersen, did the preservation work on the film.

	Edison Kinetoscopic Record of a Sneeze (1894)
	One of the earliest film recordings and the oldest surviving copyrighted motion picture, Edison Kinetoscopic Record of a Sneeze (Jan. 7, 1894) is commonly known as "Fred Ott’s Sneeze" or simply "The Sneeze." W.K.L. Dickson, who led Thomas Edison’s team of inventors, took the images of fellow engineer Ott enacting a snuff-induced sneeze. In March 1894, Harper’s Weekly magazine, which requested the pictures, published a sequence of still images taken from the film. "The Sneeze" became synonymous with the invention of movies although it was not seen as a moving picture until 1953 when 45 frames were re-animated on 16 mm film. The full 81 frames published in Harper’s Weekly were never seen as a movie until 2013 when the Library of Congress made a 35 mm film version. In this new complete version, Fred Ott sneezes twice.

	A Fool There Was (1915)
	The phenomenal success of "A Fool There Was"—based on a Rudyard Kipling poem and a subsequent play—set off a publicity campaign unparalleled at the time centering on its star, an unknown actress bearing the exotic name of Theda Bara. Bara was promoted as "the woman with the most beautifully wicked face in the world" and became filmdom’s quintessential "vamp," enticing male pillars of society to relinquish family, career, respectable society, and even life itself, while yearning to remain under her entrancing spell. With such ego-shattering commands as "Kiss me, my fool," Bara’s destructive powers appealed to women as well as men. "Women are my greatest fans," Bara stated, "because they see in my vampire the impersonal vengeance of all their unavenged wrongs." Bara retired from the screen four years later after starring in some 40 films, establishing a new genre, and helping Fox studios become an industry leader. Only one other film from her heyday is known to exist as well as two she made during an attempted comeback in the mid-1920s. The film has been preserved by Museum of Modern Art Department of Film.

	Ghostbusters (1984)
	One of the most popular, quotable films from the past three decades and a touchstone of cultural reference, "Ghostbusters" can also easily be seen as a loving homage to those earlier wacky horror comedies from Abbott and Costello, Bob Hope and others. Three lapsed science academics (Bill Murray, Dan Aykroyd and Harold Ramis) set up shop to handle the underappreciated (and never-ending) task of ferreting out ghosts, and will not rest until the paranormal becomes New York normal once more. These days, the trio would find a home in reality TV, but, given the era, they must prove their bona fides through clever publicity and satisfied customer word-of-mouth. Leading this Gotham firm in the fight against ever-present slime, is sleazy, yet charming, Bill Murray who brings a breezy air of can-do insouciance to the job of dealing with a rogues gallery of malevolence, including puffed-up existential threats such as the Marshmallow Man. Murray takes regular time outs from spirit-chasing to romance brainy cellist Dana Barrett (Sigourney Weaver), who becomes a channeler of the demon Zuul. The infectious insanity of "Ghostbusters" makes it a favorite film of the ‘80s.

	Hail the Conquering Hero (1944)
	Writer-director Preston Sturges probably was the only filmmaker in Hollywood in the 1940s who could satirize the worship of war heroes and mothers during wartime. Bosley Crowther of The New York Times credited the success of this film to its "sharpness of verbal wit and the vigor of visual expression" and the ability of Sturges to temper "irony with pity." Nominated for an Academy Award for the best original screenplay category, "Hail the Conquering Hero" follows the foibles of a would-be war hero dismissed from active duty because of chronic hay fever and enlisted by a group of Marines to return home as the war hero that he has pretended to be in letters to his mother. The lightning-paced plot that develops upon his return offers Sturges—a budding "Hollywood Voltaire" in Crowther’s eyes—myriad opportunities to spoof corruption in small town politics as well as the propensity to idolize the military. The great French critic André Bazin called this film "a work that restores to American film a sense of social satire that I find equaled only … in Chaplin’s films."

	Humoresque (1920)
	Based on a story by Fannie Hurst, "Humoresque" presented to mainstream American audiences a sympathetic portrayal of immigrant Jewish life through its vivid details of street life and rituals, and a riveting performance by Yiddish Theatre actress Vera Gordon, "seemingly a character from life, living," rather than acting, as a New York Times reviewer observed. Although it was not the first film to dramatize the acculturation experiences of recent Jewish refugees from Russian massacres, "Humoresque" became a great screen success, inspiring Hollywood to produce many other films set in the Lower East Side’s tenements during the ensuing decade. In this, his first hit film, director Frank Borzage sympathetically treated faith and love—in this case "mother love"—with the utmost solemnity, in a manner that admirer Martin Scorsese has commented "makes him so unfashionable now." Having solidly established its setting and characters through its many poignant and atmospheric touches, the film "touches the deep places of the heart," as one Variety reviewer wrote, and makes its audience believe that prayers are answered and that love can restore health.

	Imitation of Life (1959)
	Film melodrama comes in many variations, but director Douglas Sirk’s style of domestic melodrama is marked by stylized interiors and use of mirrors, where the role of photography is crucial, with exquisite use of primary colors and camera angles to convey emotion and mood. During the 1950s, the Universal team of Sirk, producers Ross Hunter and Albert Zugsmith, cinematographer Russell Metty and composer Frank Skinner, released a series of glossy, often deliriously flamboyant "women’s picture" melodramas, including "All That Heaven Allows," "Magnificent Obsession," "Written on the Wind" and "Imitation of Life." The often-lurid plots in these films may have seemed laughable and unrealistic, but the emotional impact on audiences packed a wallop that led to major box-office bonanzas for Universal. Sirk’s last American film, "Imitation of Life," is based on the Fannie Hurst novel about two mothers (one white and one African-American) and their daughters (one white and one who wishes to pass for white). Sirk’s 1959 version (with Lana Turner and Juanita Moore as the mothers) offers a telling contrast to the more restrained melodramatic style used by John Stahl in the 1934 version (previously selected for the registry), starring Claudette Colbert and Louise Beavers. One can also spot in Sirk’s film fascinating glimpses at the evolving social standards and mores the country had undergone in the 25 years that elapsed between the two films, particularly in the characters of Moore and her daughter Susan Kohner. However, New York Times reviewers did not note much difference in the two versions. The paper’s 1934 reviewer called the film "the most shameless tearjerker of the fall" while Bosley Crowther’s 1959 review proved little different: "It is the most shameless tearjerker in a couple of years." Sirk’s version ends with Mahalia Jackson singing "Trouble of the World" during the penultimate funeral scene and daughter Susan Kohner begging forgiveness while hugging her dead mother’s casket.

	The Inner World of Aphasia (1968)
	This empathic and often poetic medical-training film features a powerful performance by co-director Naomi Feil as a nurse who learns to cope with aphasia, the inability to speak as a result of a brain injury. Feil, a social worker whose career has focused on communicating with language-impaired patients, produced this film and dozens more with her husband Edward Feil. In the film, the patient’s inner thoughts are heard through voice-over as she struggles in frustration to overcome her disability and to connect with her caregivers. The Council on International Non-theatrical Events (CINE) awarded "Inner World" its top honor, the Golden Eagle. More than 47 years later, the film is still being screened by media artists and independent filmmakers who appreciate its innovative artistic qualities.

	John Henry and the Inky-Poo (1946)
	The African-American folk hero John Henry was probably based on an actual person who worked on the railroads around the 1870s. The legend began to appear in print in the early 20th century, but emerged early on as a popular folk song. Akin to other such rugged folk heroes as Paul Bunyan, John Henry is said to have worked as a "steel-driving man," hammering a steel drill into rock and earth to build tunnels and lay track. According to legend, his prowess was measured in a competition against a steam-powered hammer. John Henry won the race against "Inky-Poo," only to collapse and die, hammer in hand. Stop-motion animation pioneer George Pal created this short film after the NAACP and Ebony magazine criticized his offensively stereotyped Jasper series of cartoons. The magazine later praised "John Henry" as the first Hollywood film to feature African-American folklore in a positive light and to treat its characters with "dignity, imagination, poetry, and love." Highly popular during its time, the film was nominated for an Academy Award. It has been preserved by the UCLA Film & Television Archive.

	L.A. Confidential (1997)
	This well-crafted and suspenseful story, directed by Curtis Hanson, teams a trio of incompatible cops who ultimately bring down a corrupt police department and political machine. Hanson and Brian Helgeland adapted the James Ellroy novel and together they successfully interpret film noir’s dark and seamy allure for new audiences. Detective Jack Vincennes (Kevin Spacey) an in-it-for-himself type, Officer Bud White (Russell Crowe), who believes in bending the law to enforce it, and Detective Ed Exley (Guy Pearce), a straight arrow whose self-righteousness alienates him from his colleagues, all possess some deep-rooted sense of honor that draws them together to untangle the film’s web of corruption that climaxes in its virtuoso choreographed shootout. The cast is rounded out by Danny DeVito as the film's occasional narrator and reporter for "Hush-Hush" magazine, Kim Basinger as a Veronica Lake look-alike call girl, and James Cromwell as the duplicitous chief of police. Cinematographer Dante Spinotti infuses this homage with a Technicolor richness seldom seen in noirs of the 40s and 50s.

	The Mark of Zorro (1920)
	Douglas Fairbanks was gifted not only with a winning smile and athletic prowess, but also with keen insight. Aware that post-World War I audiences had grown weary of the romantic comedies that had made him a star, Fairbanks adapted his persona to create a daring hero and established himself as an icon of American culture. Under the name Elton Thomas, Fairbanks penned the screenplay for his first swashbuckler, portraying Don Diego Vega who has recently returned to California from Spain. Upon finding a despotic governor (George Periolat) persecuting the local inhabitants, he first poses as a preening fop to divert suspicion, then dons a cape and mask to defend the downtrodden armed with a razor-sharp sword and leaving behind his signature "Z" to taunt the evil Captain Ramon (Robert McKim) and his henchmen. The film, directed by Fred Niblo, also stars Marguerite De La Motte and Noah Beery. The Museum of Modern Art Department of Film has preserved the film.

	The Old Mill (1937)
	This cartoon, produced by the Walt Disney Company as one of its Silly Symphony entries, depicts a community of animals—mice, doves, bats, bluebirds and an expressive owl—battling a severe thunderstorm that nearly destroys their home in an abandoned windmill. Directed by Wilfred Jackson, the film acted as a testing ground for audience interest in longer form animation as well as for advanced technologies, including the first use of the multiplane camera, which added three-dimensional depth. It also featured more complex lighting and realistic depictions of animal behavior that would be perfected in "Snow White," "Fantasia" and "Bambi." The dazzling imagery was complemented by Leigh Harline’s compelling orchestral scoring inspired by a Strauss operetta. In "The 50 Greatest Cartoons Selected by 1,000 Animation Professionals," edited by historian Jerry Beck, Disney animators Frank Thomas and Ollie Johnston recalled, "Our eyes popped when we saw all of The Old Mill’s magnificent innovations—things we had not even dreamed of and did not understand." The film won an Academy Award for best animated short in 1937, and the studio won an Oscar for its revolutionary camera.

	Our Daily Bread (1934)
	During the heart of the Great Depression, as the nation’s capital experimented with New Deal programs to solve the nation’s ills, most Hollywood productions remained escapist. A radical exception to the rule, King Vidor’s "Our Daily Bread," faced the problem of unemployment head-on by dramatizing an experiment in cooperative farming that proposed pooling resources collectively as an alternative to individualistic competition for jobs. After all the studios passed on his idea, Vidor financed the film himself with borrowed funds. Criticized for its purportedly socialist ideas and also for its seemingly fascistic traits, "Our Daily Bread" remains a document that embodied political contradictions that marked widely divergent contemporary assessments of the New Deal itself. In its widely acclaimed climactic ditch-digging sequence, the film presents images celebrated muscular working-class manhood that also marked public art of the period, which addressed anxieties about the masculinity during times of economic crisis.

	Portrait of Jason (1967)
	In one of the first LGBT films widely accepted by general audiences, Shirley Clarke explored the blurred lines between fact and fiction, allowing her subject, Jason Holliday (né Aaron Payne), a gay hustler and nightclub entertainer, to talk about his life with candor, pathos and humor in one 12-hour shoot. Clarke originally envisioned Jason as the only character, but she subsequently revealed: "When I saw the rushes I knew the real story of what happened that night in my living room had to include all of us [the off-screen voices. her crew and herself], and so our question-reaction probes, our irritations and angers, as well as our laughter remain part of the film." Bosley Crowther of "The New York Times" described it as a "curious and fascinating example of cinéma vérité, all the ramifications of which cannot be immediately known." Legendary filmmaker Ingmar Bergman called it "the most extraordinary film I've seen in my life." Thought to have been lost, a 16 mm print of the film was discovered at the Wisconsin Center for Film and Theater Research in 2013 and has since been restored by the Academy Film Archive, Milestone Films and Modern Videofilm.

	Seconds (1966)
	Two staples of 1960s cinema—evil organizations and the wasteland of suburbia—combine to drive this sinister tale about the perils of seeking a second chance, a life do-over. Bored with his banal marriage and unexciting daily grind, banker John Randolph meets the representative for a mysterious company offering the "too-good-to-be-true" opportunity to erase his current Scarsdale existence for a makeover in the guise of Malibu painter Rock Hudson. Headed by grandfatherly scion Will Geer and master-of-the-hard-sell executive Jeff Corey, "The Company" takes care of everything surrounding Randolph (in his new Hudsonesque persona) with business reps and human "seconds," in order to smooth his transition to a new life and keep him from spilling the lucrative-but-dark corporate secret. His new identify seems idyllic, but Randolph chafes with unease and demands a return to his now fondly remembered past average life. With no intention of imperiling its advertising message and humming assembly-line template for reborn humans, the company has a "third chance" plan in mind for Randolph: he learns "you can’t go home again," in the wry words of a New York Times reviewer quoting Thomas Wolfe. Director John Frankenheimer crafts a memorably creepy sense of foreboding in "Seconds," aided immensely by the black-and-white cinematography, disorienting camera angles and lenses of cameraman James Wong Howe, as well as Jerry Goldsmith’s eerie score. Critic David Sterritt lauds "Seconds" as "the third and crowning chapter of what’s now known as Frankenheimer’s paranoia trilogy" following "The Manchurian Candidate" and "Seven Days in May."

	The Shawshank Redemption (1994)
	From a modest start as a critical success, but something of a commercial bust upon initial release, "The Shawshank Redemption" now often rates as the top film in Internet Movie Database polling. Like many Stephen King novels and stories, it was adapted to film, but, as some critics have noted, the best movies have arguably resulted from the non-horror part of King’s literary output (such as the novellas "Stand by Me" and "Rita Hayworth and Shawshank Redemption"). Banker Tim Robbins is wrongly convicted of the double murder of his wife and her lover. However, he spends much of his prison sentence beset by guilt over whether he contributed to her infidelity and consumed by the knowledge that he had seriously contemplated murdering her. Eventually, Robbins decides he must "get busy living or get busy dying" and plots a meticulous, long-term plan for escape. Critics have struggled at times to explain the immense public affection for "Shawshank," but perhaps it’s due to the poignant Thomas Newman score and most importantly the moving character portrayals and deep friendship between inmates Robbins and Morgan Freeman, highlighting the abiding resilience of the human spirit.

	Sink or Swim (1990)
	In this autobiographical tale told in voice-over by a teenage girl (Jessica Lynn), Su Friedrich relates a series of 26 short vignettes that reveal a subtext of a father preoccupied by his career and of a daughter emotionally scarred by his behavior. Black-and-white film clips of ordinary daily activities illustrate Friedrich’s poetically powerful text to create a complex and intense film. Of this work, which garnered numerous festival awards, Friedrich wrote, "The issue for me is to be more direct, or honest, about my experiences, but also to be analytical. ‘Sink or Swim’ is personal, but it’s also very analytical, or rigorously formal." Friedrich’s films and videos have been featured in retrospectives at major museums and festivals, and she has received both Guggenheim and Rockefeller Foundation Fellowships. Michael Zyrd wrote in Senses of Cinema: "The textures, cinematic and emotional, of Friedrich’s work are both private and highly mediated, embodying an aesthetic style and range of concerns that make her one of the most innovative and accessible artists currently working in the dynamic tradition of the modernist American Avant-Garde."

	The Story of Menstruation (1946)
	Sponsored by Kimberly-Clark, the makers of Kotex, this title was produced by the Walt Disney Company through its Educational and Industrial Film Division. Distributed free to schools and girls’ clubs with an accompanying pamphlet titled "Very Personally Yours," the film used friendly Disney-style characters and gentle narration to "encourage a healthy, normal attitude" toward menstruation. Although a few such educational filmstrips were available before World War II, this version was seen as more progressive than previous offerings and, according to advertisements in "The Educational Screen," it replaced superstitions with "scientific facts" and dispelled "embarrassment." Some contemporary scholars, however, take issue with the approach. Sean Griffin of Southern Methodist University’s Division of Film and Media Arts and author of "Tinker Belles and Evil Queens: The Walt Disney Company from the Inside Out" suggests that Disney’s abstract representation of the body "‘bleaches’ the more ‘unsavory’ parts of the lesson, such as making the menstrual flow white instead of red." According to Joan Jacobs Brumberg, author of "The Body Project: An Intimate History of American Girls," approximately 93 million American women, mostly teenagers, viewed this film between 1946 through the late 1960s.

	Symbiopsychotaxiplasm: Take One (1968)
	William Greaves worked at the intersection of many cultural focal points, including as an original co-host and producer of the landmark "Black Journal" public television series. He, however, is perhaps best known for his prolific work as a documentary film director and producer. He was associated with more than 200 productions during his career. His best-known film, "Symbiopsychotaxiplasm: Take One," faced a strange, lengthy road to recognition. As recounted by Richard Brody in The New Yorker, Greaves shot the film in 1968 and completed production in 1971 in hopes of a debut at the Cannes Film Festival, but was turned down. The film then spent two decades unseen before being rediscovered by a Brooklyn Museum curator who premiered it at a retrospective of Greaves’ voluminous work in cinema. Its acclaim grew and caught the attention of a later champion, actor/director Steve Buscemi. The film is a unique 1960s’ time capsule, a telling look at the myriad tensions involved in film creation—a film on the making of a film—with three camera crews recording different parts of the process and personalities involved (director, actors, crew, bystanders). Though Greaves is undoubtedly the film’s visionary auteur—notable for an African-American filmmaker in the 1960s—it is truly a film made collectively by Greaves and his multi-racial crew, whose staging of an on-set rebellion becomes the film’s drama and its platform for sociopolitical critique and revolutionary philosophy. Filmed entirely on location in New York City’s Central Park, with a score by Miles Davis, Greaves’ film serves as a vivid tabloid of this heady historical era and a memorable document of this creatively prosperous period of American independent filmmaking. The New York Times’ critic A.O. Scott lauded the film’s creativity and imagination: "It is one of the great New York films, one of the great experimental films, one of the great ’60s films, one of the great black films—just one of the great films, period, largely because it remains so fresh, so radical and so hard to assimilate more than 45 years after it was made."

	Top Gun (1986)
	Though a wag might be tempted to call this Tony Scott film "The Testosterone Chronicles," the Don Simpson/Jerry Bruckheimer production actually comprises a deft portrait of mid-1980s America, when politicians promised "Morning in America Again," and singers crooned "God Bless the U.S.A." The U.S. Navy, for one, did not complain: applications to naval aviation schools soared in part as a result of this relentless, pulsating film famed for its vertiginous fighter-plane sequences. Scott, always most at home when crafting slick, visually arresting action-set pieces with distinctive flair, delivers on all fronts. Among others, director Christopher Nolan has highlighted "Top Gun" for the clear influence of the film’s celebrated visual style on future filmmakers. Tom Cruise here graduated to the top echelon of in-demand actors, aided by his good looks, cocky attitude, omnipresent smile, and brazen attempts to woo and secure steamy personal time with (at first amused and later swooning) civilian instructor Kelly McGillis.

	Winchester ’73 (1950)
	Actor Jimmy Stewart collaborated with director Anthony Mann on eight films during the 1950s. Most renowned was an influential series of five taut, psychological Westerns from 1950-55 revolving around themes of hidden secrets, vengeance, shifting personal morals and concepts of heroism. The movie "Winchester ’73" launched their partnership. Film historian Scott Simmon calls "Winchester ‘73" "the La Ronde of Death, as opposed to the love that keeps the Schnitzler play in motion," and "the film where a gun is more of an object of worship than in any other American film." Ironically, in light of current debates about gun-carry rights, it’s fascinating that even in this most gun-obsessed of movies, nobody is allowed to carry a gun in town. But for a man caught out in the desert without ammo, he has not "felt so naked since the last time I took a bath." Stewart’s obsessive quests are to avenge the death of his father and pursue a Winchester rifle as it moves from one owner to the next, changing everyone into whose hands the gun briefly passes, and culminating in a justly-famous shootout amidst steep, rocky terrain.

	Films Selected for the 2015 National Film Registry

		Being There (1979)
	

		Black and Tan (1929)
	

		Dracula (Spanish language version) (1931)
	

		Dream of a Rarebit Fiend (1906)
	

		Eadweard Muybridge, Zoopraxographer (1975)
	

		Edison Kinetoscopic Record of a Sneeze (1894)
	

		A Fool There Was (1915)
	

		Ghostbusters (1984)
	

		Hail the Conquering Hero (1944)
	

		Humoresque (1920)
	

		Imitation of Life (1959)
	

		The Inner World of Aphasia (1968)
	

		John Henry and the Inky-Poo (1946)
	

		L.A. Confidential (1997)
	

		The Mark of Zorro (1920)
	

		The Old Mill (1937)
	

		Our Daily Bread (1934)
	

		Portrait of Jason (1967)
	

		Seconds (1966)
	

		The Shawshank Redemption (1994)
	

		Sink or Swim (1990)
	

		The Story of Menstruation (1946)
	

		Symbiopsychotaxiplasm: Take One (1968)
	

		Top Gun (1986)
	

		Winchester ’73 (1950)

#### 2016 Dallas International Film Festival Award Winners
 

	The Dallas Film Society announced the award winners for the 10th edition of the Dallas International Film Festival at the annual Dallas Film Society Honors Gala Presented by the Arthur E. Benjamin Foundation held at The Highland Dallas (5300 E. Mockingbird) on Friday, April 22. Diego Luna’s MR. PIG took home the Narrative Feature Grand Jury Prize and Jessica Dimmock and Christopher LaMarca’s THE PEARL was awarded the Documentary Feature Grand Jury Prize. A Special Narrative Feature Jury Prize was awarded to Ondina Quadri for her performance as the title character in Carlo Lavagna’s ARIANNA, and a Special Documentary Feature Jury Prize was also awarded to Patrick Shen’s IN PURSUIT OF SILENCE.

	The Arthur E. Benjamin Foundation Audience Awards were presented to: Greg Kwedar’s TRANSPECOS for Best Narrative Feature, Jenna Jackson and Anthony Jackson’s UNTIL PROVEN INNOCENT for Best Documentary Feature, and Duke Merriman’s SO GOOD TO SEE YOU for Best Short Film. The awards include cash prizes of $2000 for the feature length winners, and $1000 for the short film winner.

	In addition to the presentation of the filmmaking awards, the evening also featured the presentation of the Dallas Star Award to two-time Academy Award nominated cinematographer Ed Lachman, and the inaugural presentation of the L.M. Kit Carson Maverick Filmmaker Award to filmmaking legend Monte Hellman.

	“We had a phenomenal and diverse group of films this year that pushed boundaries, touched emotions, and demonstrated true craft in filmmaking,” said James Faust, Artistic Director of the Dallas Film Society. “It seems as though we say this every year, but our jury members had an unenviable challenge in choosing one film above the others in each category.”

	Keith Maitland‘s TOWER won the Texas Competition Grand Jury Prize (Presented by Panavision), earning a camera rental package valued at $30,000, and Berndt Mader’s BOOGER RED received a Texas Competition Special Jury Prize. Nanfu Wang’s HOOLIGAN SPARROW won the Silver Heart Award (Presented by the Embrey Family Foundation) and the $10,000 cash prize bestowed on an individual or film for their dedication to fighting injustices and/or creating social change for the improvement of humanity.

	In the Short Film categories, Margaret Brown’s THE BLACK BELT won the the Short Film Grand Jury Prize, and Augustine Frizzell’s MINOR SETBACK was awarded a Special Jury Prize. The Student Short Grand Jury Prize went to Amelie Wen’s FATA MORGANA, with Samantha Buck’s THE MINK CATCHER receiving a Student Short Special Jury Prize. The Animated Short Grand Jury Prize (Presented by Reel FX) was given to Conor Whelan’s SNOWFALL.

	The recipients of the 2016 DIFF awards will receive MOVIE MAGIC Budgeting and Scheduling software bundles from Entertainment Partners.

	Jurors for this year’s edition of DIFF included: Oscilloscope’s Dan Berger, AFI DALLAS/DIFF co-Founder and filmmaker Michael Cain (TV JUNKIE, THE STARK CLUB), and director/screenwriter Julia Dyer (LATE BLOOMERS) judging the Narrative Feature Competition; DIFF filmmaking alum Ben Powell (BARGE), and Denver Film Festival’s Brit Whitney on the Documentary Feature Jury; filmmakers PJ Ravel (BEFORE YOU KNOW IT) and Amy Talkington (THE NIGHT OF THE WHITE PANTS), also DIFF alums judging the Texas Competition category; and Plan B’s Kyle Laursen, filmmaker Jonathan Lisecki (GAYBY), and Sundance Film Festival’s Lisa Ogdie on the Short Film jury.

	The Dallas International Film Festival continues with two more days of films on Saturday and Sunday, April 23 & 24, at the Angelika Film Center (5321 E. Mockingbird) and the Alamo Drafthouse Dallas (1005 South Lamar) with encores of award-winners, added screenings of audience favorites, joining the previously scheduled screenings for Dallas audiences to enjoy.

	 

	THE 2016 DIFF JURY AWARD WINNERS

	 

	NARRATIVE FEATURE GRAND JURY PRIZE: MR. PIG

	DIR: Diego Luna

	 

	NARRATIVE FEATURE SPECIAL JURY PRIZE (PERFORMANCE): ARIANNA

	DIR: Carlo Lavagna CAST: Ondina Quadri

	 

	DOCUMENTARY FEATURE GRAND JURY PRIZE: THE PEARL

	DIR: Jessica Dimmock and Christopher LaMarca’s

	 

	DOCUMENTARY FEATURE SPECIAL JURY PRIZE: IN PURSUIT OF SILENCE

	DIR: Patrick Shen

	 

	TEXAS COMPETITION GRAND JURY PRIZE (PRESENTED BY PANAVSION): TOWER

	DIR: Keith Maitland

	 

	TEXAS COMPETITION SPECIAL JURY PRIZE: BOOGER RED

	DIR: Berndt Mader

	 

	SILVER HEART AWARD (PRESENTED BY THE EMBREY FAMILY FOUNDATION): HOOLIGAN SPARROW

	DIR: Nanfu Wang

	 

	SHORT FILM GRAND JURY PRIZE: THE BLACK BELT

	DIR: Margaret Brown

	 

	SHORT FILM SPECIAL JURY PRIZE: MINOR SETBACK

	DIR: Augustine Frizzell

	 

	STUDENT SHORT FILM GRAND JURY PRIZE: FATA MORGANA

	DIR: Amelie Wen

	 

	STUDENT SHORT SPECIAL JURY PRIZE: THE MINK CATCHER

	DIR: Samantha Buck

	 

	ANIMATED SHORT FILM GRAND JURY PRIZE (PRESENTED BY REEL FX): SNOWFALL

	DIR: Conor Whelan

	 

	 

	THE 2016 DIFF AUDIENCE AWARD WINNERS (PRESENTED BY THE ARTHUR E. BENJAMIN FOUNDATION)

	 

	NARRATIVE FEATURE: TRANSPECOS

	DIR: Greg Kwedar

	 

	DOCUMENTARY FEATURE: UNTIL PROVEN INNOCENT

	DIR: Jenna Jackson and Anthony Jackson

	 

	SHORT FILM: SO GOOD TO SEE YOU

	DIR: Duke Merriman

#### 2016 DFW South Asian Film Festival Unveils Final Lineup
 

	The 2016 Dallas/Fort Worth South Asian Film Festival (DFW SAFF) will showcase 13 award-winning shorts, documentaries and feature films that have been consciously-curated for the North Texas audience from Feb. 19th to the 21st at the Perot Museum in downtown Dallas and the Angelika Film Center in Plano. Filmmakers, actors, local celebrities & VIPs will walk the red carpet on opening night and add glamor to the festivities. In addition to film screenings, the festival will also include post-screening Q&A sessions, networking events and after parties. 

	JINGO Media, a Dallas & NYC-based events management company, produces the annual festival. Principal & CEO Jitin Hingorani says: "We're so humbled and elated to have more than 25 local and national brands affiliated with our second-year festival as sponsors and partners. We strive to bring quality, independent film programming through Texas, U.S. and North American premieres to DFW audiences, and we hope people will leave our festival with a better understanding of our South Asian community and an appreciation for our cultures."

	
	2016 FESTIVAL LINE-UP: 
	Friday, Feb. 19th – Perot Museum, Downtown Dallas

		Miss India America – Opening Night Feature Film
	

	 

	Saturday, Feb. 20th – Angelika Film Center in Plano

	Education Programming: 

		I Say, Bhallaji – Short feature
	

		The Backward Class – Documentary
	

	Arts Programming: 

		Blue Like Me – Short Documentary
	

		Spaces Between – Short Documentary
	

	Documentary:

		Help Us Find Sunil Tripathi
	

	Women's Programming: 

		Saankal (Shackle) – Feature Film
	

	Men's Programming: 

		Vanvaas – Short film 
	

		Umrika – Centerpiece Feature Film
	

	 

	Sunday, Feb. 21st – Angelika Film Center in Plano

	Family Programming: 

		Super Girl – Short Feature (ages 6 and up)
	

		Dhanak – Feature Film (ages 6 and up)
	

	Documentary:

		Amma Y Appa – documentary feature
	

	***Surprise Closing Night Film 

		North American Premiere (to be announced next week)
	

	Tickets for ALL the films are available on our web site, www.dfwsaff.com, along with the timings, trailers and synopses. Festival passes are $150 and provide admission for all 13 films, as well as two after-parties that include food & alcohol. 
	 

#### 2016 Harlem International Film Festival Announces Award Winners
 

	The 2016 Harlem International Film Festival announced on Sunday, September 18, the award winners for the 11th edition of the film festival at MIST Harlem (41 West 116th Street). Priscilla Anany’s CHILDREN OF THE MOUNTAIN was named Best Narrative Feature, with Yoon-ha Chang’s I GO BACK HOME – JIMMY SCOTT taking the award for Best Documentary Feature. Ed Ehrenberg’s HEAR THE SILENCE won Best World Film (Narrative) and Fredrik Oskarsson’s NUCLEAR NEIGHBOR took the prize for Best World Documentary.

	Harlem International Film Festival Program Director Nasri Zacharia said, “This year’s slate of films was unprecedented in their diversity and impact on our audiences. They pushed boundaries, dealt with issues and emotions that affect us all, and provided an introduction to some truly special and accomplished filmmakers. While it is always a pleasure to bestow distinction on some of the great films we enjoyed and appreciated, it is to all of their credit that it’s difficult to not honor so many more.”

	The Audience Award was bestowed upon Margo Pelletier’s THIRSTY and Best Director Awards went to Brandon Ford Green for GOOD GRIEF (Narrative Feature), and Dawn Engle for RIGOBERTA MANCHÚ TUM – DAUGHTER OF THE MAYA (Documentary Feature).

	The Mira Nair Award for Rising Female Filmmaker went to Kati Juurus for her work on FOR KIBERA!, while acting awards were received by Rukiyat Masud (Best Actress for CHILDREN OF THE MOUNTAIN), Mdou Moctar (Best Actor for RAIN THE COLOR BLUE WITH A LITTLE RED IN IT), and 42 SECONDS OF HAPPINESS receiving the nod for Best Ensemble Cast.

	Honoring work behind the camera, the Harlem International Film Festival cited Marco Lopez for Best Cinematography for his work on THE SISTER, and Flora Volpelière was singled out for Best Editing for WEST COAST. A handful of performers were named Most Remarkable Young Person on Screen, including Laura Gontarczyk (TWO WORLDS), Jonas Laborda (JONAS AND THE BACKYARD CIRCUS), Kojo Roney (KOJO), Leonay Shepherd (GOOD FUNK), and Matthew Whitaker (THRIVE).

	Highlighting the film festival’s commitment to celebrating and promoting the work of local filmmakers, Daniel Maldonado’s H.O.M.E. won the New York Showcase Award, and Harlem Spotlight Awards went to Adam Kritzer’s GOOD FUNK (Harlem Spotlight Best Feature), Emily Abt’s DADDY DON’T GO (Harlem Spotlight Best Documentary), Greg Charles Royal’s WORLD’S NOT FOR ME (Harlem Spotlight Best Short Narrative), and Mike De Caro’s BY JAMAL JOSEPH (Harlem Spotlight Best Short Documentary).

	Best Experimental Film went to Bakhtiyar Islamov’s THE SKY OVER BERLIN OF MY CHILDHOOD. Best Animation went to both Alison Klayman’s THE NIGHT WITCH, and Jamal Joseph’s SISTERS, and Best Music Video also had a pair of winners with JD Ferenc’s BANGERS, and Jacob Krupnick’s DOVE.

	The festival placed the spotlight on it’s Top 10 Narrative Shorts, choosing Phedon Papamichael’s A BEAUTIFUL DAY, Albert Uria’s ANY DAY NOW, Paul Meschùh’s BOAT PEOPLE, Karim Oulhaj’s THE FROZEN EYE, Tony Ducret’s MBFF (MAN’S BEST FRIEND FOREVER), George Dalphin’s NEUROPHREAK, Dave Zhang’s PRINCESS EUN HWA, Jace Alexander Casey’s SHEN, James Khehtie’s THE TELEGRAM MAN, and LeRon Lee’s UGLY. A trio of films received recognition as Best Short Documentaries, including Stephanie Mankins’s DO YOU HEAR WHAT I HEAR?, Gabri Christa’s ONE DAY AT A TIME, and Gini Richards, Monica Berra, and SheRea DelSol’s SOUL CITY. Best Short Shorts nods went to Pau Escribano’s THE QUANTUM LIGHTER, James Wvinner’s THE CRIP WHO LOVES YOGA, and Paul Szynol’s THRIVE.

	Best Youth Feature went to Karmia Olutade’s THE REMNANT, Best Youth Short was Wayne Williams’s LET’S STAY TOGETHER, and Susan Saltz’s OUT OF THE ASHES Was named Best Youth Short Documentary.

	Winning Webisodes were Kaira Akita’s EVERYTHING I DID WRONG IN MY TWENTIES (Narrative), and Maureen Aladin’s MY LIFE OFFLINE (Documentary). The Winning Feature Script was Ken Kimmelson and Mick Carlon’s Riding on Duke’s Train, and the Winning Short Script was Marjory Kaptanoglu’s Run, My Dear.

	The festival opened with a tribute to Prince including a screening of Christopher Kirkely’s African homage to Prince’s PURPLE RAIN, RAIN THE COLOR BLUE WITH A LITTLE RED IN IT, and closed with Marlene “Mo” Morris’s A NEW COLOR: THE ART OF BEING EDYTHE BOONE, bookending the screening of 99 films (31 features, and 68 short films) including 14 world premieres, 1 North American Premiere, and 7 U.S. premieres. The Harlem International Film Festival also featured a number of films in their annual Harlem Spotlight, which celebrates the work of Harlem and locally-based filmmakers in front of and behind the camera, and featured the final stage of the Harlem International Film Festival’s Screenplay Showdown, where 6 finalists directed excepts from their scripts in a live read by actors for the film festival’s audience.

	 

	 

	THE 2016 HARLEM INTERNATIONAL FILM FESTIVAL AWARD WINNERS

	 

	Best Narrative Film

	CHILDREN OF THE MOUNTAIN

	Director: Priscilla Anany

	 

	Best World Film

	HEAR THE SILENCE (Höre Die Stille)

	Director: Ed Ehrenberg

	 

	Best Documentary

	I GO BACK HOME – JIMMY SCOTT

	Director: Yoon-ha Chang

	 

	Best World Documentary

	NUCLEAR NEIGHBOR

	Director: Fredrik Oskarsson

	 

	Audience Award

	THIRSTY

	Director: Margo Pelletier

	 

	 

	Best Narrative Director

	Brandon Ford Green (GOOD GRIEF)

	 

	Best Documentary Director

	Dawn Engle (RIGOBERTA MANCHÚ TUM – DAUGHTER OF THE MAYA)

	 

	Mira Nair Award for Rising Female Filmmaker

	Kati Juurus (FOR KIBERA!)

	 

	 

	Best Actress

	Rukiyat Masud (CHILDREN OF THE MOUNTAIN)

	 

	Best Actor

	Mdou Moctar (RAIN THE COLOR BLUE WITH A LITTLE RED IN IT)

	 

	Best Ensemble Cast

	42 SECONDS OF HAPPINESS

	 

	Most Remarkable Young Person on Screen

	Laura Gontarczyk (TWO WORLDS)

	Jonas Laborda (JONAS AND THE BACKYARD CIRCUS)

	Kojo Roney (KOJO)

	Leonay Shepherd (GOOD FUNK)

	Matthew Whitaker (THRIVE)

	 

	Best Cinematography

	Marco Lopez (THE SISTER)

	 

	Best Editing

	Flora Volpelière (WEST COAST)

	 

	 

	New York Showcase Award

	H.O.M.E.

	Director: Daniel Maldonado

	 

	Harlem Spotlight (Feature)

	GOOD FUNK

	Directed by Adam Kritzer

	 

	Harlem Spotlight (Documentary)

	DADDY DON’T GO

	Director: Emily Abt

	 

	Harlem Spotlight (Short Narrative)

	WORLD’S NOT FOR ME

	Director: Greg Charles Royal

	 

	Harlem Spotlight (Short Documentary)

	BY JAMAL JOSEPH

	Director: Mike De Caro

	 

	Best Experimental Film

	THE SKY OVER BERLIN OF MY CHILDHOOD

	Director: Bakhtiyar Islamov

	 

	Top 10 Narrative Shorts

	A BEAUTIFUL DAY Director: Phedon Papamichael

	ANY DAY NOW Director: Albert Uria

	BOAT PEOPLE Director: Paul Meschùh

	THE FROZEN EYE Director: Karim Oulhaj

	MBFF (MAN’S BEST FRIEND FOREVER) Director: Tony Ducret

	NEUROPHREAK Director: George Dalphin

	PRINCESS EUN HWA Director: Dave Zhang

	SHEN Director: Jace Alexander Casey

	THE TELEGRAM MAN Director: James Khehtie

	UGLY Director: LeRon Lee

	 

	Best Short Documentaries

	DO YOU HEAR WHAT I HEAR? Director: Stephanie Mankins

	ONE DAY AT A TIME Director: Gabri Christa

	SOUL CITY Directors: Gini Richards, Monica Berra, SheRea DelSol

	 

	Best Short Shorts

	THE QUANTUM LIGHTER (L’Encenedor Quàntic) Director: Pau Escribano

	THE CRIP WHO LOVES YOGA Director: James Wvinner

	THRIVE Director: Paul Szynol

	 

	 

	Best Youth Feature

	THE REMNANT 

	Director: Karmia Olutade

	 

	Best Youth Short Documentary

	OUT OF THE ASHES

	Director: Susan Saltz       

	 

	Best Youth Short

	LET’S STAY TOGETHER

	Director: Wayne Williams

	 

	Best Animation

	THE NIGHT WITCH Director: Alison Klayman

	SISTERS Director: David Chontos

	 

	Best Music Video

	BANGERS Director: JD Ferenc

	DOVE Director: Jacob Krupnick

	 

	 

	Winning Webisode (Narrative)

	EVERYTHING I DID WRONG IN MY TWENTIES Director: Kaira Akita

	 

	Winning Webisode (Documentary)

	MY LIFE OFFLINE Director: Maureen Aladin

	 

	 

	Winning Feature Script

	Riding on Duke’s Train

	Ken Kimmelson & Mick Carlon

	 

	Feature Script Finalists

	Shining Star

	Jackie Thornton

	Monsterland

	Michael Philip Cash

	Dana the Drummer

	Tannaz Hazemi

	The Crab Pot

	Joseph Grinstein

	Ghost Chant

	Ramon Olivo

	 

	Feature Script Semi-Finalists

	The Legend of William Tell

	J. Ian Sample

	Dismas and Gestas

	Peter Hoffmann

	Wall Streak

	Greg Greenberg

	The Colored Women’s Chapter

	Nancy Zafris

	Verity

	Richard Spencer

	 

	Winning Short Script

	Run, My Dear

	Marjory Kaptanoglu

	 

	Short Script Finalists

	Christmas of Nothing

	Joseph Verrico

	Double Crossed

	Eric P. Granger

	Fireworks for a Funeral

	Madeline Dennis-Yates

#### 2016 Human Rights Watch Film Festival Lineup Announced
 

	The Human Rights Watch Film Festival will be presented June 10-19 with 18 topical and provocative feature films and three special interactive programs that grapple with the challenges of defending human rights around the world today. Now in its 27th edition, the festival is co-presented by the Film Society of Lincoln Center and IFC Center. Most screenings will be followed by in-depth Q&A discussions with filmmakers and Human Rights Watch experts.
	“This year’s Human Rights Watch Film Festival presents an array of women’s rights issues through inspirational and personal stories of remarkable women,” said John Biaggi, the festival’s creative director. “From a tenacious women’s rights activist in China to a teenage Afghan rapper fighting child marriage to a courageous director of a women’s health clinic in Mississippi—the festival is spotlighting women and amplifying their voices in society through film. It’s especially noteworthy that over half of the films in the 2016 program are directed or co-directed by women.”
	The festival also features three timely films on LGBT rights as well as a broad range of hot-button human rights issues including police militarization, environmental human rights, rape as a war crime, Syrian refugees, and impunity/lawlessness in Mexico.
	 The Opening Night selection is Nanfu Wang’s Hooligan Sparrow, which documents Chinese activist Ye Haiyan (aka “Hooligan Sparrow”) as she protests against a school headmaster’s sexual abuse of young girls, leading both the director and Sparrow to become targets of government intimidation. In recognition of her work, Nanfu Wang will receive the festival’s 2016 Nestor Almendros Award for courage in filmmaking.
	Closing the festival is the Sundance Grand Jury Prize winner Sonita, in which filmmaker Rokhsareh Ghaem Maghami follows a determined Afghan teenager who overcomes living as a refugee in Iran (where female singers are banned from singing solo) and her family’s plans to sell her into marriage to follow her dreams of becoming a rapper.
	Five other outstanding documentaries broaden the theme of women’s rights at this year’s event. Jackson takes a close look at the politics of reproductive rights at Mississippi’s last remaining abortion clinic; Ovarian Psycos follows a defiant Latina bicycle gang fighting to take back the streets for women in East Los Angeles; film festival favorite Starless Dreams is an intimate portrait of young women in a rehabilitation prison in Tehran; Tempestad artfully renders the difficult life paths of two women amid the chaos and impunity in today’s Mexico; and The Uncondemned is a gripping portrayal of a young group of lawyers and activists who fought to have rape recognized as a war crime in a landmark trial in Rwanda.
	Three festival titles revolve around the fight for lesbian, gay, bisexual, and transgender (LGBT) rights. Inside the Chinese Closet exposes the difficult decisions young lesbian and gay Chinese people are making—including fake marriages—when forced to balance their quest for love with parental and cultural expectations. From the United States, Growing Up Coy, shown in its world premiere, sensitively portrays the struggles of a Colorado family who take on a highly publicized legal battle to fight for their 6-year-old transgender daughter’s rights to use the girls’ bathroom, while HBO’s Suited explores the transformative work of a Brooklyn tailor company that creates bespoke suits for clients across the gender spectrum.
	Four more films from the US explore some of the most pressing human rights issues in the country today. Almost Sunrise exposes the growing epidemic of soldier suicides through the story of two friends who embark on an epic journey to heal from their time in combat; the drama Chapter & Verse focuses on a former gang leader who struggles to restart his life in Harlem after eight years of incarceration; Do Not Resist, winner of the top documentary prize at the Tribeca Film Festival, is an alarming investigation into the increasing militarization of American police departments, and how it overwhelmingly affects black Americans; and HBO’s Solitary is an unprecedented portrait of life inside solitary confinement at a supermax prison.
	A selection of international titles rounds out this year’s screening program. The Crossing follows the journey of a group of middle-class Syrian families forced into harsh choices in a desperate bid for freedom; the multi-award-winning drama The High Sun interweaves three love stories from the Balkans region with a long history of inter-ethnic hatred; P.S. Jerusalem details the filmmaker’s highly personal return to Jerusalem after two decades living in the US; and the Sundance prize-winner When Two Worlds Collide charts the dramatic standoffs between indigenous Amazonians and the Peruvian government intent on exploiting their resource-rich ancestral lands.
	Festival organizers are pleased to present three special programs that combine visual media with discussions of current issues in the fields of audience engagement and human rights. During the panel discussion Desperate Journey: Europe’s Refugee Crisis, Human Rights Watch’s emergencies director, Peter Bouckaert, and Zalmaï, the award-winning Afghan-born photographer, will share their insights and images, and discuss how governments can effectively respond to the refugee crisis. An exhibition of Zalmaï’s photographs will accompany this discussion in the Furman Gallery at the Walter Reade Theater. Another panel, The Emerging World of Virtual Reality and Human Rights, will feature creators, journalists and human rights experts who will discuss the exciting and evolving intersection of virtual reality and human rights. This panel is presented in conjunction with the powerful virtual reality installation 6×9: An Immersive Experience of Solitary Confinement in the Furman Gallery.
	The festival will also continue its partnership with MUBI, an online cinema community that will feature select films from the HRWFF online while our New York festival is in progress. Learn more at mubi.com.

	 

	PROGRAM DETAILS

	Opening Night Film & Reception
	Friday, June 10, 6:30 pm – Film Society of Lincoln Center
	HOOLIGAN SPARROW (New York premiere screening + panel discussion)
	Nanfu Wang—2016—83m—doc—In English and Mandarin
	A group of activists protesting the alleged rape of six girls by a school headmaster and a government official quickly become fugitives. Filmmaker Nanfu Wang and super-activist Ye Haiyan (“Hooligan Sparrow”) must avoid government thugs and arrest. Sparrow becomes an enemy of the state, but detentions, interrogations, and evictions can’t stop her protest from going viral. A thriller set across southern China featuring friends who will go to any lengths to expose the truth.
	Screening followed by discussion: Featuring Nanfu Wang, filmmaker; Sophie Richardson, China Director, Asia Division, Human Rights Watch; Liesl Gerntholtz, Women’s Rights Director, Human Rights Watch; moderator Minky Worden, Director of Global Initiatives, Human Rights Watch.
	The Festival is pleased to present filmmaker Nanfu Wang with its 2016 Nestor Almendros Award for courage in filmmaking. 
	NESTOR ALMENDROS AWARD
	Renowned cinematographer and filmmaker Nestor Almendros (1930–1992) was a founder of the Human Rights Watch Film Festival, actively involved in the selection of films and the promotion of human rights filmmaking. Even while deeply immersed in his own projects, he took the time to call the Festival team to mention a strong documentary or promote a work-in-progress. Believing in the power of human rights filmmaking, Nestor devoted himself to becoming a mentor to many young filmmakers. It is in the Festival’s loving memory of Nestor and our desire to celebrate his vision that we proudly bestow this award to filmmakers for their exceptional commitment to human rights.
	 
	Closing Night Film
	Sunday, June 19, 7:00 pm – IFC Center
	SONITA (New York premiere screening + Q&A with filmmaker)
	Rokhsareh Ghaem Maghami—2015—90m—doc—In English and Farsi
	Winner of the 2016 Sundance Film Festival Grand Jury Prize and Audience Award for World Cinema Documentary, Sonita is about a determined and animated Afghan teen living in Tehran, who dreams of being a famous rapper. But in Iran, the government doesn’t let girls sing solo. And in her Afghan home she is expected to become a teenage bride. With her family keen to marry her off to receive her dowry, tradition bears down on Sonita. Armed with nothing but passion and persistence, she must turn obstacle into opportunity. 

	ALMOST SUNRISE (New York premiere screening + Q&A with filmmaker and film subject Tom Voss)
	Michael Collins—2016—94m—doc—In English
	Two friends, in an attempt to put their haunting combat experiences behind them, embark on an epic 2,700-mile trek on foot across America seeking redemption and healing as a way to close the moral chasm opened by war. Their odyssey across snowy mountains and vast deserts inspires an inner journey that culminates in a remarkable spiritual transformation that could light the way for other veterans seeking to reclaim their lives.  Suicide among military veterans has reached epidemic proportions and can be the result of what mental health professionals call “moral injury”—lasting wounds to the soul caused by participation in events that go against one’s deeply held sense of right and wrong. Almost Sunrise is an intimate, vérité film that eschews stereotypes, and instead, captures an unprecedented portrait of veterans—one of hope, potential and untold possibilities.
	Saturday, June 11, 9:15 pm – IFC Center
	Monday, June 13, 6:30 pm – Film Society of Lincoln Center

	CHAPTER & VERSE (Screening + Q&A with filmmaker)
	Jamal Joseph—2015—97m—drama—In English
	After serving eight years in prison, reformed gang leader S. Lance Ingram re-enters society and struggles to adapt to a changed Harlem. Living under the tough supervision of a parole officer in a halfway house, he is unable to find a job that will let him use the technological skills he gained in prison, and is forced to deal with racism, gang violence, and the gentrification of the historic New York City neighborhood in which he was raised. Directed by Jamal Joseph, a leader of the Black Panther Party who spent time in prison as a result of his involvement in the organization, Chapter & Verse pulls you into its vibrant world and reflects upon what it means to forge your own destiny in an outwardly harsh society.
	Sunday, June 12, 5:00 pm – Film Society of Lincoln Center

	THE CROSSING (US premiere screening + Q&A with director)
	George Kurian—2016—55m (65m w. featured shorts)—doc—In English and Arabic
	*Preceded by MALAK (5m) and MUSTAPHA (5m), two beautifully rendered short films about two young Syrian children’s personal experiences journeying from their homeland to the shores of Greece. Produced by Dovana Films.
	A first-hand account of the perilous journey made by a group of Syrian refugees. Traversing land and sea on an old fishing boat manned by smugglers, the nail-biting journey leads to Europe where the refugees disperse. Each must battle to stay sane and create an identity among the maze of regulations and refugee hostels. The Crossing shows us the lengths to which people go to find safety and forge their own destiny.
	Wednesday, June 15, 8:30 pm – Film Society of Lincoln Center
	Thursday, June 16, 9:15 pm – IFC Center

	DO NOT RESIST (Screening + Q&A with filmmaker)
	Craig Atkinson—2016—72m—doc—In English
	Winner of Best Documentary Feature at the Tribeca Film Festival, Do Not Resist opens with shocking scenes from Ferguson, Missouri, to introduce an array of stories that collectively detail the disturbing realities of American police culture. The film depicts a high-end weapons expert who instructs police departments around the nation on the need for force and intimidation; a growing number of small towns and cities being armed with expensive military-grade equipment; and the development of face-recognition technology that makes the automated scanning of cities for wanted offenders a likely reality. Director Craig Atkinson presents a unique and powerful portrait of the individuals and institutions each playing their part in a growing billion-dollar industry. Do Not Resist begs the question—who is it we “protect and serve.”
	Tuesday, June 14, 6:30 pm – Film Society of Lincoln Center
	Wednesday, June 15, 9:00 pm – IFC Center

	GROWING UP COY (World premiere screening + Q&A with filmmaker)
	Eric Juhola—2016—83m—doc—In English
	Growing Up Coy follows a landmark transgender rights case in Colorado where a 6-year-old transgender girl named Coy has been banned from the girls’ bathroom at her school. Coy’s parents hire a lawyer to pursue a civil rights case of discrimination, and the family is thrust into the international media spotlight, causing their lives to change forever. A timely topic as states across the US battle with this particular civil rights issue. The film also asks a universal question that every parent may face: How far would you go to fight for your child’s rights?
	Thursday, June 16, 7:00 pm – IFC Center
	Friday, June 17, 6:30 pm – Film Society of Lincoln Center

	THE HIGH SUN
	Dalibor Matanić—2015—123m—drama—In Croatian
	The High Sun shines a light on three love stories, set in three consecutive decades, in two neighboring Balkan villages with a long history of inter-ethnic hatred. Through these stories, Dalibor Matanić highlights how dangerous hatred towards “the other” can be. It is a film about the fragility—and intensity—of forbidden love. Jury Prize, Un Certain Regard, 2015 Cannes Film Festival.
	Sunday, June 12, 9:15 pm – IFC Center

	INSIDE THE CHINESE CLOSET (New York premiere screening + Q&A with filmmaker)
	Sophia Luvara—2015—70m—doc—In English and Mandarin
	In a nondescript lounge somewhere in Shanghai, men and women giggle, eyeing prospective partners, visibly nervous about making the first move. This isn’t your average matchmaking event—it’s a “fake-marriage fair” where gay men and lesbian women meet in an attempt to make matrimonial deals with members of the opposite sex to satisfy social and familial expectations of a heterosexual marriage. And pretend marriages are just the start. Touching and troubling in equal measure, Inside the Chinese Closet exposes the difficult decisions young LGBT individuals must make when forced to balance their quest for love with parental and cultural expectations.
	Friday, June 17, 9:30 pm – IFC Center
	Saturday, June 18, 9:00 pm – Film Society of Lincoln Center

	JACKSON (New York premiere screening + Q&A with filmmaker and film subject Shannon Brewer)
	Maisie Crow—2015—90m—doc—In English
	What is life like in a place where the anti­-abortion movement has made access to legal abortion almost impossible? Since the ruling in Roe v. Wade over four decades ago, the self-labelled “pro-life” movement has won significant legal, cultural, and political battles. Now, the stigma of abortion is prolific in the American South, leaving women in poverty and women of color particularly vulnerable. Set against the backdrop of the fight over the last abortion clinic in Mississippi, Jackson takes a close look inside the issues surrounding abortion.
	Friday, June 10, 7:00 pm – IFC Center
	Sunday, June 12, 8:30 pm – Film Society of Lincoln Center

	OVARIAN PSYCOS (New York premiere screening + Q&A with filmmaker and film subjects)
	Joanna Sokolowski and Kate Trumbull-LaValle —2016—72m—doc—In English and Spanish
	Riding at night through the streets of Eastside Los Angeles, the Ovarian Psycos are an unapologetic crew of women of color. Founded by Xela de la X, a single mother and poet, the Ovas cycle for the purpose of healing, reclaiming their neighborhoods, and creating safer streets for women. At first only attracting a few local women, the Ovarian Psycos have since inspired a crowd of locals to challenge the stereotypical expectations of femininity and be a visible force along the barrios and boulevards of Los Angeles. The film intimately explores the impact of the group’s brand of feminism on neighborhood women and communities as they confront the injustice, racism, and violence in their lives.
	Saturday, June 11, 7:00 pm – IFC Center
	Monday, June 13, 7:00 pm – IFC Center

	P.S. JERUSALEM (Screening + Q&A with filmmaker)
	Danae Elon—2015—87m—doc—In English, Arabic and Hebrew
	Danae Elon exposes a deep, complex, and painful portrait of Jerusalem today. The filmmaker relocates her young family from New York City to her childhood home of Jerusalem, a decision prompted by the death of her father. Danae’s camera captures her three young boys growing up, asking endless questions and confronting the reality around them. She sends them to the only school in the city that teaches Arab and Jewish children together, a respite from the conflict enveloping her surroundings. But can she keep her family together—and keep a cool head—in the political and cultural heat of Jerusalem? 
	Friday, June 17, 7:00 pm – IFC Center
	Saturday, June 18, 6:30 pm – Film Society of Lincoln Center

	SOLITARY (Screening + Q&A with filmmaker)
	Kristi Jacobson—2015—80m—doc—In English
	Solitary tells the stories of several inmates sent to Red Onion State Prison, one of over 40 supermax prisons across the US, which holds inmates in eight-by-ten foot solitary confinement cells, 23 hours a day. Profoundly intimate, this immersive film weaves through prison corridors and cells, capturing the chilling sounds and haunting atmosphere of the prison. With unprecedented access, award-winning filmmaker Kristi Jacobson investigates an invisible part of the American justice system and tells the stories of people caught in the complex penal system—both inmates and correction officers—raising provocative questions about punishment in America today. HBO Documentary Films.
	Thursday, June 16, 6:15 pm – Film Society of Lincoln Center

	STARLESS DREAMS
	Mehrdad Oskouei —2016—76m—doc—In Farsi
	Murder, drug addiction, hijacking cars, running away from home: these are just a few of the crimes that the girls from the rehabilitation center for juvenile delinquents in Tehran have committed. For seven years, director Mehrdad Oskouei sought permission from the Iranian authorities to allow him to film an imprisoned population, otherwise hidden from the public eye. The result is an incredibly personal documentary about the dreams, nightmares, and hopes of the women in this all-female facility. Their individual stories show their desire to return to freedom and live a normal life, but also the fear of what is waiting for them on the outside.
	Friday, June 10, 9:30 pm – IFC Center
	Saturday, June 11, 9:00 pm – Film Society of Lincoln Center

	SUITED (Screening + Q&A with filmmaker and film subjects)
	Jason Benjamin—2016—77m—doc—In English
	Suited tells the story of Bindle & Keep, a Brooklyn tailoring company that caters to a diverse LGBTQ community. Clothier duo Rae and Daniel take a holistic approach to their work, considering each client’s personal narrative, which becomes inextricable from the creation of the perfect custom-made suit. From Derek’s emotional journey as he prepares for his wedding to Everett, a law student in a conservative environment, or Melissa, who simply wants to look good for a 40th birthday party—the need for well-fitting garments represents deeper issues of identity, empowerment, and the importance of feeling happy in one’s body. HBO Documentary Films.
	Saturday, June 18, 9:45 pm – IFC Center

	TEMPESTAD (US premiere screening + Q&A with filmmaker)
	Tatiana Huezo—2016—105m—doc—In Spanish
	Two women, their voices echoing over the landscape and highways of Mexico from North to South, tell how official corruption and injustice allowed violence to take control of their lives. The film is a meditation on corruption and on the notion of “impunidad,” the impunity or unaccountability of those in power, whether part of the Mexican government or the country’s drug cartels. An emotional and evocative journey, steeped not only in loss and pain, but also in love, dignity and resistance.
	Friday, June 17, 9:00 pm – Film Society of Lincoln Center
	Saturday, June 18, 7:00 pm – IFC Center

	THE UNCONDEMNED (Screening + Q&A with filmmaker and film subject Sara Darehshori)
	Michele Mitchell and Nick Louvel—2015—86m —doc—In English, French and Kinyarwanda
	Both a real-life courtroom thriller and a moving human drama, The Uncondemned tells the gripping story of a group of young international lawyers and activists who fought to have rape recognized as a war crime, and the Rwandan women who came forward to testify and win justice for the crimes committed against them. This odyssey takes the crusaders to a crucial trial at an international criminal court, the results of which changed the world of criminal justice forever.
	Saturday, June 11, 6:30 pm – Film Society of Lincoln Center
	Sunday, June 12, 7:00 pm – IFC Center

	WHEN TWO WORLDS COLLIDE (New York premiere screening + Q&A with filmmaker)
	Heidi Brandenburg and Mathew Orzel—2016—103m —doc—In Spanish
	What happens when the thirst for power and riches takes priority over human life? The Amazon Rainforest, one of the planet’s most valuable natural resources, is being auctioned off, and its people condemned. Alberto Pizango, a young indigenous leader fighting to make the voices of indigenous Peruvians heard, stands up to political leaders and is accused of conspiracy and inciting violence. Set against the backdrop of a global recession and climate crisis, When Two Worlds Collide, winner of a World Cinema documentary competition prize for best first feature at Sundance, reveals the human side to the battle of conflicting visions and political wills working to shape the future of the Amazon, and of an already debilitated global ecosystem. Opens at Film Forum on Aug. 17.
	Thursday, June 16, 8:45 pm – Film Society of Lincoln Center
	
	

	SPECIAL PROGRAMS

	Special Event – Discussion Panel
	DESPERATE JOURNEY: EUROPE’S REFUGEE CRISIS
	More than one million asylum seekers and migrants have arrived in Europe by sea. According to UNHCR, the UN refugee agency, 84 percent were from Syria, Afghanistan, Eritrea, Somalia, or Iraq—all countries experiencing conflict, widespread violence and insecurity, or which have highly repressive governments. Human Rights Watch has covered the unfolding situation in multiple countries using research teams that include photographers and videographers to capture conditions on the ground and convey the compelling individual stories behind this crisis. In this panel discussion Human Rights Watch Emergencies Director Peter Bouckaert and photographer Zalmaï share their insights and images, along with short video clips, to discuss how governments can effectively respond to the refugee crisis in line with their legal responsibilities and stated values.
	This event will run 90 minutes.
	Tuesday, June 14, 7:00 pm – IFC Center
	*There will be an exhibition of Zalmaï’s photographs to accompany this discussion in the Roy and Frieda Furman Gallery at the Film Society of Lincoln Center’s Walter Reade Theater.

	Special Event – Discussion Panel
	THE EMERGING WORLD OF VIRTUAL REALITY AND HUMAN RIGHTS
	Virtual Reality (VR) is an expanding arena for immersive and interactive content. Creators are exploring ways to project participants into new worlds and experiences, and a growing number of these are focused on human rights. A variety of backers such as the New York Times, Google, Facebook, and the United Nations are working to develop and expand our use of the technology. Questions over how best to use VR, and its ability to impact human rights situations, are hotly debated—particularly as VR’s unique approach to audience experience raises new issues over legitimacy and responsibility. Creators differ over how far to push audiences’ boundaries, for what impact, and with what design model. Opinions over these questions are ever-changing within the field. Join us for a panel discussion with creators, journalists and human rights experts to discuss this exciting and evolving intersection of VR and human rights. Panelists include Francesca Panetta, Special Projects Editor at The Guardian; Sam Gregory, Program Director at WITNESS; Lina Srivastava, Founder, CIEL; and others.
	This event will run 90 minutes.
	Wednesday, June 15, 6:30 pm – Film Society of Lincoln Center
	This panel is presented in conjunction with VR installation 6×9: An Immersive Experience of Solitary Confinement, June 10-18 from 7:30 to 9:30 pm at the Frieda and Roy Furman Gallery at the Film Society of Lincoln Center’s Walter Reade Theater. This installation is free and open to the public. Co-created by The Guardian and The Mill.

	6X9: AN IMMERSIVE EXPERIENCE OF SOLITARY CONFINEMENT
	Right now, more than 80,000 people are in solitary confinement in the US—locked in tiny concrete boxes where every element of their environment is controlled. They spend 22-24 hours a day in their cells, with little to no human contact for days or even decades. The sensory deprivation they endure causes severe psychological damage. These people are invisible to us—and eventually to themselves. This powerful VR piece invites you to experience first-hand what life is like in solitary confinement.

	DESPERATE JOURNEY
	Europe’s Refugee Crisis
	Photography by Zalmaï for Human Rights Watch
	Photo exhibition runs from June 10-18 at the Frieda and Roy Furman Gallery
	Film Society of Lincoln Center’s Walter Reade Theater
	The desperate flight of refugees and asylum seekers from unending violence and abuse in countries such as Syria, Afghanistan, Iraq, and Eritrea, and their limited chance to secure adequate work, housing, schooling, and legal status in neighboring countries, led an estimated one million people to flee to Europe in the past year.
	The fear of what an influx of asylum seekers could mean for their societies has led many governments in Europe and elsewhere to close the gates and pursue beggar-thy-neighbor policies that are the negation of shared solidarity and responsibility. The fear of more terrorist attacks has moved many governments around the world to follow the excesses of the post-9-11 response by the United States and many politicians to scapegoat Muslims or refugees.
	Over the past year, photographer Zalmaï accompanied teams of Human Rights Watch researchers carrying out on-the-ground investigations in multiple countries and documenting the crisis as it was unfolding.
	Zalmaï: Born in Kabul, Afghanistan, Zalmaï fled his country after the Soviet invasion in 1979 and found refuge in Lausanne, Switzerland, where he became a Swiss citizen. Following his passion for photography, Zalmaï pursued combined studies at the School of Photography of Lausanne and the Professional Photography Training Center of Yverdon. In 1989, he began to work as a freelance photographer, traveling the world and eventually returning to Afghanistan, where he continues to document the plight of the Afghan people. His work has been published in the New York Times Magazine, TIME, The New Yorker, Harper’s, and Newsweek. He has also worked for a number of nongovernmental organizations, including Human Rights Watch, the International Committee of the Red Cross, the United Nations Office on Drugs and Crime, and United Nations High Commission for Refugees.

#### 2016 Indie Memphis Film Festival Announces Filmmaker Awards
Maisie Crow (JACKSON)

	 

	The 2016 Indie Memphis Film Festival presented by Duncan-Williams, Inc., announced their filmmaker awards during a celebratory ceremony at the Circuit Playhouse (51 Cooper Street) on Saturday night (November 5), and their Audience Awards at the Halloran Centre at the Orpheum (225 S. Main Street) last night. Deb Shoval’s AWOL won the jury award (and a $1000 cash prize) for Best Narrative Feature, Maisie Crow’s JACKSON took home the jury award (and $1000 courtesy of Classic American Hardwoods) for Best Documentary Feature, and Madsen Minax’s KAIROS DIRT & THE ERRANT VACUUM received the nod (and a $1000 cash prize) as Best Hometowner Feature.

	Shoval’s AWOL, and Crow’s JACKSON also took home the Audience Awards for Best Narrative Feature, and Best Documentary Feature, respectively, while Alma Har’el’s LOVETRUE doubled up on the Jury Award and the Audience Award for Best Departures Feature. Kathy Lofton’s I AM A CAREGIVER received the Audience Award for Best Hometowner Feature.

	The festival’s coveted $10,000 IndieGrants awards went to Dan Baker, for his film project, DYSPHORIA, and Rachel M. Taylor for her film project, SOLUS, with each receiving $10,000 cash-equivalent rentals from Firefly Grip & Electric, LensRentals, and Music + Arts Studio. $500 IndieGrants winners were Stephanie Watkins, for her film project GIRLSLIKEME, and Christopher Tracy, for his film project, SOPHIE. The winners were selected from applications by 40 filmmakers living in Tennessee’s Shelby County, Mississippi’s DeSoto County, or Arkansas’s Crittenden County.

	Indie Memphis executive director Ryan Watt, said, “The 19th edition of Indie Memphis delivered on our "Film For All" message to expand our audience as they packed the theaters that spanned across the city. We received such positive feedback on the program of films which made the award decisions very difficult for the jury. Equally challenging for the jury was choosing the Hometowner winners from the impressive field, proving again that Memphis is on the rise with a wealth of talent in our filmmaking community."

	In addition to Shoval’s award for AWOL, Musa Syeed’s AWOL took two prizes in the Narrative Feature category, including the Duncan-Williams, Inc. Scriptwriting Award (and a cash prize for $1000) for Syeed’s script, and a Special Jury Prize for Best Duo for the performances in the film of Barkhad Abdirahman and Ayla the dog.

	Along with Crow’s nod for JACKSON, a Special Jury Award for Emotional Honesty went to Cecilia Aldarondo’s MEMORIES OF A PENTINENT HEART in the Documentary Feature category.

	The Hometowner category, which includes films made by Memphis-area filmmakers, was led by Minax’s KAIROS DIRT & THE ERRANT VACUUM as Best Feature Film. The Best Hometowner Short Film winners were Graham Uhelski & Daniel Ray Hamby’s DOPPLEGÄNGER (Best Narrative Short), and Laura Jean Hocking & Melissa Anderson Sweazy’s A.J. (Best Documentary Short). The filmmakers for both films received cash prizes of $500, along with their award. Special Jury Awards went to Kevin Brooks for his work on KEEP PUSHING, and Gabrielle Goble for her performance in TEETH.

	In the Sounds and Departures categories, Patrick Sheehan’s GIP took the award for Best Sounds Feature, and top music video nods went to Paavo Hanninen’s “Dance Square” by Video Age for Best Sounds Music Video, and Ben Siler & Company’s “Memphis Beach” by Chakerine for Best Hometowner Music Video. Har’el’s LOVETRUE won Best Departures Feature, while Brian Ratigan’s A STONE’S THROW AWAY was named Best Departures Short. Ryan and Tyler Betschart’s PUDDING received a Special Jury Prize in the category. The poster for the film, ARE WE NOT CATS, won the award for Best Poster Design.

	Festival awards (chosen by the Indie Memphis programming staff) included; GREEN/IS/GOLD director Ryon Baxter receiving the Craig Brewer Emerging Filmmaker Award (given to a first-time filmmaker that exemplifies the DIY spirit), I AM THE BLUES director Daniel Cross named as this year’s Soul of Southern Film Award recipient (which celebrates Indie Memphis’s origins as “The Soul of Southern Film”), and MA director Celia Rowlson-Hall receiving the Ron Tibbett Excellence in Filmmaking Award, which honors the memory of Indie Memphis’s friend and mentor, who was an award-winning filmmaker, as well as the founder/director of Indie Memphis.

	The film festival’s Indie Award, given to a crew member that has impressed the Indie Memphis staff with the breadth and scope of their work behind the camera on numerous films, was Sarah Fleming, who served on crews for several films in the festival this year. The Indie Memphis Vision Award, given to someone that has made a permanent impact on the legacy of the Indie Memphis Film Festival, was presented to the Commercial Appeal’s John Beifuss. Beifuss, who has been Memphis’s preeminent film journalist and critic for many years was cited for the dedicated coverage of the film festival as well as independent film locally, giving the art of filmmaking an unwavering presence in the press due to his efforts.

	Additional Audience Awards were received by Daniel Cross’s I AM THE BLUES for Best Sounds Feature, Fredric Lehne’s SHY GUYS for Best Narrative Short Film, and Amy Nicholson’s PICKLE for Best Documentary Short Film. Sam Bank’s THE WRONG END OF THE STICK won the Audience Award for Best Departures Short Film, Laura Jean Hocking and C. Scott McCoy’s HOW TO SKIN A CAT took home the same honor for Best Hometowner Narrative Short Film, and Jared Biunno’s THE RUGBY BOYS OF VENICE got the nod for Best Hometowner Documentary Short Film. Megan Leonard’s Music Video for Eric Blood’s song “Chase the Clouds” got the Audience Award for Best Sounds Music Video, and Ryan Earl Parker’s music video for Tina Harris’s song, “Don’t You Smile Say Yeah” received the prize for Best Hometowner Music Video. ARE WE NOT CATS scored its second win by also taking the Audience Award for Best Poster.

	The awards ceremony for the jury awards was hosted by Alex Blagg, the Emmy-winning co-creator and Executive Producer of @midnight with Chris Hardwick, who entertained the audience with an ongoing mock-campaign to “Make Memphis Corporate Again,” having fun with the idea that Indie Memphis has gone too far in turning the city “indie”. The Audience Awards were announced by Executive Director Ryan Watt during the closing night reception at the Halloran Centre at the Orpheum (225 S. Main Street) on Monday, November 8.

	 

	 

	The 2016 Indie Memphis Film Festival Filmmaker Awards:

	Narrative Features:

		Best Narrative Feature: AWOL (Director: Deb Shoval) – $1,000
	

		Duncan-Williams, Inc. Scriptwriting Award: A STRAY (Director and Screenwriter: Musa Syeed) – $1,000
	

		Narrative Special Jury Prize for Best Duo: Barkhad Abdirahman and Ayla the dog (A STRAY)
	

	 

	Documentary:

		Best Documentary: JACKSON (Director: Maisie Crow) – $1,000
	

		Documentary Special Jury Award for Emotional Honesty: MEMORIES OF A PENTINENT HEART (Director: Cecilia Aldarondo)
	

	 

	Shorts:

		Best Narrative Short: SUN VALLEY (Director: Brian Paison) – $500
	

		Narrative Short Special Jury Prize: SHY GUYS (Director: Frederic Lehne)
	

		Best Documentary: GOOD WHITE PEOPLE (Directors: Erick Stoll, Jared Welling- Cann) – $500
	

		Documentary Shorts Special Jury Prize: IN THIS WORLD (Director: Kelly Creedon)
	

		Best After Dark Short: CANARY (Director: Marie Schlingmann)
	

	 

	Hometowner Awards:

		Best Hometowner Feature: KAIROS DIRT & THE ERRANT VACUUM (Director: Madsen Minax) – $1,000
	

		Best Hometowner Narrative Short: DOPPLEGANGER (Directors: Graham Uhelski & Daniel Ray Hamby) – $500
	

		Hometowner Special Jury Award: TEETH, Gabrielle Goble for Acting
	

		Best Hometowner Documentary Short: A.J. (Directors: Laura Jean Hocking & Melissa Anderson Sweazy) – $500
	

		Hometowner Special Jury Award: KEEP PUSHING (Director: Kevin Brooks)
	

	 

	IndieGrants $10,000 Package Winners:

		DYSPHORIA: Dan Baker SOLUS: Rachel M. Taylor
	

	 

	IndieGrants $500 Winners: 

		GIRLSLIKEME: Stephanie Watkins SOPHIE: Christopher Tracy
	

	 

	Sounds:

		Best Hometowner Music Video: Chakerine: "Memphis Beach" (Director: Ben Siler & Co)
	

		Best Sounds Music Video: Video Age: "Dance Square" (Director: Paavo Hanninen)
	

		Best Sounds Feature: GIP (Director: Patrick Sheehan)
	

	 

	Departures:

		Best Departures Feature: LOVETRUE (Director: Alma Har’el)
	

		Best Departures Short: A STONE’S THROW AWAY (Director: Bran Ratigan)
	

		Departures Special Jury Prize: PUDDING (Directors: Ryan Betschart, Tyler Betschart)
	

	 

	Best Poster Design:

		ARE WE NOT CATS
	

	 

	FESTIVAL AWARDS:

		Craig Brewer Emerging Filmmaker Award:
	

		Ryon Baxter for GREEN/IS/GOLD
	

	 

	Soul of Southern Film Award:

		I AM THE BLUES – Director: Daniel Cross
	

	 

	Ron Tibbett Excellence in Filmmaking Award:

		MA – Director: Celia Rowlson-Hall
	

	 

	The Indie Award:

		Sarah Fleming
	

	 

	Vision Award:

		John Beifuss
	

	 

	Audience Awards Narrative Feature: 

		AWOL – Director: Deb Shoval
	

	 

	Documentary Feature:

		JACKSON – Director: Maisie Crow
	

	 

	Narrative Short Film:

		SHY GUYS – Director: Fredric Lehne
	

	 

	Documentary Short Film:

		PICKLE – Director: Amy Nicholson
	

	 

	Departures Feature:

		LOVETRUE – Director: Alma Har’el
	

	 

	Departures Short Film:

		THE WRONG END OF THE STICK – Director: Sam Bank
	

	 

	Sounds Feature:

		I AM THE BLUES – Director: Daniel Cross
	

	 

	Sounds Music Video:

		“Chase the Clouds” by Eric Blood Director: Megan Leonard
	

	 

	Hometowner Feature:

		I AM A CAREGIVER – Director: Kathy Lofton
	

	 

	Hometowner Narrative Short Film:

		HOW TO SKIN A CAT – Directors: Laura Jean Hocking, C. Scott McCoy
	

	 

	Hometowner Documentary Short Film:

		THE RUGBY BOYS OF MEMPHIS – Director: Jared Biunno
	

	 

	Hometowner Music Video:

		“Don’t You Smile Say Yeah” by Tina Harris Director: Ryan Earl Parker
	

	 

	Best Poster:

		ARE WE NOT CATS
	

	 

	 

	The 2016 Indie Memphis Jury Members:

	 

	Narrative Features Competition

		James Faust (Dallas Film Society, Artistic Director)
	

		Larry Karaszewski (The People vs OJ Simpson)
	

		Amy Nicholson (MTV News, Chief Film Critic)
	

	 

	Documentary Features Competition

		Erik Jambor (BendFilm, Programmer)
	

		Jaie Laplante (Miami International Film Festival, Director)
	

		Alison Willmore (BuzzFeed, Film Critic)
	

	 

	Hometowner Competition

		Eliza Hajkova (SAGindie, Manager of Development)
	

		Shrihari Sathe (It Felt Like Love, Producer)
	

		Ted Speaker (Funny Bunny, Producer)
	

	 

	Short Film Competition

		Adam Donaghey (Zero Trans Fat Production, Producer)
	

		Shaka King (Newlyweeds: Writer, Director, Producer)
	

		Alicia Van Couvering (Drinking Buddies, Producer)
	

	 

	Sounds Competition

		Leah Giblin (Cinereach, Grants Manager)
	

		Matt Grady (Factory 25, Distributor)
	

		Aaron Hillis (Indiegogo, Manager of Film & Creative Outreach)
	

	 

	Departures Competition

		Skizz Cyzyk (Film Festival Careerist)
	

		Kent Osborne (Adventure Time, Writer)
	

		Farihah Zaman (Field of Vision, Critic & Filmmaker)
	

	 

	IndieGrants Competition

		Charles Judson (TERMINUS Film & Gaming)
	

		Austin Nauart (SXSW, Film Conference Programmer)
	

		Molly O'Keefe (Tribeca Film Institute, Director of Scripted Programs)

#### 2016 La Costa Film Festival Announces Filmmaker Awards for the 4th Edition of the Film Festival
 

	The 4th Annual La Costa Film Festival announced their filmmaker awards on Saturday, October 15 at the renowned Omni La Costa Resort & Spa in Carlsbad, California. Nathan Apffel’s THE LONGEST JOURNEY was the big winner of the evening, taking home the Audience Awards for both Best Documentary Feature Film, as well as Best of the Festival. Bo Brinkman’s LAST MAN CLUB was chosen by La Costa FF audiences as Best Narrative Feature Film (Domestic), and Olivier Ringer’s BIRDS OF PASSAGE received the Audience nod as Best Narrative Feature (Foreign). The Closing Night Star Awards Gala presentations were preceded by the featured screening of Annie J. Howell and Lisa Robinson’s CLAIRE IN MOTION, with star Betsy Brandt in attendance.

	La Costa Film Festival Co-Founders, Michael and Ruby Callihan, said, “We were so pleased that both the judges and the audiences had a very difficult time selecting just one winner for each category, with infinitesimal differences between all of their choices. As nerve wracking as that can be for filmmakers, many of them said they’ve never had a better time. With the Omni La Costa Resort & Spa as our host, that’s easy to understand.”

	Additional Audience Awards went to Eric 'Ptah' Herbert’s MANCHILD: THE SCHEA COTTON STORY for Best Sports Documentary, and Annie O’Neal and Jessica Lewis’s PHIL’S CAMINO for Best of the Festival – Short Film. The two student short film award winners were Adam Russell’s 168 HOURS (Best High School Competition Short), and Nick DeCell’s SOMEWHERE TO BE (Best College Competition Short). Russell is a student at Rancho Buena Vista High School (Vista, CA), and De Cell is a graduate of Florida State University. Russell and De Celll both received a7s cameras, courtesy of SONY, as well as a $500 cash prize, along with their awards.

	Charlene Fisk and Carrie Schrader’s THE FOUNDERS took home the jury prize for Best Sports Film, with O’Neal and Lewis’s PHIL’S CAMINO winning its second award (Best Documentary Short), Tim Ellrich’s THE BATHTUB named as Best Narrative Short, and Melanie Brunt and Mikey Hill’s THE ORCHESTRA receiving the award for Best Animated Short.

	Two-time Golden Globe nominee and SAG Award nominated actor Chris Noth was the recipient of the La Costa Film Festival’s first Shining Star Award. The award presentation and lively “Under the Stars” conversation reflecting on Noth’s award-winning career on television and in film, was moderated by entertainment awards expert and commentator Dave Karger on Friday, October 14. When Noth was asked by Karger if he’d consider making an appearance in the planned spin-off for CBS All Access, he said, “I’d be happy to do a couple of episodes. I’d love to see where that guy ended up. He finished the series just like he started it, by saying he wasn’t guilty. He’s such a great character.”

	Tommy Kelly, a charismatic 13-year-old stole the show and was declared the winner of the La Costa Film Festival’s second “Reel Pitch” competition, curated by Mike Tollin and Mandalay Sports Media (MSM). His 5-minute pitch to a panel of studio producers and executives selected by MSM, won him the opportunity to refine his pitch under the guidance of one of the judges. He will be mentored for full development of his dream, and presentation to a potential distributor.

	The winners of the festival’s coveted 'Sip & Savor' Gala Competition, held on Opening Night, were Carruth Cellars (Best Sip), Chandler’s Oceanfront Dining (Best Savor), and Bistro West (Best Presentation).

	Bookended by Johnathan Brownlee’s THREE DAYS IN AUGUST, which opened the festival on Thursday, October 13, with Mariette Hartley joining Brownlee and several cast and crew members in attendance, and the Closing Night Gala screening of Annie Howell and Lisa Robinson’s CLAIRE IN MOTION on Saturday, October 15, with Howell and Betsy Brandt, on hand, with both participating in the post-screening Q&A, the La Costa Film Festival enjoyed another year of growth with an estimated 5,000 film fans making their way to the Omni La Costa Resort & Spa to see films and panels and meet the filmmakers.

	Other highlights included the world premiere screening, before an audience of a thousand film fans, of Apffel’s THE LONGEST JOURNEY. Afterward, Apffel announced a film series to follow, titled The Genetics Collection, looking at ALS, Alzheimer’s and Parkinson’s Disease. A special 3D screening of TOP GUN wowed the audience at the Cinépolis Luxury Cinemas (6941 El Camino Real), and La Costa FF’s filmmaker panels, including the Rapidly Changing Panel curated by Something Kreative’s Geoff Clark and featuring industry veterans like Amy Keating Rogers (Dexter’s Laboratory, Samurai Jack), Zach Moncrief (Family Guy, Phineas and Ferb), and Jared Hillman (THE SOCIAL NETWORK, Psyche), Michael Repsch (Breaking Glass Pictures), Eric Bromberg (Pluto.TV), and Jeff Chao (Kerin Media Ventures).

	 

	 

	THE 2016 LA COSTA FILM FESTIVAL AUDIENCE AWARDS:

	 

	Best of the Festival:

	THE LONGEST JOURNEY

	Director: Nathan Apffel

	 

	Best Documentary Feature Film: THE LONGEST JOURNEY

	Director: Nathan Apffel

	 

	Best Narrative Feature Film (Domestic): LAST MAN CLUB

	Director: Bo Brinkman

	 

	Best Narrative Feature Film (Foreign): BIRDS OF PASSAGE

	Director: Olivier Ringer

	 

	Best Sports Documentary: MANCHILD: THE SCHEA COTTON STORY

	Director: Eric 'Ptah' Herbert

	 

	Best of the Festival – Short Film: PHIL’S CAMINO

	Directors: Annie O’Neil and Jessica Lewis

	 

	Best High School Competition Short: 168 HOURS

	Director: Adam Russell

	(Rancho Buena Vista High School)

	 

	Best College Competition Short: SOMEWHERE TO BE

	Director: Nick DeCell

	(Florida State University)

	 

	 

	THE 2016 LA COSTA FILM FESTIVAL JURY SELECTIONS:

	 

	SPORTS COMPETITION

	 

	Best Sports Film:THE FOUNDERS

	Director: Charlene Fisk

	 

	SHORT FILM COMPETITION:

	Best Documentary Short: PHIL’S CAMINO

	Directors: Annie O’Neil and Jessica Lewis

	 

	Best Narrative Short: THE BATHTUB

	Director: Tim Ellrich

	 

	Best Animated Short: THE ORCHESTRA

	Directors: Melanie Brunt and Mikey Hill

	 

	‘REEL PITCH’ WINNER:

	Tommy Kelly

	 

	 

	SIP & SAVOR – BEST OF THE FEST WINNERS:

	 

	BEST SIP:

	Carruth Cellars

	 

	BEST SAVOR:

	Chandler’s Oceanfront Dining

	 

	BEST PRESENTATION:

	Bistro West

#### 2016 Tallgrass Film Festival Announces Filmmaker Awards for the Just Completed 14th Edition
Heather Matarazzo with her Ad Astra Award

	 

	The 14th Annual Tallgrass Film Festival presented by Consolidated Equities Trust (October 12-16) announced their filmmaker awards during an entertaining ceremony preceding their Closing Night Gala screening of Dorie Barton’s GIRL FLU on Sunday, October 16 at the Orpheum Theater in Wichita, Kansas.

	Executive Director, Lela Meadow-Conner said, “The programming staff traditionally gives themselves the nearly impossible task to choose a handful of films and filmmakers to honor among all of the wonderful films we have each year. While I know it was difficult to narrow it down, these selections represented some very special work that deserved to be highlighted and underline even amongst another one of our very strong programs.”

	Feature films taking the Golden Strands Programming Awards (selected by the senior members of the Tallgrass Programming Staff) included Jaco Van Dormael’s BRAND NEW TESTAMENT, which was named “Outstanding Narrative Feature,” and Andrew Becker and Daniel Mehrer’s SANTOALLA, chosen as “Outstanding Documentary Feature.”

	Anne Fontaine received the Teddie Barlow Outstanding Female Filmmaker Award (designed by Glass Artist Claire Anderson) for her work directing films like COCO BEFORE CHANEL, MY WORST NIGHTMARE, and ADORE, as well as this year’s THE INNOCENTS, which screened at Tallgrass FF. Paul Taylor was cited for “Excellence in the Art of Filmmaking” for his film, DRIFTWOOD, Maisie Crow’s

	Jackson took home the Golden Strands Award for “Courage in Filmmaking,” Alicia Slimmer won “Outstanding First Feature” for her debut film, CREEDMORIA, Keith Maitland’s award-winning documentary TOWER picked up another nod – this one for “Outstanding Animated Feature,” and Darin Quan was cited for “Outstanding Cinematography” for his work on DIVERGE.

	Acting nods went to Alex Shaffer (DELINQUENT) for “Outstanding Rising Star,” Chen Gang (OLD STONE) for “Outstanding Male Actor,” Lucy Walters (HERE ALONE) for “Outstanding Female Actor,” and John Alexander’s BENDER, which received the Golden Strands nod for “Outstanding Ensemble Cast” for a cast which included James Karen, Jon Monastero, Chance Caeden, Nicole Jellen, Leslie Woodies, Linda Purl, Buck Taylor, and Bruce Davison.

	Short films receiving Golden Strands Awards included; Golnaz Jamsheed’s AVO, named “Outstanding Narrative Short Film”; Noam Osband’s THE RADICAL JEW chosen as “Outstanding Documentary Short Film”; Andrew Kevitt winning the “Best Emerging Student – Narrative Short Film” Award for TWO FAR GONE; Kate Gondwe winning the “Best Emerging Student – Documentary Short Film” Award for THE PUPPET LADY; Clayton Dean Smith’s OFF TRACK BETTY” getting the nod for the “Best Kansas Short Narrative Film” Award; and Evan Senn and Ken Pugh’s ACE – THE GAS STATION COWBOY cited as “Best Kansas Short Documentary Film” Award.

	The Vimeo Audience Awards were led by Seth Panitch and Aaron Greer’s SERVICE TO MAN, received a $2500 Narrative prize, and Jesse Nesser’s WALK WITH ME took the $2500 Documentary prize. Ty Flowers’s TIME SIMPLY PASSES took home the Audience Award and $1000 prize for the short film category.

	Previously announced was the Stubbornly Independent Gala Award, which went to Kieran Valla’s DELINQUENT. Valla received a $5,000 check from Vimeo, a theater rental from AMC Theaters in any major market, an AMC Annual Movie Pass, and the Stubbornly Independent Beer Tap Trophy from VanChase Studios prior to the screening of his film. Prior to the awards ceremony and the screening of Barton’s GIRL FLU, Heather Matarazzo was presented with the Ad Astra Award. Tallgrass  FF  screened  Todd  Solondz’s  classic  film WELCOME TO THE DOLLHOUSE, celebrating the film’s 20th Anniversary, and Matarazzo participated in an entertaining and frank conversation about her career, and the state of independent film and the treatment of female filmmakers with MTV’s Amy Nicholson.

	 

	2016 TALLGRASS FF FILMMAKER AWARDS TEDDIE BARLOW OUTSTANDING FEMALE FILMMAKER AWARD

	Anne Fontaine

	 

	GOLDEN STRANDS & PROGRAMMING AWARDS

	Golden Strands Award – Outstanding Narrative Feature:  THE BRAND NEW TESTAMENT (Director: Jaco Van Dormael)

	Golden Strands Award – Outstanding Documentary Feature:  SANTOALLA (Directors: Andrew Becker and Daniel Mehrer)

	Golden Strands Award – Outstanding First Feature:  CREEDMORIA (Director: Alicia Slimmer)

	Golden Strands Award – Courage in Filmmaking:  Maisie Crow (JACKSON)

	Golden Strands Award – Outstanding Animated Film:  TOWER (Director: Keith Maitland)

	Golden Strands Award – Excellence in the Art of Filmmaking: Paul Taylor (DRIFTWOOD)

	Golden Strands Award – Outstanding Cinematography: Darin Quan (DIVERGE)

	Golden Strands Award – Outstanding Rising Star:  Alex Shaffer (DELINQUENT)

	Golden Strands Award – Outstanding Male Actor: Chen Gang (OLD STONE)

	Golden Strands Award – Outstanding Female Actor: Lucy Walters (HERE ALONE)

	Golden Strands Award – Outstanding Ensemble Cast:  BENDER (James Karen, Jon Monastero, Chance Caeden, Nicole Jellen, Leslie Woodies, Linda Purl, Buck Taylor, Bruce Davison)

	Golden Strands Award – Outstanding Narrative Short Film:  AVO (Director: Golnaz Jamsheed)

	Golden Strands Award – Outstanding Documentary Short Film:  THE RADICAL JEW (Director: Noam Osband)

	Best Emerging Student Award (Narrative):  Andrew Kevitt (TWO FAR GONE)

	Best Emerging Student Award (Documentary):  Kate Gondwe (THE PUPPET LADY)

	Best Kansas Short Film Award (Narrative): Clayton Dean Smith (OFF TRACK BETTY)

	Best Kansas Short Film Award (Documentary):  Evan Senn and Ken Pugh (ACE – THE GAS STATION COWBOY)

	 

	VIMEO AUDIENCE AWARDS

	Audience Award – Narrative Film:  SERVICE TO MAN (Directors: Seth Panitch and Aaron Greer)

	Vimeo Audience Award – Documentary Film:  WALK WITH ME (Director: Jesse Nesser)

	Vimeo Audience Award – Short Film:  TIME SIMPLY PASSES (Director: Ty Flowers)

#### 2016 Tallgrass Film Festival Announces Official Selections For The Stubbornly Independent Competition
CREEDMORIA

	 

	The 14th Annual Tallgrass Film Festival presented by Consolidated Equities Trust (October 12-16) today announced the seven official selections for this year’s Stubbornly Independent competition representing the ongoing theme of the popular film festival.

	Chosen by a film industry jury, the winner of the competition will play at the festival's Saturday Night Vimeo Stubbornly Independnent Gala, receive a $5,000 cash prize from Vimeo, a theater rental from AMC Theatres in any major market, an AMC Annual Movie Pass, and take home the Stubbornly Independent Beer Tap Trophy from VanChase Studios. All films selected for the competition will also receive digital billboard advertising from Wichita-based Fliphound, and a custom animated title for use on social media platforms from  Wichita based Title Farm. The winning film will be announced in September with the roll out of Tallgrass FF’s full schedule.

	The seven selections for 2016 are Alicia Slimmer’s CREEDMORIA, Blayne Weaver’s CUT TO THE CHASE, Kieran Valla’s DELINQUENT, James Morrison’s DIVERGE, Paul Taylor’s DRIFTWOOD, Beth Dewey’s ERASING EDEN, and Aaron Greer & Seth Panitch’s SERVICE TO MAN.

	Director of Programming and Operations, Nick Pope said, “After a record number of submissions, the selected contenders range in genre from indie comedy and apocalyptic sci-fi to dialogue-free drama and old school gritty street action. We're continually impressed by the accomplishments and vision that can be found within today’s independent filmmaking scene, all telling unique stories outside of Hollywood. We bear witness to both women and men forced into making life crisis decisions for both comedic and dramatic effect, a period-piece examining black and white relations that is just as relevant today as the time in which it takes place, and a scientist traveling through time in an attempt to stop himself from causing a cataclysmic pandemic. As always, these contenders demonstrate the spirited and stubborn independence it takes in getting fresh and original content to the big screen."

	This year marks the fifth year of the Stubbornly Independent competition, which stipulates that in order to qualify, the film must be a domestic narrative feature produced for less than $750,000, and the film cannot have a theatrical, VOD or other distribution deal prior to October 16. Previous winners (all of which have gone on to secure distribution following their appearance at the Tallgrass Film Festival) were Ishai Setton’s THE KITCHEN (2012), Paul Osborne’s FAVOR (2013), Jack Bryan’s THE LIVING (2014), and last year’s winner – Valerie Weiss’s A LIGHT BENEATH THEIR FEET (2015).

	 

	The 2016 Stubbornly Independent Jury

	Doug Klinger – Curator, Vimeo

	Doug Klinger is co-founder of IMVDb.com and a Curator at Vimeo. He helps to find and highlight the best films and creators on Vimeo through Staff Picks, categories, and the Vimeo Podcast.

	 

	Richard Matson – President, Matson Films

	Richard Matson is the president of Matson Films. Founded in NYC in 2004, Matson Films is a film distributor with offices in downtown Los  Angeles. The company services theatrical distribution of more than 20 films per year for a wide  array  of  industry  partners.  Films  distributed  through  these   partnerships have ranged from major festival winners RICH HILL, DIOR AND I, THE OVERNIGHT, LOUDER THAN BOMBS, HUNT FOR THE WILDERPEOPLE and CARTEL LAND, to activist documentaries including THE MESSENGER, BIKES VS CARS and OF MEN AND WAR, to cult classics like Alex Cox¹s STRAIGHT TO HELL RETURNS. Current theatrical clients include The Orchard, Participant Media and Kino Lorber Films.

	 

	Bill Thompson – Senior Vice-President of Theatrical Sales and Exhibition, Cohen Media Group

	A long-time veteran of the film business, Bill has worked for 41 years for a number of different exhibition and distribution companies. For seventeen years he also taught a popular course on the film business at New York University. He is also active with the Motion Picture Club and Variety-the Children’s charity.

	 

	Maxwell Wolkin – Director of Non-theatrical Sales, Film Movement

	Maxwell Wolkin has been with Film Movement since 2012, where he is responsible for festival strategy, non-theatrical bookings, and educational sales, along with acquisitions as part of a rancorous acquisitions team. He is partial to classical melodrama, body horror, and other ways the medium of film puts a magnifying glass to the essential human experience.

	 

	Valerie Weiss – Stubbornly Independent Award-winning Fiimmaker

	Award-winning filmmaker and Harvard biophysicist, Valerie Weiss, has just completed her third feature film, THE ARCHER, as a director-for-hire for Mar Vista Entertainment. THE ARCHER, a feminist coming-of-age action film stars Bailey Noble, Bill Sage, Jeanine Mason, Michael Grant Terry and Kurt Fuller and follows a young competitive archer sent to a girls’ reform camp and escapes the corrupt prison with the help of a jaded inmate. Her previous credits include LOSING CONTROL and A LIGHT BENEATH THEIR FEET, which won the prestigious EDA award for Best Female-Directed Narrative Feature, the Stubbornly Independent Award at Tallgrass Film Festival in 2015 and more.

	 

	Passes for the Tallgrass Film Festival are available for purchase now. Please visit http://www.tallgrassfilmfest.com for festival pass and ticketing information.

	 

	 

	The 2016 Official Stubbornly Independent Selections

	 

	CREEDMORIA

	Director: Alicia Slimmer

	Country: USA, Running Time: 90min

	Candy injects the “fun” in her dysfunctional life. When your brother is found by a neighbor naked and drunk, you’re stuck with a caveman of a boyfriend, you have a dickhead boss, and the madness of everyday life competes with your mother’s need to appear “normal,” you have to peek between the cracks to find the warm rays of hope. But, maybe normalcy is just a construct for other people. And, maybe breaking out of the institution is more important than fitting in. After years of trying to save those she loves, it's time for Candy to save herself.

	 

	CUT TO THE CHASE

	Director: Blayne Weaver

	Country: USA, Running Time: 90min

	Max Chase (Blayne Weaver) has always been on the wrong side of the law but his younger sister Isobel (Erin Cahill) always bails him out… Until the day she disappears. Now he must set out to find his sister while being pursued by the city's crime boss known as "The Man" (Lance Henriksen). Max's only ally in his search is a manipulative yet captivating criminal (Lyndie Greenwood), who is also on the run from "The Man".

	 

	DELINQUENT

	Director: Kieran Valla

	Country: USA, Running Time: 97m

	DELINQUENT focuses on Joey, a troubled student who is counting the days until he can get out of school and work for his father – a tree cutter by day and the leader of a gang of small-town thieves by night in rural Connecticut. When Joey’s father asks him to fill in as a lookout one night, he is thrilled, until a routine robbery goes very wrong, with Joey forced to deal with the fallout. Now, caught between loyalties to family and a friend in mourning, Joey has to deal with paranoid accomplices, an investigation, and his own guilt. What kind of man does Joey want to be and what does he owe to the people he loves?

	 

	DIVERGE

	Director: James Morrison

	Country: USA, Running Time: 85m

	In the aftermath of a global pandemic, one survivor is given the chance to travel across time to stop the cataclysmic event and regain everything he has lost. To do that he must kill the man responsible for sowing the seeds of mankind’s destruction –his past self. Equal parts science fiction and character study, DIVERGE is the story of a man as he discovers how far he’s willing to go to return to the one he loves, and what he stands to lose in doing so. The cast includes Ivan Sandomire (RESTIVE), Andrew Sensenig (UPSTREAM COLOR), Jamie Jackson (“The Blacklist”).

	 

	DRIFTWOOD

	Director: Paul Taylor

	Country: USA, Running Time: 75m

	A young woman washes ashore and is claimed and conditioned by an older man in this intricately layered, dialogue-free exploration of familial roles, isolation and captivity.

	 

	ERASING EDEN

	Director: Beth Dewey

	Country: USA, Running Time: 76m

	A young woman plunges her life into chaos by drinking herself into a blackout the night before her wedding, facing the ultimate soul-searching. She decides her own fate, recognizing that she has the power to make or break herself.

	 

	SERVICE TO MAN

	Directors: Aaron Greer & Seth Panitch Country: USA, Running Time: 92m

	It’s 1967, and Nashville's all-black medical school has just accepted its first white student. Now, Eli Rosenberg, and Michael Dubois, a legacy student from a very different background, must struggle to find common purpose within the pressure cooker of medical school in the turbulent 1960s.

	 

#### 2016 TCM Classic Film Festival Adds Film Legends Angela Lansbury, Rita Moreno & Billy Dee Williams To Lineup
Turner Classic Movies (TCM) continues to add screen icons and intriguing panels to its star-studded festival lineup during the 7th Annual 2016 TCM Classic Film Festival, set to take place April 28 – May 1 in Hollywood. 

		Beloved Oscar® and Golden Globe® winner Angela Lansbury joins the festival with a screening and conversation of The Manchurian Candidate (1962), the combination satire and political thriller.  
	

		Oscar winning actress and singer Rita Moreno will introduce a 60th anniversary screening of the cherished musical The King and I (1956).
	

		Emmy nominee Billy Dee Williams will present a screening of Brian’s Song (1971), the true story of friendship between Chicago Bears’ player Gale Sayers (Williams) and Brian Piccolo (James Caan).
	

		Investigative journalist Carl Bernstein, Oscar winning director/ screenwriter Tom McCarthy (Spotlight), along with Oscar Winning screenwriter Josh Singer (Spotlight), join the festivities for opening night’s 40th Anniversary screening of the political thriller All The President’s Men (1976). 
	

	Club TCM, the central gathering point for festival passholders located in the lobby of the Hollywood Roosevelt Hotel, will feature a remarkable slate that includes:

	“Man’s Best Friend: Dogs in Film.” Movie icons are stars that evoke an immediate emotional response, and Rin Tin Tin, Lassie, Old Yeller, Benji and Beethoven are right up there with the best of the two-legged variety.  Join Randy Haberkamp of the Academy of Motion Picture Arts and Sciences as he shares stills and clips from the Academy’s collections of dogs in movie history, and then interviews three of Canine Cinema’s biggest stars during a rare public appearance. Meet Clyde of Marley & Me (2008), Brigitte, the original Stella from Modern Family and the latest Lassie.

	“From Headlines to Ticket Lines” a panel discussion with director James Vanderbilt (Truth), Oscar winning writer Josh Singer (Spotlight), broadcast news producer and author Mary Mapes and print journalist/editor Ben Bradlee, Jr.  about the challenges of dramatizing the work of journalists for the screen.

	Previously announced events and appearances for the 2016 TCM Classic Film Festival include a handprint-footprint ceremony to honor acclaimed filmmaker Francis Ford Coppola. John Singleton for the 25th anniversary screening of his coming-of-age classic Boyz N The Hood (1991), Carl Reiner with an extended conversation and screening of Dead Men Don’t Wear Plaid (1982) Elliott Gould with screenings of his Golden Globe nominated performance in M*A*S*H (1970), The Long Goodbye (1973) and Eva Marie Saint who will be on hand to introduce a screening of the political comedy The Russians Are Coming The Russians Are Coming (1966).  Actor Stacy Keach will be discussing John Huston’s gritty look at the world of small-time boxing in Fat City (1972) and French actress Anna Karina will be introducing Band of Outsiders (1964), Jean-Luc Godard’s riff on gangster films.

	Complete bios for each of the artists appearing at the 2016 TCM Classic Film Festival can be found at the festival's website: filmfestival.tcm.com

	2016 TCM Classic Film Festival – Newly Added Films

	The Manchurian Candidate (1962) Featuring an appearance and conversation with Angela Lansbury
	Angela Lansbury stars as a one of the screen’s great villains—a mother with amoral political ambitions and a smothering obsession with her son (played by Laurence Harvey)—in this combination satire and political thriller about brainwashed U.S. soldiers sent home as sleeper agents.

	Brian’s Song (1971) Featuring an appearance and conversation with Billy Dee Williams
	Hailed by many as the greatest football film every made, this classic television movie draws on the memoirs of Chicago Bears’ Gale Sayers (Billy Dee Williams) to depict his friendship with fellow player Brian Piccolo (James Caan), who lost his life to cancer after a valiant struggle.

#### 2016 TCM Classic Film Festival To Be Held April 28 – May 1
 

	Turner Classic Movies (TCM) has announced April 28-May 1 for the 2016 TCM Classic Film Festival, marking the seventh annual gathering of legendary stars, award-winning filmmakers and classic movie fans from around the globe. The theme for the four-day event will explore Moving Pictures, the movies that bring us to tears, rouse us to action and inspire us. Passes for the latest edition of the TCM Classic Film Festival will go on sale to the public on November 19.

	TCM host and film historian Robert Osborne will once again serve as official host of the TCM Classic Film Festival, with TCM's Ben Mankiewicz introducing various events. The festival’s screenings and events will be presented as part of the Moving Pictures theme:

		The magic of movies isn’t just motion, it’s emotion. As we watch cinematic stories play out, they feel like our own.  In 2016, the TCM Classic Film Festival explores MOVING PICTURES – the ones that bring us to tears, rouse us to action, inspire us, even project us to a higher plane. In the heart of historic Hollywood we’ll gather to share the big-time emotions of big screen stories, from coming-of-age pictures to terminal tearjerkers, from powerful sports dramas we feel in our bones to religious epics that elevate our spirits.  These are the films that that set our love of cinema in motion.
	

	Passes can be purchased exclusively through the official festival website: www.tcm.com/festival. A limited number of festival passes will also be available to Citi cardmembers via an exclusive online only presale at www.citiprivatepass.com. This exclusive presale begins at 10 a.m. (ET), Tuesday, Nov. 17, and ends at 10 a.m. (ET), Thursday, Nov. 19.

	Serving for the seventh consecutive year as the official hotel and central gathering point for the 2016 TCM Classic Film Festival will be The Hollywood Roosevelt Hotel, which has a longstanding role in movie history and was the site of the first Academy Awards® ceremony. The Hollywood Roosevelt Hotel will also offer special rates for festival attendees. Screenings and events during the festival will be held at the TCL Chinese Theatre IMAX, the TCL Chinese 6 Theatres and the Egyptian Theatre, as well as other Hollywood venues.

	Festival Passes

	Passes for the 2016 TCM Classic Film Festival are set to go on sale to the public on, Thursday, November 19. Fans will be able to purchase them through the TCM Classic Film Festival website. The number of passes available is limited, especially for top-level "Spotlight" passes.

	The "Spotlight" Festival Pass: $1,649 – Includes all privileges available to "Classic" and "Essential" passholders, priority entry to all screening events; plus entry to the exclusive opening-night party following the red-carpet gala screening at TCL Chinese Theatre; meet-and-greet events with TCM friends, including Robert Osborne and Ben Mankiewicz; and a limited edition TCM Classic Film Festival poster.

	The "Essential" Festival Pass: $749 – Includes all privileges available to "Classic" passholders, plus entry to the opening-night red-carpet gala screening at TCL Chinese Theatre and official TCM Classic Film Festival collectibles.

	The "Classic" Festival Pass: $599 – Includes access to all film programs at festival venues Thursday, April 28 – Sunday, May 1 (does not include admittance to the opening-night red-carpet gala screening at TCL Chinese Theatre or the opening-night party); access to all Club TCM events, panels and poolside screenings at the Hollywood Roosevelt Hotel; an opening-night welcome reception at the Hollywood Roosevelt Hotel; and the closing-night event.

	The "Palace" Festival Pass: $299 – Includes access to all screenings and events at the historic TCL Chinese Theatre (excluding the opening-night red-carpet gala) and the Egyptian Theatre Friday, April 29 – Sunday, May 1, as well as poolside screenings at the Hollywood Roosevelt Hotel.

#### 2016 Women Texas Film Festival Announces Award Winners
42 SECONDS OF HAPPINESS

	 

	On Sunday, August 22, the Women Texas Film Festival announced the award winners for the 1st edition of the film festival during the final day of the WTxFF at the historic Texas Theatre (231 W. Jefferson Blvd). Christina Kallas’s 42 SECONDS OF HAPPINESS took home the award for Best Feature Film, Amanda Milius’s THE LOTUS GUN was given the nod as Best Short Film, and Lizette Barrera, the director of the short film, MOSCA (FLY), was honored as the Filmmaker to Watch. Awardees were determined by the WTxFF, the first full-fledged film festival in the state of Texas to celebrate and promote the work of women behind the camera (producers, directors, screenwriter, editors, composers, and cinematographers).

	WTxFF Founder and Artistic Director Justina Walford said, “One of the proudest accomplishments in the first year of the Women Texas Film Festival was the high level of achievement among the filmmakers at WTxFF. Of course, that made it all the more difficult to choose a few from that group to honor. This trio of talented women didn’t just deliver works that were complex, compelling and defied expectation, they also exemplified the artistic accomplishment and promise we hope to celebrate and promote within this film festival.”

	Walford and WTxFF’s John Wildman made the award presentations from a stairwell balcony at the Texas Theatre during a ceremony presented by the Dallas Film Commission. Filmmakers and film fans filled the lobby of the iconic theater for the announcement and to celebrate the winners prior to attending the final screening of the fest of Sharie Vance’s documentary, MIZ MARKLEY & ME, followed by a musical performance of the film’s subject, Lisa Markley. Barrera and Milius were on hand to accept their awards (Kallas received her award earlier in the day).

	Kallas and Milius both received one month of office space in Nex, a premium technology center and innovation space designed to be a catalyst for North Texas enterprises, located in Deep Ellum.

	The first Women Texas Film Festival debuted on Friday, August 19 with a red carpet- laden flourish featuring the Opening Night screening of Rosemary Myers’s award-winning film, GIRL ASLEEP, and a “Disco and Donuts”-themed after party produced by Red ID, at the Oak Cliff Cultural Center. Enthusiastic audiences populated screenings throughout the three-day festival, as well as panels focusing on the efforts and challenges of women producing films and female filmmakers navigating the hurdles put before them that are not placed before their male counterparts, among other topics.

	WTxFF also provided special presentations of virtual reality (VR) projects by female VR artists, including Tracy Rector’s EAGLE BONE, Michaella Vu’s NEURAL PATH, and Kelly Snowden’s LOOK AROUND, LOOK AROUND, WHAT DO YOU SEE? – AN INTRO TO VR, made possible by Bottle Rocket. Also on display were female-created games, including Anna Anthropy’s LESBIAN SPIDER-QUEENS OF MARS, TRIAD and OHMYGOD ARE YOU ALRIGHT, and Thais Weiller’s RAINY DAY, sponsored by Tiny Thumbs Arcade.

	In its first year, the Women Texas Film Festival was described as a “game changer” (Steve Kopian at Unseen Films), “kind of a big deal” (Jamie Laughlin at The Dallas Observer), and Alex Macon at D Magazine said, "the Women Texas Film Festival arrives at an opportune time, when filmmakers and audiences — that’s us — can push for gender equality at the movies."

	For more information on the Women Texas Film festival go to WomenTxFF.org.

#### 2016 WTxFF Feature Film Award Winner Interview – Writer/Director Christina Kallas
This past weekend the WTxFF brought talented filmmakers showcasing strong females on the screen and behind the camera.  Writer/Director Christina Kallas brought her feature film 42 Second of Happiness to the festival and took home best feature film from the festival.  Click through for our sit down interview with the talented Writer-Director.

	

	2016 WTxFF Interview – Writer/Director of 42 Seconds of Happiness – Christina Kallas

	Congrats to Christina, her team and the actors that made 42 Seconds of Happiness.

	 

#### 2016 WTXFF Filmmaker to Watch Interview w/ Writer/Director LIZETTE BARRERA
UT Arlington and UT Austin educated filmmaker Lizette Barrera returned to DFW for the WTxFF and her innocent provocative short film made her an award winner.  Click through for the in depth interview with Writer/Director LIZETTE BARRERA about her short film MOSCA.

	

	Talented young Writer/Director Lizette Barrera has expanded her horizons by venturing from Lewisville down to Austin.  The steadiness with the short film pacing shines brightly as this young voice is strong and present.  Our MOSCA in the film is an independent figure who's presence captivates and holds steady throughout.  Lizette shares those wonderful attributes and also has a bold mind that stretches how personal is personal in these films.  Not every story comes directly from Lizette and MOSCA falls into that category.  But luckily we did discuss the amazing power and pull of the story.  Enjoy my full chat with filmmaker Lizette Barrera.

	2016 WTxFF Filmmaker To Watch is LIZETTE BARRERA!!.

	

	For more information on the Women Texas Film festival go to WomenTxFF.org.

	 

#### 2016 WTXFF INTERVIEW MINOR SETBACK WRITER/DIRECTOR AUGUSTINE FRIZZELL
 

	Augustine Frizzell's honest and gripping look at two scheming girls just trying to make it to the beach is one of the best shorts of the year.  The short is on a solid pace as it world premiered at SXSW, become an award winner at DIFF, got selected for the Texas Filmmaker Showcase and most recently was seen at WTXFF this past month.  "Never Goin' Back" indeed.  Click through for our interview w/ the dynamic Augustine Frizzell.

	

	2016 WOMEN TEXAS FILM FESTIVAL INTERVIEW – MINOR SETBACK WRITER/DIRECTOR AUGUSTINE FRIZZELL.

	Keep track of Augustine her producer Toby Halbrooks and her hubby David Lowery, these folks are the Texas Thunder you've all been hearing about. 

#### 2016 WTXFF INTERVIEW NOT TOO YOUNG’S WRITER/DIRECTOR ALEC KUBAS-MEYER & DP MONTANA JARO
Writer/Director Alec Kubas-Meyer channeled his interest into a difficult subject matter to make one of the more moving short films.  NOT TOO YOUNG is bold and brave look into a troubled lead character.  Alec and his DP Montana Jaro sat down with me to discuss the choice in making this film and about actually executing it with little to no $.  Click through for our WTxFF interview with the team behind NOT TOO YOUNG.

	

	2016 Women Texas Film Festival Interview with team behind NOT TOO YOUNG – Writer/Director/Editor Alec Kubas-Meyer & DP Montana Jaro.

	 

#### 2016 WTXFF INTERVIEW W/ STARRY NIGHT WRITER/DIRECTOR PAXTON FARRAR
https://www.youtube.com/watch?v=rbsxb5qAbvE

	Writer/Director Paxton Farrar's inventive and inspirational look at a young teenage yearning to become an astronomy.  Paxton sat down with our Gadi Elkon to discuss the film, his talented team, the young acting talent and much more at the 1st annual Women Texas Film Festival.  Click through for the Starry Night Interview.

	

	2016 Women Texas Film Festival Interview w/ Starry Night Writer/Director Paxton Farrar.

#### 2016 WTxFF SHORT FILM AWARD WINNER INTERVIEW – WRITER/DIRECTOR AMANDA MILIUS
 

	 

	Amanda Milius lavish landscape rich short film is a modern western set in the future with a kick ass rebel female leading the way.   The Lotus Gun took home the BEST SHORT FILM AWARD from Women Texas Film Festival.  Click through for our in-depth chat with Amanda about her short.

	

	2016 WTxFF BEST SHORT FILM AWARD WINNER INTERVIEW – AMANDA MILIUS – THE LOTUS GUN

#### 2017 Asian Film Festival of Dallas Announces First Titles and Festival Parties
My Love Sinema

	 

	The Asian Film Festival of Dallas celebrates its 16th year with returning presenting sponsor Well Go USA Entertainment, from Thursday, July 13 through Thursday, July 20, 2017.

	This festival year boasts its first women's showcase of Asian directed and produced films by women, due to the generosity of Dallas Women's Foundation's Orchid Giving Circle.  Sunday, July 16th will be dedicated to the women films.  This year also features more films than any other year!  70 films will screened throughout the week: 5 short blocks (Drama, Experimental, Womens, Late Night and Documentary) and 35 feature films.  Last year, the festival screened 50+ films.

	Film fans can also expect films from the U.S., Singapore, Thailand, China, Hong Kong, India, Japan, Korea and Tibet and from these genres: action, comedy, crime drama, documentary, drama, martial arts, psycho drama, thriller, romantic comedy and a special director's cut of an iconic repertoire.

	Passes and tickets will on sale and available on Saturday, July 1, 2017 at www.asianfilmdallas.com

	AFFD organizers are excited about the 10 expected filmmakers in attendance this year and the first titles:

	Duckweed
	Southwest Premiere
	Genre: Comedy
	Released: 2017
	Country: China
	Language: Mandarin
	Director: Han Han     

	In the near-death after an accident, a sports car driver time-travelled back to the 1990s to meet his severe father and never-seen mother in a small Chinese town.

	 

	Soul on a String
	Southwest Premiere
	Genre: Drama
	Released: 2016
	Country: China
	Language: Tibetan
	Director: Yang Zhang

	After discovering a sacred stone in the mouth of a deer he just killed, Taibei, a young lonesome Tibetan cowboy, embarks on a long and difficult mission: to bring it back to the holy mountain of Buddha's handprint. His journey turns sour as an obstinate woman, Joan, and a psychic yet dumb elf, Pu, soon decide to join him. Not to mention the two violent brothers on his tale, who are on a revenge quest.

	 

	A Single Rider
	Genre: Drama
	Released: 2017
	Country: S. Korea
	Language: Korean
	Director: Lee Joo-Young

	A man who has lost everything in his life travels to Australia in search of his family.

	 

	My Love Sinema
	North American Premiere
	Genre: Drama
	Released: 2016
	Country: Singapore
	Language: Mandarin
	Director: Ai Leng Tan     

	Inspired by the Italian Classic "Cinema Paradiso", an aspiring filmmaker discovers the touching life story of a cinema projectionist and his unending love for a teacher. Recipient of the 2011 Taiwan Golden Horse Film Project Promotion Post-Production Award, 2012 ACE-HK Asia Film Financing Co-Production Lab participant and recipient of the 2012 Media Development Authority of Singapore New Talent Feature Grant, MY LOVE SINEMA is a touching, nostalgic love story filled with inspiration, courage, passion, resilience and heart. Set in 1950s Singapore, we relive the charming lifestyle of that era, and follow one man's never-ending pursuit of his passion in both cinema and love, sharing a fate that crosses generations.

	 

	Psycho Raman 2.0
	North American Premiere
	Genre: Thriller
	Released: 2016
	Country: India
	Language: Hindi
	Director: Anurag Kashyap     

	Set in present day Mumbai the story follows the life of a serial killer Ramanna who is inspired by an infamous serial killer from the 1960s, Raman Raghav. His strange obsession with Raghavan, a young cop keeps growing as he closely follows him without his knowledge and often creates situations where both of them come face to face.

	 

	Parties and events
	VIP Reception: Thursday, July 6, 7 pm to 9 pm. Invitation-only
	Opening Night Party: Thursday, July 13, 9 pm to 11 pm at space below Angelika Film Center
	Women's Showcase Reception: Sunday, July 16, 5:30 pm to 7 pm at Angelika Film Center's Cafe
	Closing Night Party: Thursday, July 20, 9 pm to 11 pm. Check website and social media.

	More titles and full schedule of events and details will follow in the next week.

#### 2017 Austin Film Festival Reveals Opening Night & Centerpiece Films
 

	Austin Film Festival (AFF), the premier film festival recognizing writers’ and filmmakers’ contributions to film, television, and new media, announced today its Opening Night and Centerpiece Programming for its 24th anniversary, taking place October 26-November 2. A24’s Lady Bird will play as Opening Night selection and The Weinstein Company’s The Current War will serve as AFF’s Centerpiece Film.

	The directorial debut by actress Greta Gerwig (Frances Ha, Mistress America), Lady Bird stars Saoirse Ronan (Brooklyn, The Grand Budapest Hotel) as Christine “Lady Bird” McPherson, a young woman who fights against but is exactly like her wildly loving, deeply opinionated and strong-willed mom (Laurie Metcalf), a nurse working tirelessly to keep her family afloat after Lady Bird's father (Tracy Letts) loses his job.

	The Current War, the latest film by director Alfonso Gomez-Rejon (Me and Earl and the Dying Girl), chronicles the race for marketable electricity in the United States between Thomas Edison and George Westinghouse. The film also stars Tom Holland, Nicholas Hoult, and Katherine Waterston. Gomez-Rejon will present the film during the Festival.

	Lady Bird and The Current War will join already announced titles An Ordinary Man, starring Ben Kingsley, 24 Hours to Live, starring Ethan Hawke, Please Stand By, starring Dakota Fanning and Toni Collette, and the premiere of the season finale of HBO’s new dramatic series The Deuce, with creators David Simon and George Pelecanos in attendance.

#### 2017 Louisiana Film Prize Announces 20 Finalists To Compete For This Year’s $50,000 Grand Prize
 

	The 2017 Louisiana Film Prize announced the 20 finalists that will compete for a $50,000 grand prize at the 6thedition of the Louisiana Film Prize in Shreveport, Louisiana. Each of the Top 20 films will compete at The Prize Fest Festival Weekend (October 5-7) which are determined via a rare combination of voting from audience and film and industry judges.
	 
	Louisiana Film Prize also announced this year’s roster of judges – an eclectic mix of filmmakers, film journalists, film industry veterans, and film festival programmers – all set to arrive in Shreveport, Louisiana with the express purpose of helping to determine which of the 20 finalists will take home the check for $50,000.
	 
	“The Film Prize has never seen this amazingly high level of work from all of the filmmakers,” said Gregory Kallenberg, Founder and Executive Director of the Film Prize Foundation. “It’s immediate and tangible proof that everyone can see on the big screen of the talent, both local to Louisiana and from all over the country, that is continuing to grow and to film here in Louisiana.”
	 
	The Film Prize’s growth through each edition continued this year with a record number of 127 film projects shot in Louisiana and submitted for consideration. This year’s competition also included an astounding figure of 45% of the films directed by or produced by women or minority filmmakers.
	 
	Aside from the one $50,000 grad prize winner, the top Louisiana Film Prize films will receive distribution through Shorts International on iTunes and will also screen at various festivals across the country, including at large invites from critically acclaimed festivals like the Oxford Film Festival. The Film Prize will also distribute $15,000 in filmmaking grants and $1,000 “Best Actor” and “Best Actress” awards.
	 
	The impressive and wide-ranging list of film makers, journalists, film festival veterans, and film industry tastemakers making up the roster of judges for this year’s edition of the Louisiana Film Prize include:
	 

		Filmmaker and author Kim Adelman (Making It Big in Shorts)
	

		Entertainment journalist Carlos Aguilar (Indiewire, MovieMaker Magazine, Filmmaker Magazine, Variety Latino, Americas Quarterly, Remezcla)
	

		Florida Film Festival and Enzian Theater Programming Coordinator Tim Anderson
	

		Tribeca Film Festival’s Vice President of Filmmaker Relations and Shorts Programming, Sharon Lee Badal
	

		Actor Xander Berkeley (“The Walking Dead”)
	

		Austin Gay & Lesbian Film Festival Programming Director and journalist Jim Brunzell
	

		Filmmaker Rainy Kerwin (THE WEDDING INVITATION)
	

		Screenwriter and director Destri Martino (“The Director”)
	

		Brooklyn Academy of Music’s Cinématek publicist Maureen Masters
	

		USC’s Associate Professor of Critical Studies Tara McPherson
	

		Shorts International’s Linda Campos Olszewski
	

		Show runner and producer Gerald Jude Prest
	

		Entertainment journalist Kristy Puchko (Vanity Fair, Time Out New York, Vulture, Pajiba, Spinoff Online, and Cinema Blend)
	

		Cleveland International Film Festival programmer Paul Sloop
	

		Filmmakers Alliance president, and filmmaker Jacques Thelemaque (TRANSACTION)
	

	 
	The award-winning Louisiana Film Prize is a competition where filmmakers must create a short film (5-15 minutes) and the production must be shot in northwest Louisiana. This year, the Film Prize had over 120 registrations from all over the nation with 2/3 of the entries being from outside of Louisiana. The participating films utilized over 1,000 individuals in cast and crew. In the process of making those films, over $10 million has been injected into the area over the past 5 years (through the payment of cast, crew, food, lodging and equipment).
	 
	Visit www.lafilmprize.com to learn more information about the Louisiana Film Prize contest and festival.“
	 
	 
	The 2017 Louisiana Film Prize Finalists 
	 
	A BOY AND THE MONSTER
	Director: Travis Champagne
	Trying to find his place in the world, a mysterious mask introduces a boy to a monster.
	 
	AMERICAN CARNAGE
	Director: Tamzin Merchant
	A man who has been mysteriously declared dead has to unravel the truth behind his situation while being pursued through town by a masked man to whom he owes money.
	 
	ARIA FOR ALBRIGHTS
	Director: Alexander Jeffrey
	Young, precocious opera singer, Anne Albright, gets stuck with her auto mechanic uncle, Nate, for the afternoon leading up to a talent show performance.
	 
	CANDYLAND
	Director: Taylor Bracewell
	Two men make their last stop for the night to check in on Grimley Grocery and have a few words with the management. 
	 
	THE CURE
	Director: Deborah Stone
	When a young research scientist working in the Brazilian Rainforest comes across the possible cure for cancer, will her supervising doctors allow this knowledge to be known to save countless lives, or will their desire for power and wealth, kill her research and possibly, the young doctor.
	 
	DEATH’S DAY
	Director: Joshua E. Munds
	It could be today. It could be 25 years from now. But like others before him, if he gets the text, Kevin will know the day and month, though not the year, of his death. With mortality at the forefront of daily living, Kevin's mom warned him not to leave his front door. But today, he's going outside.
	 
	EXIT STRATEGY
	Director: Travis Bible
	A man living the same day over and over again must team up with his brother to prevent a fire. 
	 
	FATHER
	Director: Baron Creighton
	Bronson is forced to deal with the demons of having an abusive father while his wife's in labor. The question is: what will he become?
	 
	HELLO SYLVIA
	Directors: Jeremy Enis, Helen Buck Chapman
	Two hit men take a mark into the woods for execution, but once the gag is removed, he unleashes a revelation that changes everything.
	 
	HER CALLING
	Director: Travis Mills
	Based on true events surrounding the first female college West of the Mississippi,
	HER CALLING tells the story of a young female student forced to give up her studies and become a nurse during the Civil War, always holding true to her passion. 
	 
	INCREDIBLY SMART, SEXY, BOMBSHELL COED NAMED DEBORAH
	Director: Raylee Magill
	An actress fights to figure out who she is, while being everyone else.
	 
	MY FATHER’S SON
	Director: Kyle Clements
	On the verge of his biggest show to date, successful photographer, and soon to be father, Asher Van Zandt, must return to his roots when he learns of his estranged father's death.
	 
	POPCORN AND CHOCOLATE
	Director: Catherine Hatcher
	Death. Life. Popcorn. Chocolate. And a cactus.
	 
	SCOUNDRELS
	Director: Mark Blitch
	An inexperienced grifter teams up with a jaded con man to pull off the scam of her life
	 
	SEED OF THE FREE
	Directors: Jency Griffin Hogan, Tarhonda Bazille
	This is a story about a mother's love for her son. A love that transcended racial and social boundaries, overcame fear, and faced a justice system that was stacked against her. Belle had faced a lot of hardships on her life, but nothing had prepared her for finding out her six-year old son had been illegally sold South.
	 
	SHAKESPEARS ON THE RANGE
	Director: Christine Chen
	A group of lifer inmates at a maximum security prison find introspection through the words of Shakespeare.
	 
	STAG
	Director: Jonnie Stapleton
	After getting dumped by his fiancé, a lonely, middle-aged man proceeds to take the couple's swing dance class he signed them both up for.
	 
	STREET DYKES
	Director: Haven Nutt
	The lost footage.
	 
	SYSTEM 438
	Director: Matthew Ramsaur
	It's the little things that can save the world, or end it. Well intentioned advances in
	nanotechnology prove to be the key to curing every disease known to man, as well as the key to the end of man's existence. 
	 
	WILLOW
	Director: Suzanne Racz
	After a fragmented childhood colored by loss Willow, a girl in a bunny suit, sets off on a path of self discovery when she by chance accepts an invitation that changes the trajectory of her lonely life.

#### 2017 Oak Cliff Film Festival Announces Features Programming
 

	The Oak Cliff Film Festival (OCFF) announces its Feature Program for the 6th edition of the festival, taking place June 8-11, 2017. The schedule is comprised of 25 feature-length films, seven of which will make their Texas premieres at the hyper-local festival that filmmakers and film-lovers alike call their favorite retreat of the year.

	Critically acclaimed director David Lowery's (Ain't Them Bodies Saints, Pete's Dragon) A GHOST STORY will close the film festival on Sunday, June 11, marking the first Texas screening of the film. ENDLESS POETRY, the latest masterwork by venerated, 88 year-old cult director Alejandro Jodorowsky (El Topo, The Holy Mountain, Santa Sangre), will screen Saturday, June 10. Jodorowsky's son, Adan Jodorowsky, who stars in the film and composed its score, will be in attendance for a Q&A and will perform a live concert set by his alter ego, Adanowsky, following the screening.

	"We are extremely excited to host the homecoming screening for David's new film A GHOST STORY as our closing night program," said Barak Epstein, OCFF Festival Director. "This is a film that everyone in Dallas will want to see on the big screen. Also, we are proud to host the latest film from legendary filmmaker Alejandro Jodorowsky who we have always championed at the Texas Theatre. Having his son and composer Adan Jodorowsky make an appearance is a real honor."

	A GHOST STORY was produced and shot in and around Dallas, Lowery's hometown, with frequent collaborators Toby Halbrooks and James M. Johnston (Ain't Them Bodies Saints, Listen Up Philip), and OCFF Co-Founder Adam Donaghey. The film stars Academy Award-winner Casey Affleck and Academy Award-nominee Rooney Mara.

	"I presented a film at the Oak Cliff Film Festival last year, just twelve hours before our first day of shooting on A GHOST STORY, so it only feels proper (and thematically accurate to the film!) to bring it to Oak Cliff for its local premiere," said Lowery on coming home to show at OCFF.

	Opening the festival on Thursday, June 8 is the dark, absurdist comedy LEMON, directed by lauded filmmaker Janicza Bravo (Divorce, Atlanta), with both Janicza Bravo and writer/actor Brett Gelman in attendance.

	Additional Texas premieres include: THE LITTLE HOURS directed by Jeff Baena (Life After Beth, Joshy), a rowdy comedy about some very unholy and unapologetic nuns in the 14th century, with Jeff Baena in attendance; Kevin Phillips' SUPER DARK TIMES, a psychological tale about two teenagers growing up in mid-'90s suburbia; the dark and absurdist Romanian comedy SCARRED HEARTS, directed by Radu Jude, about a sanatorium patients' attempts to live life to the fullest as their bodies slowly wither; and a new anti-documentary film from Jem Cohen (Instrument, Museum Hours), WORLD WITHOUT END (NO REPORTED INCIDENTS).

	The live musical performances and art installations that are a hallmark of the four-day event will once again be a major part of the Oak Cliff Film Festival. In addition, OCFF will host educational events, including a free-to-students cinematography workshop on Saturday, June 10 at the Oak Cliff Cultural Center.          

	OCFF takes place at the historic Texas Theatre, Bishop Arts Theatre Center, Kessler Theater, the Basement Gallery, and other venues in North Oak Cliff.

	Festival VIP passes (which provide access to all screenings, events, and access to the VIP Filmmakers lounge all weekend), ticket four-packs, and individual screening tickets are on sale now at www.filmoakcliff.com via OCFF's official ticketing sponsor, Prekindle. For the latest news and developments, follow the festival on Twitter and Facebook. The full schedule including shorts programs for the 2017 Oak Cliff Film Festival will be announced on May 15.

	 

	           

	OCFF 2017 FEATURE PROGRAM

	 

	OPENING NIGHT SELECTION

	LEMON (USA, 90 mins)

	Dir. Janicza Bravo

	Drama teacher Isaac Lachmann (Brett Gelman), a tall, balding man of extreme moods, is argumentative with everyone except for one student, Alex (Michael Cera). Willing to debase himself to get any kind of job in TV commercials, Isaac lets his relationship with longtime girlfriend, Ramona (Judy Greer), a blind woman, fall to pieces. In her directorial debut, Janicza Bravo displays an impressive sense of composition, timing, and humor wrapped in absurdist comedy.
	 

	DFW PREMIERE.  Filmmaker Janicza Bravo and writer/star Brett Gelman in attendance

	 

	CLOSING NIGHT SELECTION

	A GHOST STORY (USA, 87 mins)

	Dir. David Lowery 

	With A GHOST STORY, acclaimed director David Lowery (Ain't Them Bodies Saints, Pete's Dragon) returns with a singular exploration of legacy, loss, and the essential human longing for meaning and connection. Recently deceased, a white-sheeted ghost (Academy Award-winner Casey Affleck) returns to his suburban home to console his bereft wife (Academy Award-nominee Rooney Mara), only to find that in his spectral state he has become unstuck in time, forced to watch passively as the life he knew and the woman he loves slowly slip away. Increasingly unmoored, the ghost embarks on a cosmic journey through memory and history, confronting life's ineffable questions and the enormity of existence. An unforgettable meditation on love and grief, A GHOST STORYemerges ecstatic and surreal.

	TEXAS PREMIERE.  Filmmaker David Lowery in attendance. Producers Toby Halbrooks, James M. Johnston, and Adam Donaghey in attendance

	 

	 

	NARRATIVE FEATURE COMPETITION

	 

	ASSHOLES (USA, 75 mins)

	Dir. Peter Vack

	Adah and Aaron are recovering addicts who are struggling to stay sober. After meeting in their psychoanalyst's waiting room, they fall in love, relapse on poppers, and become the biggest assholes in New York City. Literally. Writer/Director Peter Vack makes his feature directorial debut with an undeniably special, WTF film, that will have you cry-laughing-nauseated. 

	DFW PREMIERE.  Director Peter Vack in attendance

	Preceded by CHILD PSYCHOLOGY (USA, 15 mins)

	 

	GOLDEN EXITS (USA, 94 mins)

	Dir.Alex Ross Perry

	Alex Ross Perry's (Listen Up Philip, Queen of Earth) fifth feature is an intersectional narrative of two families in Brooklyn and the unraveling of unspoken unhappiness that occurs when a young foreign girl (Emily Browning) spending time abroad upsets the balance on both sides. With an ensemble cast, including Jason Schwartzman, Adam Horovitz and Mary-Louise Parker, GOLDEN EXITS is a finely tuned, unhurried examination of characters in stasis.

	TEXAS PREMIERE

	 

	THE STRANGE ONES (USA, 81 mins)

	Dir. Christopher Radcliff, Lauren Wolkstein

	Co-directors Christopher Radcliff and Lauren Wolkstein's feature length debut stems from a short by the same name, following the mysterious events of two alleged brothers as they travel across a remote, American landscape. Along the way, questions arise as to the nature of the relationship between the two drifters, as what first seems an innocuous vacation, slowly burns, giving way to a much more complicated and darker truth. Atmospheric and heady, THE STRANGE ONES focuses on isolation and dissonance, while presenting hints at the supernatural and ambiguous nature of two wanderers hiding from something in their past.

	DFW PREMIERE

	 

	LUCKY (USA, 88 mins)

	Dir. John Carroll Lynch

	Does legendary character actor Harry Dean Stanton play himself in this pseudo comedy western about a 90 year-old cowboy who can't figure out how he's still alive? Probably. The film also features great turns by Ron Livingston and Tom Skerrit, as well as David Lynch as an old bar friend who just want's to find his pet tortoise.

	DFW PREMIERE.  Producer John Lang in attendance

	 

	INFINITY BABY (USA, 80 mins)

	Dir. Bob Byington

	Owing to a genetic mix-up involving stem cell research, the recently founded company Infinity Baby, run by the garrulous Neo (Nick Offerman), is able to offer a service for aspiring parents who never want to leave the baby bubble: infants that do not age. Ben (Kieran Culkin), a serial monogamist who says he wants to find the right woman, but is always looking for the next one, and his competent pals Larry (Kevin Corrigan) and Malcolm (Martin Starr), are hired to market the service to those keen to nurture. Does having a baby automatically confer some level of maturity? Will Ben's mom, the sarcastic and demanding Hester (Megan Mullally), approve of Ben's new girlfriend (Trieste Dunn)? Will Malcolm recover from a disastrous accident with kitchen cleaner? The answers to these questions and more await in Byington's heady and hilarious potpourri.

	DFW PREMIERE.  Director Bob Byington in attendance

	 

	LA BARRACUDA (USA, 100 mins)

	Dir. Julia Halperin and Jason Cortlund

	A young British woman named Sinaloa comes to Texas to find Merle (Allison Tolman), her half-sister by way of their dead country musician father. And while the family music legacy brought this stranger to town, darker motives are woven into the songs she sings, showing glimpses of a violent rage that's been building for years. LA BARRACUDA is a subtle, creeping thriller with a good dose of country music.

	DFW PREMIERE.  Filmmakers Jason Cortlund and Julia Halperin in attendance

	 

	 

	DOCUMENTARY FEATURE COMPETITION

	 

	AS I WALK THROUGH THE VALLEY (USA, 81 mins)

	Dir. Ronnie Garza and Charlie Vela

	An overlooked part of America, the Rio Grande "Magic Valley" boasts one of its most eclectic music scenes. From 1960's garage rockers, to Tejano punks wearing lucha libre masks, and everything in between, the area has served as a melting pot over the years – not just for different genres, but for Mexican and Texan cultures. Covering four generations worth of music history through testimonials and archival footage, AS I WALK THROUGH THE VALLEY champions the do-it-yourself spirit and finding your voice.

	DFW PREMIERE

	 

	CINEMA TRAVELERS (INDIA, 96 mins)

	Dir. Shirley Abraham and Amit Madheshiya
	Showmen riding cinema lorries have brought the wonder of the movies to faraway villages in India once every year. Seven decades on, as their cinema projectors crumble and film reels become scarce, their patrons are lured by slick digital technology. A benevolent showman, a shrewd exhibitor, and a maverick projector mechanic bear a beautiful burden: to keep the last traveling cinemas of the world running.

	DFW PREMIERE

	 

	CALIFORNIA DREAMS (USA, 83 mins)

	Dir. Mike Ott

	Filmmaker Mike Ott (Lake Los Angeles, Littlerock) follows a rag-tag ensemble of small-time underachievers whose shared, cherished fantasy of making it in the movies gets them up in the morning, but not much further than that. Blurring the line between simulated vérité and authentic observation, it's often impossible to tell whether those on camera are playing themselves, simply being themselves or a combination of the two. Throw in Mike Gioulakis' (It Follows) serenely gorgeous cinematography and you're in for both a beautiful and perplexing experience.

	DFW PREMIERE

	 

	TRUE CONVICTION (USA, 84 mins)

	Dir. Jamie Meltzer

	There's a new detective agency in Dallas, Texas started by Johnnie Lindsey, Christopher Scott, and Steven Phillips, who have decades in prison between them. Now exonerated, the trio has formed their own pseudo-detective agency that frees innocent people from behind bars. The cases they pursue resemble their own: the sort of cases that the justice system should backstop, but usually does not. Taking viewers into the real-life crime drama that surrounds these imperfect freedom fighters on their quest for justice, TRUE CONVICTION highlights the importance of asking the questions that bureaucracy does not.

	DALLAS PREMIERE.  The men of TRUE CONVICTION – Christopher Scott, Johnnie Lindsey & Steven Phillips in attendance

	 

	WORLD WITHOUT END (NO REPORTED INCIDENTS) (USA, 57 mins)

	Dir.Jem Cohen

	Jem Cohen, best known as the filmmaker behind the Fugazi document Instrument and the elegiac Museum Hours, brings us a new anti-documentary film in WORLD WITHOUT END. Cohen travels to a sea village near London to interview locals and survey the land. As per his Viennale statement, "I embraced the chance encounter and rejected the very idea of the definitive.  What I discovered is that the estuary and its insistent tides brought in not only nature and history, but prize-winning Indian curries, an encyclopedic universe of hats, and a nearly lost world of proto-punk music."

	TEXAS PREMIERE

	 

	 

	SPOTLIGHT FEATURES

	 

	ENDLESS POETRY (Chile, 122 mins)

	Dir. Alejandro Jodorowsky

	Alejandro Jodorowsky's films are like no one else's. The 88 year-old Chilean maestro sends perhaps his most autobiographical film to OCFF as a continuation piece to 2014's Dance of Reality. The film stars two of Alejandro's sons, Brontis Jodorowsky and Adan Jodorowsky (who also composed the score), as father and son; sometimes Alejandro himself breaks the fourth wall and enters the family within the film as well. (Don't worry it will all make sense once you lick that Aztec frog.)

	TEXAS PREMIERE.  Composer and Lead actor Adan Jodorowsky in attendance

	 

	68 KILL (USA, 93 mins)

	Dir.Trent Haaga

	Ex Troma screenwriting hero Trent Haaga comes out swinging hard in his sophomore directorial effort.  Lead actor Matthew Gray Gubler ("Intern" from A Life Aquatic) throws everything into hyper-drive in this punk-rock after-hours epic bloodbath about femininity, masculinity, and the theft of $68,000.

	DFW PREMIERE

	 

	THE LITTLE HOURS (USA, 90 mins)

	Dir. Jeff Baena

	A young servant fleeing from his master takes refuge at a convent full of emotionally unstable nuns in the middle ages. Yet another scene-stealing performance from Aubrey Plaza will quench the thirsts of the faithful, Ablessed ensemble cast, including Alison Brie, whose turn as a nun feels ordained, fills out this entertaining medieval romp with foul mouthed nuns. If you wanted an absurdist version of The Witch, this will work just fine for you.

	Short Synopsis: A young servant fleeing from his master takes refuge at a convent full of emotionally unstable nuns in the middle ages.

	TEXAS PREMIERE.  Filmmaker Jeff Baena in attendance

	 

	PORTO (USA/ Portugal, 76 mins)

	Dir. Gabe Klinger

	Gabe Klinger's PORTO brings a new style and sensibility to the American-meets-a-pretty-girl-in Europe genre. Lensed by Wyatt Garfield, the film uses mixed films stocks and aspects via Super 8mm, 16mm, and 35mm to present a certain melancholy, lived-in feel and one of the last on-screen roles from Anton Yelchin.

	DFW PREMIERE – Presented on 35mm.  Filmmaker Gabe Klinger in attendance

	 

	PERSON TO PERSON (USA, 84 mins)

	Dir. Dustin Guy Defa

	Bene hosted a party at his place last night, and this morning, there's a stranger passed out on his floor who won't leave. This is NYC, so Bene isn't the only character grappling with the mundanity of life. An ensemble cast of Michael Cera, Abbi Jacobson, Michaela Watkins, and Bene Coopersmith together depict a group of New York oddballs – a reserved apartment dweller, an impassioned record collector, and a field reporter on her first day of work, among others –  over the course of one day. Their stories don't necessarily intersect, but it's their experience of the city that ties them together.

	DFW PREMIERE.  Producers Toby Halbrooks and James M. Johnston in attendance

	 

	DEATH OF LOUIS XIV (FRANCE, 115 mins)

	Dir. Albert Serra

	The annual OCFF "Sunday Slow-Core" returns with French King Louis XIV (played to perfection by Jean-Pierre Léaud – the kid from 1959's The 400 Blows!) wearing a wig and surrounded by servants who just want him to eat an egg.  Candlelit Cinematography: Check; One Epic Dolly Shot with equally Epic Music Cue:  Check; Crying out in the night for water: Check; Bloodletting and other questionable medical practices: Check. Nursing your hangover with the depiction of the laborious, painful death of an elderly king: Check!

	DFW PREMIERE

	 

	THE CHALLENGE (FRANCE/ITALY, Arabic language, 70 mins)

	Dir.Yuri Ancarani

	Falconry has a history that stretches back over 40 centuries. In the West, it was a prevailing passion of the medieval aristocracy, but its prestige continues undiminished in contemporary Arab culture. The spirit of a tradition that today allows its practitioners to keep a close rapport with the desert, despite their predominantly urban lifestyle, is captured grace of three years of field observation. In the glaring light of an empty landscape, following flight lines and lures, the film recounts a strange kind of "desert weekend," in which technological and anthropological microcosms hang in the air, like the falcon, drifting on the irreversible currents of images. Also one of the shieks owns a well behaved cheetah and an impractical Lamborghini.
	 

	DFW PREMIERE

	 

	SUPER DARK TIMES (USA, 100 mins)

	Dir. Kevin Phillips

	Best friends Zach and Josh are like any other teenagers growing up in mid-'90s suburbia. They lead normal lives that revolve around high school, their crushes on the same girl, and loitering about town. When an afternoon in the park takes a grave turn, however, the boys try to pretend as though nothing has happened. The guilt soon starts to eat away at Zach as he is caught between nightmares and an increasing paranoia that Josh is no longer the same.

	TEXAS PREMIERE

	 

	SCARRED HEARTS (Romania, 141 mins)

	Dir. Radu Jude

	Emanuel, a man in his early 20s, spends his days at a sanatorium suffering from bone tuberculosis. He narrates his and his fellow patients' attempts to live life to the fullest as their bodies slowly wither, but their minds refuse to give in. SCARRED HEARTS is a dark and sometimes silly comedy inspired by Romanian author Max Blecher's 1937 book about love, terminal illness, and how to sometimes look on the bright side of life. Shot on 35mm in a 1.37 Academy ratio with bright colors and gorgeously framed static shots, the film presents a stylized window in the past. An art film with many rewards for the patient moviegoer, or as The Hollywood Reporter recently warned, "beyond a tough sell."
	 

	TEXAS PREMIERE

	 

	A LIFE IN WAVES (USA, 74 mins)

	Dir. Bret Whitcomb

	"I wanted technology to be sensual, that was always my directive." Early synth music pioneer Suzanne Ciani was behind some of the most innovative sounds and jingles of the 70s and 80s, including spots for Atari and Coca-Cola and multiple soundtracks. A LIFE IN WAVES utilizes a wealth of archival footage from Suzanne's endless catalog of music. It's a compelling look at one woman's ability to break into a mostly male-dominated field, against all odds.

	DFW PREMIERE.  Director Bret Whitcomb in attendance

	 

	 

	REPERTORY

	 

	SANTA SANGRE (1989)  (MEXICO, ITALY, 123 mins)

	Dir.Alejandro Jodorowsky

	In SANTE SANGRE, the traumatized son of a circus knife thrower and a trapeze artist bond grotesquely with his now-armless mother.  The movie is often considered Jodorowsky's most accessible and, although many Jodorowsky films defy easy categorization, the film has found a life as a cult horror film. Roger Ebert said of SANTA SANGRE: "It is a horror film, one of the greatest, I am reminded by Alejandro Jodorowsky that true psychic horror is possible on the screen – horror, poetry, surrealism, psychological pain and wicked humor, all at once".  The film stars Alejandros's sons Axel Jodorowsky and, in his first on-screen performance, Adan Jodorowsky, as the young son who would grow up to be insane.

	Actor Adan Jodorowsky in attendance

	 

	SOMETHING WILD (1986) (USA, 114 mins)

	Dir.Jonathan Demme

	The uneventful life of a the businessman Charles Driggs (Jeff Daniels) suddenly changes when he meets the wild and sexy Lulu (Melanie Griffith). But, the fun quickly takes a dangerous turn when her ex-convict husband (Ray Liotta) shows up. An unbridled Jonathan Demme effortlessly weaves a slapstick tone with unflinching drama. Part romance, part road movie, part blood-spattered drama, "it's a schizophrenic movie," Mr. Demme has said, "a screwball comedy that turns into a film noir, as life itself does."

	FREE OUTDOOR SCREENING

#### 2017 Oxford Film Festival Award Winners
 

	The 2017 Oxford Film Festival celebrated the best of the fest with an awards brunch at the Powerhouse (413 S. 14th Street) on Saturday, February 18, highlighted by the announcement of Hoka awards for Ian MacAllister-McDonald’s SOME FREAKS for Best Narrative Feature, Andrea Kalin’s FIRST LADY OF THE REVOLUTION for Best Documentary Feature,  Julie Sokolow’s WOMAN ON FIRE for Best LGBTQ Feature, and  the presentation of the Lisa Blount Memorial Acting Award to Victoria Negri for her performance in GOLD STAR.

	Today, the announcement was made of a rare tie for the Audience Award honors with Raoul Peck’s I AM NOT YOUR NEGRO and Sally Sussman’s MIDNIGHT RETURN: THE STORY OF BILLY HAYES AND TURKEY sharing the award.

	Producer Tim Harms was on hand to accept the Hoka Award for Best Narrative Feature Film for SOME FREAKS. The award comes with a $10,000 camera rental package from Panavision, an InkTip Script listing. Navid Sanati’s DON’T COME AROUND HERE won the Hoka Award for Best Mississippi Feature Film, as well as a year of free equipment rental from the OxFilm Society.

	Along with the Hoka Award for Best Documentary Feature Film, Andrea Kalin (FIRST LADY OF THE REVOLUTION) will receive 3 days of audio post production from Bad Animals, a Seattle-based post-production facility, a $10,000 rental package from Panavision, and $2500 in editorial consultation from editor Joe Shapiro. The Music Documentary Award winner was Joe York’s SHAKE ‘EM ON DOWN.

	A special Editing Award was presented to Tyler Barnes for his work on the film, BREAKFAST, which he also directed. The first Pat Rasberry Emerging Mississippi Filmmaker Award was given to Juliet Buckholdt (A LITTLE LOVE GOES A LONG CLAY). The award was created to honor the spirit of the next generation of filmmakers in Mississippi. The filmmaker also received a Special Jury Award for Concept in the Animation category. For the second year, the Oxford Film Festival honored a female filmmaker with the Alice Guy-Blaché Female Filmmaker Award. Erin Heidenreich (GIRL UNBOUND) was announced as the winner and will also receive a $1,000 prize from the Louis M. Rabinowitz Foundation.

	Oxford Film Festival Executive Director Melanie Addington said, “For the past  two years, the Oxford Film Festival has enjoyed larger audiences to go along  with the increased number of films we have accepted and presented. There is a lot of satisfaction to see that, as this film festival continues to grow and adapt with our increased base of enthusiastic film fans and the local film community, that the ambition and quality of the films we present somehow continues to trend upward as well.”

	In the Short Film category, Best Narrative Short went to Donald Ian Black’s GOODBYE NEENAW, with a Special Jury Prize going to David Lea’s ON SUNDAY. The winner of the Hoka for Best Documentary Short was Matthew Firpo’s REFUGE. A Special Jury Prize was given to Tim Nackashi ‘s THROUGH THE WALL.

	Ava Lowery’s OTHA TURNER was named Best Mississippi Short Film, with  Coop Cooper’s PRISMA receiving a Special Jury Prize in the same category.

	J.B. Lawrence’s BROKEN PATHS took the prize for Best Mississippi Music Video. Sokolow’s WOMAN ON FIRE won the first Hoka for Best LGBTQ Film, with Jake Graf’s CHANCE receiving a Special Jury Prize in the new category for Oxford FF. Christian D'Andrea’s LESS HELL, MORE ANGEL won the first REEL SOUTH AWARD, presented by the co-producing partners of REEL SOUTH South Carolina ETV, UNC-TV and the Southern Documentary Fund. The award comes with a non-exclusive distribution deal ($500 cash plus E&O and closed- captioning).

	Pierre Zandrowicz’s I, PHILLIP took the Hoka for Best Virtual Reality (VR) Project, Manuel Alvarez Diestro and Sergio Belinchon’ THE TRADER won Best Experimental Film, and Catalina Jordan Alvarez’s PACO won for Best New Media, with Christian Strevy receiving a Special Jury Prize for Acting in the same category for his performance in the series GUNNER JACKSON. Robin Joseph’s THE FOX AND THE WHALE was awarded the Hoka for Best Animation, with Buckholdt’s A LITTLE LOVE GOES A LONG CLAY getting the Special Jury Award for Concept.

	This year’s edition of the Oxford Film Festival was highlighted by an increase of more than $6000 in ticket sales, as well as a special appearance by beloved  actor and social activist Danny Glover, who came to Oxford to raise awareness for the March on Mississippi in Canton on March 4th to bring awareness to the

	plight of Nissan workers. Glover visited the Oxford Film festival on Friday evening and regaled the audience prior to a screening of Peck’s I AM NOT YOUR NEGRO, with personal anecdotes of meeting the films subject, James Baldwin, as well as talk to and pose for pictures with the fans. It was a fitting moment for a film festival that has not shied away from politics and speaking out on behalf of the underrepresented, both in the film community and the local community as well.

	 

	2017 OXFORD FF AWARD-WINNING FILMS

	 

	SOME FREAKS – BEST NARRATIVE FEATURE

	Director: Ian MacAllister-McDonald

	Country: United States, Running Time: 95min

	When one-eyed high school senior Matt meets 250 lb. Jill, he falls more in love than he ever thought possible. However, when graduation comes and Jill moves cross-country to go to college, she then loses over 50 lbs. – much to Matt's surprise when he arrives to visit her. While Matt struggles to accept Jill's new body, 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.

	 

	FIRST LADY OF THE REVOLUTION – BEST DOCUMENTARY FEATURE

	Director: Andrea Kalin

	Countries:  Costa Rica, United States, Running Time: 67min

	While visiting an aunt and uncle in the exotic countryside of Costa Rica, a young Southern belle from Alabama accepts a ride on the back of a motorcycle belonging to a charismatic local farmer—a ride that would propel her down narrow mountain roads and into history.

	 

	DON’T COME AROUND HERE – BEST MISSISSIPPI FEATURE

	Director: Navid Sanati

	Country: United States, Running Time: 95min

	When he learns that his father may not have much longer to live, Chuck goes back to the home he ran away from. There he must come to terms with his troubled brother Lenny, his own fears, and a secret he has been hiding for years.

	 

	SHAKE 'EM ON DOWN – BEST MUSIC DOCUMENTARY

	Director: Joe York

	Country: United States, Running Time: 57min

	SHAKE ‘EM ON DOWN tells the story of Mississippi Fred McDowell, the godfather of the North Mississippi style of blues.

	 

	WOMAN ON FIRE – BEST LGBTQ FILM

	Director: Julie Sokolow

	Country: United States, Running Time: 95min

	As a third-generation firefighter, Brooke Guinan has a passion for heroism that runs in her blood. But when Brooke transitions from male to female in her father’s workplace, it poses not only a challenge to a macho profession, but also to the customs of the people she cares about the most – her traditional family.

	 

	CHANCE – SPECIAL JURY CITATION – LGBTQ FILM

	Director: Jake Graf

	Country: United Kingdom, Running Time: 16:11min

	Trevor's life has become a void following the passing of his wife and long term companion, Doris. A chance encounter in the park with a mysterious stranger equally troubled by his own dark past jarringly reawakens him, and forces both men to once again start to live.

	 

	GOODBYE NEENAW – BEST NARRATIVE SHORT

	Director: Donald Ian Black

	Country: United States, Running Time: 5:59min

	David and Jennifer are a brother and sister dealing with the recent and sudden loss of their grandmother who raised them from a young age in the absence of their parents. They are traveling deep into the California mountains to scatter Neenaw's ashes when a mishap occurs.

	 

	ON SUNDAY – SPECIAL JURY PRIZE – NARRATIVE SHORT

	Director: David Lea

	Country: United Kingdom, Running Time: 6:30min

	An old man and his dog make their routine walk to the isolated cliff tops of deepest Cornwall…but this time they're not alone.

	 

	REFUGE – BEST DOCUMENTARY SHORT

	Director: Matthew Firpo

	Country: Greece, Running Time: 20min

	REFUGE is a chronicle of human stories from the European Refugee Crisis, focused on humanity and hope.

	 

	THROUGH THE WALL – SPECIAL JURY PRIZE – DOCUMENTARY SHORT

	Director: Tim Nackashi

	Country: United States, Running Time: 6:20min

	A short documentary about a family divided by the US/Mexico border.

	 

	OTHA TURNER – BEST MISSISSIPPI SHORT FILM

	Director: Ava Lowrey

	Country: United States, Running Time: 6:02min

	In the late 1950’s, fife and drum legend Otha Turner began hosting annual Labor Day picnics at his property in Gravel Springs, Mississippi. This short documentary film digs into the archives to take us back in time to Labor Day 1978.

	 

	PRISMA – SPECIAL JURY PRIZE – MISSISSIPPI SHORT FILM

	Director: Coop Cooper

	Country: United States, Running Time: 9:13min

	A corporate promotional VHS tape from 1984 conceals a hidden signal which is said to grant increased health, longevity and psychic powers to those who watch it.  View at your own risk.

	 

	BROKEN PATHS – BEST MISSISSIPPI MUSIC VIDEO

	Director: J.B Lawrence

	Country: United States, Running Time: 4:44min

	Debut music video filmed in Brandon, Miss. Created by Stace and Cassie and J.B. Lawrence.

	 

	LESS HELL, MORE ANGEL – REEL SOUTH AWARD

	Director: Christian D'Andrea

	Country: United States, Running Time: 11:20min

	In Mississippi, I came across black and white biker clubs doing something surprising… hugging.  And blessing each other.

	 

	I, PHILLIP – BEST VIRTUAL REALITY (VR)

	Director: Pierre Zandrowicz

	Country: France, Running Time: 14min

	In early 2005, David Hanson is developing his first android human. His name is Phil and it is simply the copy of the famous science fiction author Philip K. Dick.

	 

	THE TRADER – BEST EXPERIMENTAL FILM

	Directors: Manuel Alvarez Diestro, Sergio Belinchon Country: Spain, Running Time: 12:06min

	A successful stock trader decides to start a journey far from the trading floor.

	 

	PACO – BEST NEW MEDIA

	Director: Catalina Jordan Alvarez

	Country: United States, Running Time: 12:10min

	He wants you to bounce on his lap.

	 

	GUNNER JACKSON – SPECIAL JURY AWARD FOR ACTING – NEW MEDIA

	Christian  Strevy Director: Christian Strevy

	Country: United States, Running Time: 8:52min

	My name is Jason Gunner Jackson, and I know without a doubt that I am a target of a multi-agency program that intends to surveil, track, and document my life.

	 

	THE FOX AND THE WHALE – BEST ANIMATION

	Director: Robin Joseph

	Country: Canada, Running Time: 12:03min

	The tale of a curious fox who goes in search of an elusive whale. A journey of pursuit, longing and discovery.

	 

	A LITTLE LOVE GOES A LONG CLAY – SPECIAL JURY AWARD FOR CONCEPT – ANIMATION

	Director: Juliet Buckholdt

	Country: United States (Mississippi), Running Time: 3:20min

	This video was made as a school project about stopping social media bullying.

	 

	Victoria Negri (GOLD STAR) – Lisa Blount Memorial Acting Award

	Erin Heidenreich (GIRL UNBOUND) – Alice Guy-Blaché Female Filmmaker award

	Juliet Buckholdt (A LITTLE LOVE GOES A LONG CLAY) – Pat Rasberry Emerging Mississippi Filmmaker Award

	 

	BREAKFAST – BEST EDITING

	Director: Tyler Byrnes

	Country: United States, Running Time: 9:44min

	When a young man suffering from anorexia is pressured to eat breakfast by his boyfriend, the couple are thrust into an otherworld where their anxieties and frustrations are made horrifyingly real.

	 

	I AM NOT YOUR NEGRO – AUDIENCE AWARD WINNER (TIE)

	Director: Raoul Peck

	Countries: United States, France, Running Time: 95min

	Writer James Baldwin tells the story of race in modern America with his unfinished novel, Remember This House.

	 

	MIDNIGHT RETURN: THE STORY OF BILLY HAYES AND TURKEY –

	AUDIENCE AWARD WINNER (TIE)

	Director: Sally Sussman

	Country: United States, Running Time: 99min

	Documentary explores the emotional and political power of film, as seen through the lens of the blockbuster hit MIDNIGHT EXPRESS, a movie that turned the real Billy Hayes into an international celebrity and made him the enemy of Turkey.  Join Hayes on a daring journey back to Turkey as he faces the country still haunted by MIDNIGHT EXPRESS.

#### 2017-18 Bolshoi Ballet Direct From Moscow to U.S. Cinema Screens
 

	For the fourth consecutive season, the world-renowned Bolshoi Ballet lights up cinema screens nationwide with a bold lineup of newly-staged ballet classics, as part of the “2017-18 Bolshoi Ballet in Cinema Series.” Featuring eight performances on select Sundays from October 2017 to June 2018, audiences can experience the Bolshoi Ballet at its finest, with stunning ballets captured live from the Bolshoi Theatre in Moscow, Russia, from the comfort of their local cinema.

	The all-new, exclusive-to-cinema series of ballet events from Fathom Events, BY Experience and Pathé Live launches with the Bolshoi’s awe-inspiring production of Alexei Ratmansky’s revival of the 19th century exotic classic “Le Corsaire” on October 22, followed by French choreographer Jean-Christophe Maillot’s vibrant and hilarious staging of “The Taming of the Shrew” (encore) on November 19, as well as the widely-cherished holiday classic “The Nutcracker” (encore) on December 17. In the new year, the Bolshoi brings to life even more exhilarating classics including a fresh re-telling of the tragically romantic “Romeo and Juliet” on January 21, followed by the passionately-charged “The Lady of the Camellias” (encore) starring prima ballerina Svetlana Zakharova on February 4. Ratmansky’s explosive and energetic Revolutionary-era revival of Vasily Vainonen’s “The Flames of Paris” ignites the Bolshoi’s stage on March 4, and a chilling, yet luminous performance of one of history’s most beloved ballets, “Giselle,” (encore) will captivate audiences on April 8. The 2017-18 cinema series concludes with the Bolshoi’s stunning production of the humorous 19th century classic, “Coppélia,” on June 10.

	Tickets for the “2017-18 Bolshoi Ballet in Cinema Series” can be purchased online by visiting www.FathomEvents.com or at participating theater box offices. Fans throughout the U.S. will be able to enjoy the event in nearly 350 select movie theaters through Fathom’s Digital Broadcast Network (DBN). For a complete list of theater locations visit the Fathom Events website (theaters and participants are subject to change).

	“The peerless Bolshoi Ballet is accessible to ballet fans of all ages, through cinema screenings in local communities across the U.S.,” said Julie Borchard-Young, co-President of BY Experience. “The impact and reach of the Bolshoi’s inspirational performances continues to expand via broadcasts to cinemas, offering audiences the opportunity to travel virtually to the Moscow stage.”

	“It’s a privilege for Fathom to present our fourth season of the Bolshoi Ballet in U.S. cinemas,” Fathom Events VP of Programming Kymberli Frueh said. “The popularity of these events grows with each season, consistently delighting balletomanes with masterful content, distinguished artists and works from some of the world’s most revered choreographers.”

	 

	Planned schedule for the “2017-18 Bolshoi Ballet in Cinema Series”:
	 

	LE CORSAIRE – Sunday, October 22, 2017 12:55 p.m. ET / 11:55 a.m. CT / 10:55 a.m. MT & 12:55 p.m. PT, HI, AK (pre-recorded playback)

	Amidst a bustling Turkish market, the pirate Conrad falls in love at first sight with beautiful Medora, the ward of the slave merchant Lankedem’s bazaar. Conrad kidnaps Medora when Lankedem decides to sell her to the Pasha. Inspired by Lord Byron’s epic poem and reworked by Alexei Ratmansky from Petipa’s exotic 19th century classic, this miracle of the repertoire is one of the Bolshoi’s most lavish productions. Complete with a magnificent awe-inspiring shipwreck and dramatic scenery, this grand romance allows enough dancing for nearly the entire company and made especially for those who seek miracles in theatre.

	 

	THE TAMING OF THE SHREW – Sunday, November 19, 2017 at 12:55 p.m. local time

	Baptista struggles to marry off his tempestuous daughter Katharina, a shrew who denies that any man could possibly be her match. However, when she meets Petruchio, who is as ill-tempered as she, the two forces of nature ignite an unexpected and explosive encounter. Acclaimed choreographer Jean-Christophe Maillot brings out the wit, fast-paced athleticism and vibrancy from the Bolshoi Ballet dancers in Shakespeare’s rowdy comedy. Principals Ekaterina Krysanova and Vladislav Lantratov clash, challenge and eventually give themselves to one another.

	 

	THE NUTCRACKER– Sunday, December 17, 2017 at 12:55 p.m. local time

	As the clock strikes midnight on Christmas Eve, Marie’s wooden nutcracker doll comes to life and transforms into a prince. Soon joined by her other toys that have also come to life, Marie and her prince embark on a dreamy, unforgettable adventure. A holiday tradition for the whole family, The Nutcracker sweeps the Bolshoi stage for two hours of enchantment and magic. Along with Tchaikovsky’s cherished score and some of the Bolshoi’s greatest artists, The Nutcracker remains a timeless treasure not to be missed.

	 

	ROMEO AND JULIET – Sunday, January 21, 2018 12:55 p.m. ET / 11:55 a.m. CT / 10:55 a.m. MT & 12:55 p.m. PT, HI, AK (pre-recorded playback)

	In Verona, Romeo and Juliet fall madly in love while their respective families, the Montagues and the Capulets, are caught in a bitter rivalry ending in heart-wrenching tragedy. Alexei Ratmansky, former artistic director of the Bolshoi Ballet, stages the company’s premiere of his production with dramatic urgency and a fresh retelling of Shakespeare’s beloved classic. His brilliant and detailed adaptation set to Prokofiev’s romantic and cinematic score reignites the story of literature’s most celebrated star-crossed lovers like no other classical ballet choreographer today.

	 

	THE LADY OF THE CAMELLIAS – Sunday, February 4, 2018 at 12:55 p.m. local time

	At a theatre performance of ‘Manon Lescaut,’ the young and naive Armand is utterly captivated after meeting the ravishing and most desirable courtesan Marguerite Gautier. Their encounter gives birth to a passionate yet doomed love. Alexandre Dumas fils’s novel comes to life on the Bolshoi stage, with prima Svetlana Zakharova as the ailing Marguerite seeking love and redemption from her life as a courtesan. The Bolshoi brings choreographer John Neumeier’s work of rare beauty and tragic depth to new emotional heights, accompanied by Chopin’s romantic piano score.

	 

	THE FLAMES OF PARIS – Sunday, March 4, 2018 at 12:55 p.m. ET / 11:55 a.m. CT / 10:55 a.m. MT & 12:55 p.m. PT, HI, AK (pre-recorded playback)

	In the era of the French Revolution, Jeanne and her brother Jérôme leave Marseille for Paris in support the revolutionary effort that is taking over the capital. While fighting for freedom, they both encounter love along the way. Very few ballets can properly depict the Bolshoi’s overflowing energy and fiery passion as can Alexei Ratmansky’s captivating revival of Vasily Vainonen’s “The Flames of Paris.” With powerful virtuosity and some of the most stunning pas de deux, the Bolshoi Ballet displays an exuberance almost too enormous for the Moscow stage.

	 

	GISELLE – Sunday, April 8, 2018 at 12:55 p.m. local time

	When Giselle learns that her beloved Albrecht is promised to another woman, she dies of a broken heart in his arms. While Albrecht grieves, she returns from the dead as a Wili, a vengeful spirit meant to make unfaithful men dance until death. Prima ballerina Svetlana Zakharova personifies this ultimate ballerina role in the classical repertoire, alongside the sensational Sergei Polunin as Albrecht, in this chilling, yet luminous ballet that continues to captivate audiences for more than 150 years at the Bolshoi.

	 

	COPPELIA – Sunday, June 10, 2018 at 12:55 p.m. ET, 11:55 a.m. CT, 10:55 a.m. MT & 12:55 p.m. PT, HI, AK (pre-recorded playback)

	Swanhilda notices her fiancé Franz is infatuated with the beautiful Coppelia who sits reading on her balcony each day. Nearly breaking up the two sweethearts, Coppelia is not what she seems, and Swanhilda decides to teach Franz a lesson. The Bolshoi’s unique version of Coppelia exhibits a fascinating reconstruction of the original 19th century choreography of this ebullient comedy involving a feisty heroine, a boyish fiancé with a wandering eye, and an old dollmaker. The company’s stunning corps de ballet shines in the divertissements and famous “dance of the hours,” and its principals abound in youthful energy and irresistible humor in this effervescent production.

#### 2018 Asian Film Festival of Dallas Announces First Titles
Nadria in Shalom Bollywood

	 

	The Asian Film Festival of Dallas celebrates its 17th year with returning presenting sponsor Well Go USA Entertainment, from Thursday, July 19 through Thursday, July 26, 2018.

	This festival year boasts its first Kashmiri drama film and returns with a women's showcase of Asian directed and produced films by women.  Sixty-six films will screened throughout the week: 6 short blocks (Drama, Experimental, Women’s, Student’s, Late Night and Documentary) and 31 feature films.

	Film fans can also expect films from the U.S., Australia, Indonesia, Philippines, China, Hong Kong, India, Japan, S. Korea and Tibetan and from these genres: action, comedy, crime drama, documentary, drama, martial arts, psycho drama, thriller, romantic comedy and horror.  

	Passes and tickets will on sale and available on Monday, July 2, 2018 at www.asianfilmdallas.com

	AFFD organizers are excited about announcing the first titles:

	 

	SHALOM BOLLYWOOD

	Dallas Premiere
	Genre: Documentary
	Released: 2017
	Country: Australia
	Language: English
	Director: Danny Ben-Moshe
	Film Synopsis: When Indian cinema began 100 years ago it was taboo for Hindu and Islamic women to perform on screen, so Indian Jewish women, who were more liberal and progressive, took on female lead roles, which they then dominated for decades. However, because of their stage names people thought they were Muslims or Christians. Until now….

	 

	ANGELS WEAR WHITE

	Dallas Premiere

	Genre: Drama
	Released: 2017
	Country: China/Taiwan
	Language: Chinese/ English subtitles
	Director: Vivian Qu
	Film Synopsis: In a small seaside town, two schoolgirls are assaulted by a middle-aged man in a motel. Mia, a teenager who was working as the receptionist that night, is the only witness. For fear of losing her job, she says nothing. Meanwhile, 12-year-old Wen, one of the victims, finds that her troubles have only just begun. Trapped in a world that offers them no safety, Mia and Wen will have to find their own way out.

	 

	HALF WIDOW

	Southwest Premiere
	Genre: Drama
	Country: India/Kashmir
	Language: Urdu/Kashmiri / English subtitles
	Director: Danish Renzu

	Film Synopsis: Amid the backdrop of the Kashmiri conflict, a young woman must come to grips with the disappearance of her doting husband and embarks on harrowing journey of self-discovery.

	 

	LAUGHING UNDER THE CLOUDS

	U.S. Premiere
	Genre: Action
	Country: Japan
	Language: Japanese / English subtitles
	Director: Katsuyuki Motohiro

	Film Synopsis: Orochi is a giant snake with enormous power. The giant snake revives once every 300 years and brings disaster to the people. This year is the year of Orochi’s revival.

	The Kumo family, who succeeds the Kumo shrine, have 3 sons. The eldest son is Tenka ( Sota Fukushi), the second is Soramaru and the youngest Chutaro. The 3 brothers attempt to block the power of Orochi. Meanwhile, special forces Yamainu try to seal again the power of Orochi to bring peace to Japan, but the ninja group “Anyaku” from the Fuma clan begin their move to gain the power of Orochi to overthrow the government.  Surrounding the Orochi's revival a three-way battle takes place between the brothers, special forces Yamainu and ninja group Anyaku from Fuma clan.

	
	GONJIAM: HAUNTED ASYLUM
	Well USA Entertainment Film
	Genre: Horror
	Released: 2017
	Country: S. Korea
	Language: Korean / English subtitles
	Director: Jung Bum-Shik
	 

	Film Synopsis: Based on the local legends and stories of people who’ve visited the real-life abandoned hospital, GONJIAM: HAUNTED ASYLUM follows the crew of a horror web show who plan to stream live from inside the asylum. To attract more viewers, the show’s host arranges some scares for the team, but as they move further into the nightmarish old building, they begin to encounter much more than expected.

	
	Parties and Events

		VIP Reception: Thursday, 7/12, 7 pm to 9 pm. Invitation-only
	

		Opening Night Party: Thursday, 7/19, 9 pm to 11 pm TBA
	

		Women’s Showcase & Centerpiece Reception: Sun., 7/22, Reception to follow last Women’s Showcase film
	

		Closing Night Party: Thursday, 7/26, 9 pm to 11 pm. TBA
	

	More titles and full schedule of events and details will follow in the following weeks. Visit www.asianfilmdallas.com

#### 2018 EVERYONE IS A HERO – Interview with Filmmaker Jude Anthany Joseph
India’s official submission for Best International Feature Film at the 96th Academy Awards is Jude Anthany Joseph’s, 2018 EVERYONE IS A HERO.  Our Gadi Elkon talked with Jude about the film and much more!

This isn’t just a story of vengeance; it’s a story of resilience. 2018, she struck back at the so-called “God’s own country,” Kerala. Amidst the chaos, people joined forces, fighting back against the calamity. They turned disaster into triumph, saving countless lives and preventing the flood from consuming the entire state. It’s a stark reminder that global warming and climate change threaten us all. So, let this be a lesson: Save nature, and in doing so, save humanity itself.
Jude and Gadi talked about surviving the real floods, recreating such a traumatic series of moments, the amazing cast assembled and so much more.
Interview with Filmmaker Jude Anthany Joseph:

For more info, 2018 EVERYONE IS A HERO.

 

#### 2018 Oak Cliff Film Festival Announces Features Programming
 

	Oak Cliff Film Festival announces the Feature Program lineup for the 7th annual edition of the festival, taking place June 14-17, 2018 at the historic Texas Theatre, Bishop Arts Theatre Center, Kessler Theater, and numerous other venues around Dallas' Oak Cliff neighborhood. The schedule is comprised of twenty-five feature-length films, with tenof the films having their Texas premiere at this year's festival. The festival also includes 40 short films, as well as filmmaking workshops, live music and parties.

	"On behalf of the programming and organizational team behind the Oak Cliff Film Festival, I think we have our best lineup yet!" said Barak Epstein, Oak Cliff Film Festival Co-Founder and Festival Director. "It's an honor to highlight great works from Texas Filmmakers as well as filmmakers across the globe and continuously bring their films to the great Dallas neighborhood of Oak Cliff."

	Kicking off proceedings with this year's opening night film are director Kevin Kerslake and writer/editor Joel Marcus in attendance to present the Texas Premiere of BAD REPUTATION, their hard-rocking documentary on legendary rock-n-roll icon Joan Jett. The screening will be followed by a karaoke party behind the screen! The festival closes with NEVER GOIN' BACK, a raunchy party comedy filmed and set in DFW, from Dallas filmmaker Augustine Frizzell and produced by Sailor Bear.

	Additional festival highlights include: MEOW WOLF: ORIGIN STORY, a documentary on the Santa Fe based artist collective famous for their unique and immersive multimedia art installations;a screening of the newly restored 1928 silent film classic THE PASSION OF JOAN OF ARC, featuring a live score accompaniment composed by indie electronic artist George Sarah and performed by Curtis Heath and his Orchestra; The Zellner Bros' new comedy western DAMSEL with the film's composers, Austin-based indietronica band The Octopus Project, playing a live concert at The Texas Theatre; and director Penelope Spheeris in attendance for a new digital theatrical presentation of her rescued-from-obscurity and newly-restored 1987 punk rock western DUDES.

	 

	See below for the Oak Cliff Film Festival 2018 Feature Program lineup. The full schedule, including the Shorts Program, is available online.

	          

	OAK CLIFF FILM FESTIVAL 2018 FEATURE PROGRAM

	 

	OPENING NIGHT SELECTION

	 

	BAD REPUTATION (USA, 95 mins)

	Dir. Kevin Kerslake

	TEXAS PREMIERE – Director Kevin Kerslake and writer/editor Joel Marcus in attendance

	Joan Jett is so much more than "I Love Rock 'n' Roll." It's true, she became mega-famous from the number-one hit, and that fame intensified with its endless play on MTV. But that staple of popularity can't properly define a musician. Jett put her hard work in long before the fame, ripping it up onstage as the backbone of the hard-rock legends The Runaways, influencing many musicians-both her cohort of punk rockers and generations of younger bands-with her no-nonsense style.

	 

	CLOSING NIGHT SELECTION

	 

	NEVER GOIN' BACK (USA, 85 mins)

	Dir. Augustine Frizzell

	DFW PREMIERE – Producers Toby Halbrooks, James M. Johnston, Liz Cardenas in attendance w/ a special Skype-in from director Augustine Frizzell

	BFFs Angela (Maia Mitchell) and Jessie (Cami Morrone) are high school dropouts working dead-end waitressing jobs in the same shitty diner. Their dream vacation to sunny Galveston, Texas, is only a few shifts away. But after a drug deal goes bad and their home is invaded-and they have to serve a short stint in juvenile detention-their beach trip is in serious jeopardy. They'll have to use every bit of guile their perpetually buzzed teenage brains can muster as they try to get (relatively) rich quick while wandering suburban Dallas.

	 

	NARRATIVE FEATURE COMPETITION

	 

	BIRDS WITHOUT FEATHERS (USA, 84 mins)

	Dir. Wendy McColm

	DFW PREMIERE – Director Wendy McColm in attendance

	Desperate for human interaction, six emotionally damaged individuals put self respect on the line, shedding their disillusionment in a last grasp for happiness. Birds Without Feathers is a cruel-world dark comedy populated by struggling Instagram stars, Russian cowboys, Self-help gurus and more, as their lives crash and collide in astounding and awkward ways.

	 

	DON'T LEAVE HOME (USA, 86 mins)

	Dir. Michael Tully

	DFW PREMIERE – Director Michael Tully in attendance

	Melanie Thomas is an American artist whose latest show recounts the infamous Irish urban legend of Father Alistair Burke, who painted a portrait of 8-year-old Siobhan Callahan in 1986. Days later, Siobhan went missing on the very morning that her figure miraculously vanished from the painting as well. Though absolved of any wrongdoing, Burke abandoned the priesthood and went into self-exile. After receiving a bad review before her opening, Melanie is contacted by the reclusive Burke, who offers to fly her to Ireland to create a new sculpture that he will help her to sell while she's there. Telling no one where she's going, Melanie never stops to consider that some urban legends are real.

	 

	I AM NOT A WITCH (UK, ZAMBIA, 93 mins)

	Dir. Rungano Nyoni

	TEXAS PREMIERE

	When eight-year-old Shula turns up alone and unannounced in a rural Zambian village, the locals are suspicious. A minor incident escalates to a full-blown witch trial, where she is found guilty and sentenced to life on a state-run witch camp. There, she is tethered to a long white ribbon and told that if she ever tries to run away, she will be transformed into a goat. As the days pass, Shula begins to settle into her new community, but a threat looms on the horizon. Soon she is forced to make a difficult decision – whether to resign herself to life on the camp, or take a risk for freedom.

	 

	TIGERS ARE NOT AFRAID (Mexico, 83 mins)

	Dir. Issa López

	DFW PREMIERE

	Estrella (Paola Lara), a ten-year-old girl living in Mexico, finds herself the owner of three wishes soon after her mother disappears. After her wish first – the bring her mother back wish – has some unexpectedly frightening repercussions, she finds herself on the streets. Before too long, Estrella partners up with a young boy, El Shine (Juan Ramón López), and his band of orphaned boys. The newly formed group find themselves at war with the local cartel, witnessing and enduring things that no child should ever have to.

	 

	VIRUS TROPICAL (Colombia, 96 mins)

	Dir. Santiago Caicedo

	DFW PREMIERE

	Born in a not-so-conventional family, Paola grows up between Ecuador and Colombia and finds herself unable to fit in any mold. With a unique feminine vision of the world, she will have to fight against prejudice and struggle for her independence while her universe is struck by a series of crises. Based on the graphic novel by Powerpaola.

	 

	WINTER BROTHERS (Denmark, Iceland, 94 mins)

	Dir. Hlynur Pálmason

	TEXAS PREMIERE

	We follow two brothers working in the harsh environment of a rural chalk-mining community during a cold winter. Younger brother Emil, who distills moonshine made from stolen chemicals from the factory, is an outsider, an oddball, who made a conscious choice for loneliness and is only accepted by the mining community due to his older brother Johan. When a fellow worker becomes sick, the moonshine and Emil are prime suspects. Gradually a violent feud erupts between him and the tightly-knit mining community. Revenge, loneliness, and lack of love pervade this modern brother odyssey.

	 

	DOCUMENTARY FEATURE COMPETITION 

	 

	BLACK MOTHER (USA, 77 mins)

	Dir. Khalik Allah

	TEXAS PREMIERE

	Part film, part baptism, director Khalik Allah mixes film formats from Super 8mm to HD, while experimenting with voice over audio techniques that cast his view between the prostitutes and churches of Jamaica. Black Mother creates a visual prayer of indelible portraits and an intimate polyphonic symphony.

	 

	GOSPEL OF EUREKA (USA, 79 mins)

	Dir. Donal Mosher and Michael Palmieri

	DFW PREMIERE

	Love, faith and civil rights collide in a southern town as evangelical Christians and drag queens step into the spotlight to dismantle stereotypes. The film takes a personal, and often comical look at negotiating differences between religion and belief through performance, political action, and partnership. Gospel drag shows and passion plays set the stage for one hell of a show.3-4 sentence summary here.

	 

	INGRID (USA, 52 mins)

	Dir. Morrisa Maltz

	TEXAS PREMIERE – Filmmaker Morrisa Maltz in attendance

	Ingrid tells the story of a prominent Dallas fashion designer in the 80s–who dropped her life and ran off to the woods in order to pursue a personal and creative one. She has since become a total hermit and spends her time, creating clay sculptures and art out of rocks from the nearby creek. Ingrid peels off the layers of this woman's persona, questioning what would drive a successful Texas fashion designer to immerse herself in nature to create and become an entirely self sufficient woman of the woods.

	 

	MAISON DU BONHEUR (Canada, 62 mins)

	Dir. Sofia Bohdanowicz

	TEXAS PREMIERE

	Maison du bonheur is a documentary that studies the day-to-day life of a Parisian astrologer, Juliane Sellam, who has been residing in the same Montmartre apartment for over 50 years. As we listen to her muse about her life as an astrologer, Sellam moves through her daily routine: making her morning coffee, watering plants, putting on makeup. Each segment is narrated by Sellam or the filmmaker herself, slowly constructing a dual portrait of two very different but equally charming women.

	 

	MILFORD GRAVES FULL MANTIS (USA, 91 mins)

	Dir. Jake Meginsky and Neil Young

	DFW PREMIERE – Filmmaker Jake Meginsky in attendance

	This is the first ever feature-length portrait of renowned percussionist Milford Graves, exploring his kaleidoscopic creativity and relentless curiosity.Graves tells stories of discovery, struggle and survival, ruminates on the essence of 'swing,' activates electronic stethoscopes in his basement lab to process the sound of his heart, and travels to Japan where he performs at a school for children with autism, igniting the student body into an ecstatic display of spontaneous collective energy. Oscillating from present to past and weaving intimate glimpses of the artist's complex cosmology with blistering performances from around the globe, MILFORD GRAVES FULL MANTIS is cinema full of fluidity, polyrhythm and intensity, embodying the essence of Graves' music itself.

	 

	OPUNTIA (Mexico/USA, 60 mins)

	Dir. David Fenster

	DFW PREMIERE – Filmmaker David Fenster in attendance

	In 1528 Álvar Núñez Cabeza de Vaca crossed the Gulf of Mexico on a raft made of melted armor and slaughtered horses. Over the next eight years, experiences with various Native American groups transformed him from conquistador to shamanic healer. When he returned to Spain he wrote La Relación, a chronicle of his experiences in the "New World". Using these writings and with help from a psychic medium, David Fenster (director) attempts to communicate with Álvar Núñez Cabeza de Vaca through a prickly pear cactus, also known as Opuntia, the plant that saved him from starvation.

	 

	SPOTLIGHT FEATURES

	 

	BISBEE '17 (USA, 112 mins)

	Dir. Robert Greene

	TEXAS PREMIERE

	An old mining town on the Arizona-Mexico border finally reckons with its darkest day: the deportation of 1200 immigrant miners exactly 100 years ago. Townspeople confront this violent, misunderstood past by staging dramatic recreations of these devastating events. Directed by the Townspeople themselves, these recreations show the personal history of the families affected by the deporations on the 100th anniversary of their occurence.

	 

	DAMSEL (USA, 112 mins)

	Dir. David Zellner and Nathan Zellner

	DFW PREMIERE – Film producers and composers The Octopus Project in attendance

	It's the age of The Wild West, circa 1870. An affluent pioneer, Samuel Alabaster (Robert Pattinson) ventures deep into the American wilderness to reunite with and marry the love of his life, Penelope (Mia Wasikowska). For his journey he brings Butterscotch, a miniature horse intended as a wedding present for his bride, and enlists drunkard Parson Henry (David Zellner) to conduct the ceremony. As they traverse the lawless frontier their once simple journey grows treacherous, and the lines between hero, villain, and damsel are blurred.

	 

	HAL (USA, 90 mins)

	Dir. Amy Scott

	TEXAS PREMIERE

	In the 1970's Hal Ashby spent 9 years pushing Hollywood norms directing an unconventional, uncompromising string of remarkable films — including The Landlord (1970), Harold and Maude (1971), The Last Detail (1973) and Being There (1979) — that influenced generations of filmmakers to follow. His everlasting legacy on cinema is evident by the group of talented interview subjects including David O. Russell, Judd Apatow, Allison Andres and Jeff and Beau Bridges. However he failed to sustain success fighting for the importance of art and socially consciousness stories against the looming weight of Hollywood's profit driven machine. HAL is a celebration of his lifework.

	 

	HALF THE PICTURE (USA, 94 mins)

	Dir. Amy Adrion

	DFW PREMIERE – Penelope Spheeris in attendance for Q/A with Seed & Spark Founder Emily Best

	HALF THE PICTURE consists of interviews with high profile women directors, including Ava DuVernay, Jill Soloway, Lena Dunham, Catherine Hardwicke, Miranda July, Penelope Spheeris and many more. These artists discuss how they made their first features, how they transitioned to studio films or television, how they balance a demanding directing career with family, and the challenges and joys along the way. In addition, experts on gender inequality in Hollywood, including the ACLU's Melissa Goodman, Vanity Fair's Rebecca Keegan, and USC's Dr. Stacy Smith, weigh in on the magnitude of this issue as women are shut out, across the board, of an industry that systemically denies women's expression and point of view.

	 

	MEOW WOLF: ORIGIN STORY (USA, 100 mins)

	Dir. Jilann Spitzmiller and Morgan Capps

	DFW PREMIERE – Filmmakers Morgan Capps and Jilann Spitzmiller in attendance

	A group of artists in Santa Fe, NM become a DIY collective called Meow Wolf. Their immersive, large-scale exhibitions crack open a profitable niche in the arts industry, even as their social mission is challenged by the demands of rapid success. The group's members navigate fracture and loss for years in pursuit of their idealistic vision. When they spark the interest of George R. R. Martin and receive his support to take over an old bowling alley, Meow Wolf builds a massive exhibition with over 140 artists working at a breakneck pace. With the wild success of the House of Eternal Return, Meow Wolf now faces its own internal turmoil as it begins to change the lives of creatives everywhere.

	 

	PITY (Greece, 97 mins)

	Dir. Babis Makridis

	TEXAS PREMIERE

	A miserable middle aged man enjoys only one thing in life, the sorrow from others. After his wife re-emerges from a long coma he's willing to do anything to continue to evoke this emotion from those around him. Addicted to misery, this man seeks to maintain the only feeling to give him pleasure, pity.

	 

	RELAXER (USA, 91 mins)

	Dir. Joel Potrykus

	DFW PREMIERE – Director Joel Potrykus, Cinematographer Adam J. Minnick and actor Andre Hyland in attendance

	Doom and gloom are on the way. The Y2K apocalypse can't be stopped. Abbie's older brother issues him the ultimate challenge before it goes down: stay on the couch until he beats the infamous Billy Mitchell record on Pac-Man by getting past level 256. No getting up, no matter what. No quitting. Abbie must survive inside a rotten living room with no food or water, and numbnut friends and toxic gas getting in his face. Luckily, Abbie's secret 3D glasses begin to give him new abilities, controlling the powers of his tiny universe.

	 

	SKATE KITCHEN (USA, 100 mins)

	Dir. Crystal Moselle

	TEXAS PREMIERE – Members of the filmmaking team in attendance

	Introverted skateboarder Camille befriends "The Skate Kitchen," an all-girl skateboarding crew in New York City. She finds the home she never had with her mother in Long Island as she becomes part of the in-crowd. They quickly accept her into this wild new world of trick-shot videos and their own mania filled, underground, New York subculture. However this new friendship becomes tricky to navigate when she falls for a boy skateboarder from a rival group.

	 

	REPERTORY

	 

	BEING THERE (USA, 1979, 130 mins)

	Dir. Hal Ashby

	In one of his most finely tuned performances, Peter Sellers plays the pure-hearted, childlike Chance, a gardener who is forced into the wilds of Washington, D.C., when his wealthy guardian dies. Shocked to discover that the real world doesn't respond to the click of a remote, Chance stumbles into celebrity after being taken under the wing of a tycoon (Melvyn Douglas, in an Oscar-winning performance), who mistakes his protégé's horticultural mumblings for sagacious pronouncements on life and politics, and whose wife (Shirley MacLaine) targets Chance as the object of her desire. Being There is both deeply melancholic and hilarious; a the culmination of Hal Ashby's remarkable string of films in the 1970s, and a carefully modulated examination of the ideals, anxieties, and media-fueled delusions that shaped American culture during that decade and still ring true today in 2018.

	 

	DUDES (USA, 1987, 90 mins)

	Dir. Penelope Spheeris

	New DCP with Director Penelope Spheeris in attendance

	Penelope Spheeris's 5th feature film which came after her punk soap SUBURBIA and was "released" the year before her magnum opus DECLINE OF WESTERN CIVILIZATION PART II; DUDES, was never given much of a proper release. Distributors and exhibitors were confused on how to market the punk rock western and it quickly excited theaters. The home video VHS was its last available version until this years HD remaster by SHOUT FACTORY. The film, which features early Cinematography from future three time Oscar winner Robert Richardson and a fantastic punk / metal soundtrack featuring The VANDALS, JANES ADDICTION and MEGADETH exists in a late 80's ahead of its time capsule.

	 

	THE PASSION OF JOAN OF ARC with Live Score Accompaniment (France, 1928, 81 mins)

	Dir. Carl Theodor Dreyer

	New Restoration with live score accompaniment composed by indie electronic artist George Sarah, performed by Curtis Heath and his orchestra

	Spiritual rapture and institutional hypocrisy are brought to stark, vivid life in one of the most transcendent achievements of the silent era. Chronicling the trial of Joan of Arc in the final hours leading up to her execution, Danish master Carl Theodor Dreyer depicts her torment with startling immediacy, employing an array of techniques-including expressionistic lighting, interconnected sets, and painfully intimate close-ups- to immerse viewers in her subjective experience. Anchoring Dreyer's audacious formal experimentation is a legendary performance by Renée Falconetti, whose haunted face channels both the agony and the ecstasy of martyrdom. Thought to have been lost to fire, the film's original version was miraculously found in perfect condition in 1981 in a Norwegian mental institution, heightening the mythic status of this widely revered masterwork.

#### 2018 Oxford Film Festival Announces Added Films and Filmmaker Panels for Festival
 

	The 2018 Oxford Film Festival (February 7-11) has announced the the addition of two films to its schedule, with Ted Geoghegan’s MOHAWK and Jake Mahaffy’s MIDWINTER joining the lineup, as well as the full details and participants of this year’s filmmaker panels. OFF also announced that the City of Oxford will issue an official proclamation naming February 5-11 “Oxford Film Festival Week” in celebration of the film festival’s 15th Anniversary.

	Geoghegan’s MOHAWK is the latest film from the critically-acclaimed genre filmmaker (WE’RE STILL HERE). The film is set during the War of 1812, where a young Mohawk woman and her two lovers battle a squad of American soldiers hell-bent on revenge. The film stars Kaniehtiio Horn, Ezra Buzzington, Noah Segan, and past OFF Hoka honoree Robert Longstreet, and has made a mark at a number of genre film festivals, like Fantasia. Geoghegan is set to attend and participate in a Q&A following the screening.

	Mahaffy’s MIDWINTER focuses on a pregnant woman, who returns to her family's empty cabin to spend time alone, only to find her estranged mother already there waiting for her. What begins as a tentative reunion on the shortest day of the year quickly turns dark. Memphis-based producer Adam Hohenberg will be in attendance and will take part in a Q&A after the film.

	“As we ramp up for next week’s 15th Anniversary edition of the Oxford Film Festival, it’s exciting to add a couple very cool and provocative films, that also happen to feature female leads, to what was already a fantastic lineup,” said Oxford Film Festival Executive Director Melanie Addington. “In addition to that, I am personally thrilled with our filmmaker panels this year – the majority of which are free-to-the-public. They deal with topics foremost on the minds of aspiring filmmakers, and will also unflinchingly touch on some hot button socio-political issues facing everyone in the state of Mississippi, as well.”

	The Oxford Film Festival’s Filmmaker Panels will be held at various locations: the Malco Panel Tent (MPT), the Gertrude Ford Center for the Performing Arts, and the Powerhouse Community Arts Center. All are made free as part of the OxFilm Society unless tied to a screening and then is included in price of movie ticket.

	 

	The subjects include:

	Crowdfunding and People Power Workshop

	(Sunday, February 11, 1:00PM-3:00PM, @ MPT)

	We all know crowdfunding is a powerful tool for harnessing your audience and raising the funds needed to make your film… but how do you find and engage that crowd? Seed & Spark's Head of Education and Outreach Julie Keck will talk about authentic audience building, using social media to engage and activate your crowd, and effective communication techniques to use before, during and after a crowdfunding campaign in order to sustain long-term relationships with your awesome audience.

	 

	Film Discussion: I AM EVIDENCE

	(Saturday, February 10, 11:30AM-12:30PM, @ MPT)

	Following the screening of the hard-hitting HBO documentary about the nation’s incredible number of unprocessed rape kits, I AM EVIDENCE, Oxford Film Festival’s Head Programmer for Documentary Feaures, Mark Rabinowitz will moderate a panel which will include the film’s director, Trish Adlesic, Cuyahoga County Special Investigator Nicole DiSanto, a representative from the Oxford Police Department, and additional special guests.

	 

	SEEING IS BELIEVING: WOMEN DIRECT Female Filmmaker Discussion

	(Friday, February 9, 10:30AM-12:30PM, Malco Screen 1)

	An in-depth panel discussion with an impressive group of award-winning filmmakers following the film’s screening. Participants include: SEEING IS BELIEVING: WOMEN DIRECT director, and two-time Emmy winner (“All My Children”) Cady McClain, documentary director (THE LONG SHADOW, HEIST: WHO STOLE THE AMERICAN DREAM?) Frances Causey, documentary director (FOREVER ’B’, JUNK DREAMS) Skye Borgman, Experimental film director (LOVE SOLILOQUY: A VISUAL ALBUM, LETTERS FROM A TRANSIENT) Astin Rocks, Emmy Award winner Jill Salvino (BETWEEN THE SHADES, TAKING IT FOR GRANTED), Diane Cignoni (Ground Hero Film), and last year’s Lisa Blount Acting Award honoree, Victoria Negri (PARALYSIS, GOLD STAR)

	 

	How to Get Your Film Publicize

	(Friday, February 9, 5:30PM-7:00PM, @ MPT)

	Nationally known film and film festival publicists and film critics reveal the secrets of how to get their attention while on the film festival circuit. Moderated by CrookedMarquee.com’s Eric D. Snider, the informative panel will include the Commercial Appeal’s John Beifuss, Pajiba.com’s Kristy Puchko, Wildworks PR and Festworks.com’s John Wildman, RogerEbert.com’s Brian Tallerico, and Paste Magazine’s Mark Rabinowitz.

	 

	Lobaki Virtual Academy

	(Friday, February 9, 11:00AM-5:00PM, @ MPT)

	The VR Academy has been designed to provide students an immersive introduction to Virtual Reality and the tools and techniques used to create VR experiences. The exciting aspect of creating VR experiences is that not everyone has to have a computer science interest or be a coder. Festival participants will learn about the immersive effects of VR and learn more about the work that Lobaki Inc. is doing in Clarksdale, Mississippi to focus on economic development through Virtual Reality opportunities.

	 

	Queer Filmmaking

	(Sunday, February 11, 3:30PM-4:30PM, @ MPT)

	Attending filmmakers and actors from the LGBTQ juried competition will discuss the challenges, advantages of queer filmmaking as well as the state of LGBTQ cinema in today's climate. Moderated by Eric D. Snider, the panel will include: 2017 Lexus Short Films Competition finalist Lucas Omar, and Emmy Award winning commercial and film director Jill Salvino (BETWEEN THE SHADES).

	 

	The Role of Audio in Visual Storytelling

	(Saturday, February 10, 1:15PM-3:15PM, @ MPT)

	Bad sound can ruin a great film or make a great film a next-level experience. As filmmakers become more independent, quality audio becomes more important than ever. Re-Recording Mixers Jeffrey Reed (YA ALIBI, SHAKE ‘EM ON DOWN), Eric R. Fischer (“Pearl Jam Twenty”) and Kevin Houston (BLACK SNAKE MOAN) will offer insight into the process of the often-overlooked role of audio in visual storytelling. Eric D Snider will moderate the discussion.

	 

	Table Read of the Oxford Film Festival ScreenPlay Contest Winners

	(Wednesday, February 7, 7:00PM, Powerhouse)

	Presented with actors from Theater Oxford, John M. Tyson’s Grand Prize winning script, “Twirling at Ole Miss” will be read by: George Kehoe, Matt King, Josh Heylin, Jacob Hall, Faith Janicki, Monte Boga, Geoff Knight, Brian Whisenant, Elise Fyke, and Matt Gieseke. John Bateman’s Runner Up script, “Not Everything Was Burning” will be read by: Brian Whisenant, Mary Knight, Geoff Knight, George Kehoe, and Matt King.

	 

	Visual Effects Conversation with John Norris/Andre Leblanc

	(Saturday, February 10, 4:00PM, @ MPT)

	Eric D. Snider will moderate a deep dive discussion on visual effects in film today with celebrated

#### 2018 Oxford Film Festival Announces Call For Entries
 

	 

	Call for Entries open May 1, 2017, for the 2018 Oxford Film Festival, taking place in Oxford, Mississippi, February 7-11, 2018. The 15th edition of the festival includes a new film and screenplay competition with cash prizes, as well as a reduced submission fee incentive for female filmmakers.
	 
	Led by Executive Director Melanie Addington, the Oxford FF will screen films, television, and virtual reality projects in all genres, as well as promoting and celebrating Mississippi filmmakers culminating in the presentation of the film festival’s award ceremony. Through year-round programming, the festival works to encourage filmmaking in Oxford and North Mississippi while growing understanding of cinema through screenings, workshops and educational programs, during the five-day event. 
	 
	The Oxford Film Festival has also added to the impact it is making with filmmakers, film artists, and the local community, by embracing its place artistically, politically, and socially in Oxford and the state of Mississippi. Last year, the film festival introduced an LGBTQ competition category as a reaction to the state’s Religious Freedom bill to create legal discrimination, and welcomed beloved film veteran Danny Glover to speak (prior to a screening of Raoul Peck’s I AM NOT YOUR NEGRO) about an upcoming worker’s strike and march in Canton, Mississippi to fight for workers’ rights and voting rights in the state.
	 
	Following her discovery that only 28% of the festival’s films to date have been helmed by women, Addington has instituted a drive to increase that number going forward by offering a concrete incentive for female directors: a 50% discount on the submission fee at Film Freeway. It follows the trend the film festival has taken in the past few years to be a prominent “voice”, and take real action in order to offer an oasis of culture, a position of advocacy and support on behalf of minorities, women, and the LGBTQ community, and and support diverse voices in the state of Mississippi. The music documentary and shorts categories all return for the second year, as well as the LGBTQ category.
	When submitting their films to Film Freeway for consideration by the festival, women should use the following submission code to receive their 50% discount: BlacheOXFF
	 
	Submissions can be made at https://filmfreeway.com/festival/OxfordFilmFestival, and more information is available at www.oxfordfilmfest.com.
	 
	 
	 
	The Oxford Film Festival’s two new competitions this year include:
	 
	Artist Vodka Film D'Or Prize
	 
	A grand prize of $5,000 will be given to the winner along with flight and hotel covered to attend the festival. Also, an audience winner will also be announced with a $500 prize.
	 
	Rules of the competition include: The film must be less than 25 minutes and must incorporate one of the following;
	Artist Vodka mentioned verbally
	A character wearing an Artist Vodka t-shirt
	Placement of Artist Vodka bottle in foreground in a scene with logo facing camera
	Artist Vodka logo is a scene, i.e. poster, flyer, banner, etc.
	 
	Note all short films submitted must use “In Association with Artist Vodka" in beginning credits. A t-shirt or bottle can be purchased through the Artist Vodka website at http://artistvodka.com/ By submitting a film to this category, you agree to let the film be placed on the Artist Vodka and/or Oxford Film Festival website.
	 
	Short Screenplay Competition
	 
	The Short Screenplay Competition will feature the following prizes for the winning writer/filmmaker:

	A $1,000 prize for use in making the film from the winning script.

	OxFilm Society equipment rental for free for use in the production of the film if shot in Lafayette County as well as production support from OxFilm Society.

	Flight (if not local) and hotel accommodations to attend the Oxford Film Festival to hear the live table read of their script.

	Producer mentors including John Norris and Tate Taylor of Wyolah Films (GET ON UP, THE HELP) will also meet with the scriptwriter at the festival to consult on production details to assist in the making of the film.

	Second place will receive $500 and third place $250.

	 
	Eligibility rules can be found at www.oxfordfilmfest.com.
	 
	The festival was founded in 2003 by the Yoknapatawpha Arts Council. In 2008, it became an independent non-profit organization with 501c3 status committed to celebrating the art of independent cinema.
	 
	The festival screens short and feature-length films in both showcase and competition settings, hosts panel discussions on issues in contemporary filmmaking, and invites the filmmakers to interact with the audience at a number of social events.
	 
	Film categories include:

		Narrative and documentary features and shorts
	

		Mississippi narrative and documentary
	

		Music Video and Documentary
	

		LGBTQ
	

		Fest Forward (Animation and Experimental)
	

	 
	Submission Deadlines

		Early Bird: September 1, 2017
	

		Regular: October 15, 2017
	

		Late: November 15, 2017

#### 2018 Oxford Film Festival Announces Full Schedule For 15th Anniversary Edition
 

	The 2018 Oxford Film Festival (February 7-11) has announced the full schedule of films for this year’s 15th Anniversary edition. On opening night, writer/director Adam Rifkin will present his latest effort, THE LAST MOVIE STAR, starring Burt Reynolds and Ariel Winter, while Carlos and Jason Sanchez’s intense drama, ALLURE, starring Evan Rachel Wood, will screen at the festival’s Centerpiece Selection and Robert Mullan’s 60s biopic MAD TO BE NORMAL, starring David Tennant Elisabeth Moss and Michael Gambon, serves as the closing night selection.

	A total of 204 films (35 features, 169 shorts and music videos), including 29 world premieres and 6 U.S. premieres, were selected for OFF’s 15th Anniversary edition, marking an increase of more than 30 films from last year’s lineup. In addition, more than

	60 female filmmakers directed or co-directed this year’s films, aided in part by the festival’s decision to offer a 50% discount for submissions by female filmmakers and the continuing Alice Guy Blaché Award for Emerging Female Filmmaker.

	Narrative feature films in competition this year include: Dan Mirvish’s BERNARD AND HUEY, Mark Potts’s COP CHRONICLES: LOOSE CANNONS: LEGEND OF THE HAJ-MIRAGE, Billy Chase Goforth’s DOOR IN THE WOODS, Arturo Perez Torres and Aviva Armour-Ostroff’s THE DRAWER BOY; Akiyo Fujimura’s ERIKO, PRETENDED; and Catherine Eaton’s THE SOUNDING.

	Documentary features in competition include: Skye Borgman’s FOREVER ‘B’; Aaron and Amanda Kopp’s LIYANA; Nick Taylor’s THE ORGANIZER; Quinn Costello, Chris  Metzler, and Jeff Springer’s RODENTS OF UNUSUAL SIZE; and Owsley Brown III’s SERENADE FOR HAITI.

	The LGBTQ Juried Feature Competition will include Shaz Bennett’s festival favorite ALASKA IS A DRAG, along with Jill Salvino’s BETWEEN THE SHADES, and Itako’s BOYS FOR SALE, and highlights the Oxford Film Festival’s commitment to support our LGBTQ filmmakers and offer a more positive reaction to the passage of Mississippi’s “Religious Liberty Accommodations Act.”

	“This year we’ve struck a wonderful balance between films that are thoughtful, provocative, reflect the world we live in, and address the issues of the day without blinking, with films that are just pure, fun, entertainment,” said Oxford Film Festival Executive Director Melanie Addington. “The festival continues to increase in size and scope and that growth can also be seen in the work of our local Mississippi filmmakers, whose exceptional work continues to impress. This year’s festival includes 18 films from Mississippi artists, the most to date, and they will be highlighted right next to the best films we could find from all around the world.”

	Rifkin’s THE LAST MOVIE STAR (formerly titled, DOG YEARS) stars Burt Reynolds as  a former box-office king, who many years later, is invited to receive an honor at a film festival that turns out to be beyond dubious. Therefore, he instead opts to go on an impromptu road trip with the sister (Ariel Winter) of one of the fest’s organizers. A bittersweet journey follows as the odd pairing visit some memorable spots – and people – from the old man’s past. The film screens Thursday, February 8 at 7:30PM at the Gertrude C. Ford Center (351 University Ave.)

	Carlos and Jason Sanchez’s ALLURE stars Evan Rachel Wood as a woman struggling to re-establish her life and meet someone as she continues to recover from past abuse. However, there seems to be hope when she meets Eva, a young, talented pianist disillusioned by the life her mother imposes upon her. As Laura become increasingly obsessed with Eva, she convinces the girl to run away with her and they soon find themselves caught up in an intense relationship that can’t be sustained. The film screens Saturday, February 10 at 8:45PM at the Malco Commons (204 Commonwealth Blvd.)

	Mullan’s biopic, MAD TO BE NORMAL, stars “Jessica Jones/”Dr. Who” star, David Tennant as RD Laing, a radical psychiatrist who rewrote the rules on mental health treatment. He became a 60s counterculture hero for challenging the status quo of pills and electro shock therapy, instead opting for a holistic treatment without drugs, group therapy, and communal healing. The films impressive cast also includes Elisabeth Moss, Gabriel Byrne, and Michael Gambon. The film screens Sunday, February 11 at 6:00PM at the Malco Commons (204 Commonwealth Blvd.)

	Two of OFF’s special events directly address issues that concern women and are currently at the forefront of society today.

	Daytime television legend (“All My Children”) Cady McClain’s documentary SEEING IS BELIEVING: WOMEN DIRECT will screen on Friday (February 9), followed by a panel featuring several attending female filmmakers as they discuss some of the myriad issues that have been in the news this past year regarding female filmmakers and women in general.

	Saturday sees the Mississippi premiere of Trish Adlesic and Geeta Gandbhir’s award- winning HBO documentary, I AM EVIDENCE, produced by Law & Order: Special Victims Unit star Mariska Hargitay, about the tens of thousands of unprocessed rape kits across the country. The screening will be followed by a panel discussion with the filmmakers and special guests.

	“Given the recent and continuing avalanche of sexual harassment and assault revelations in almost every area of society,” Added Addington, “we felt it was important that the issues raised in these two films, as well as others in this year’s festival, be highlighted and discussed in our community.”

	Previously announced was a special work-in-progress screening of Cassidy Friedman’s restorative justice documentary, CIRCLES, followed by a panel featuring Friedman and subject Eric Butler.

	Providing a reminder that the Oxford Film Festival also has fun on its mind, Saturday will feature a 20th Anniversary screening of David Zucker’s cult comedy favorite BASEketball, starring South Park’s Trey Parker and Matt Stone. the screening will feature an appearance by cast member Dian Bachar and an actual BASEketball tournament in the parking lot of the Malco theater in conjunction with the screening.

	Another comedy will make its world premiere at OFF, as filmmaker Mark Potts returns to the festival with his latest, COP CHRONICLES: LOOSE CANNONS: THE LEGEND OF THE HAJ-MIRAGE. The film follows two police officers, as they take on an evil mastermind, while working through some personal partnership issues. Potts’ indie comedy, SPAGHETTIMAN, was an audience favorite two years ago.

	Making its bow as a fully-formed section is the 2018 Kid Fest Film Festival, which features Brian Michael Stoller’s THE AMAZING WIZARD OF PAWS, Hanneke Schutte’s MEERKAT MOONSHIP, and a special screening of Niki Caro’s classic adventure film, WHALE RIDER, marking Kid Fest’s official entry as an entire new fest just for kids after Oxford FF tested it last year in a smaller scale.

	The impressive short film lineup boasts no fewer than 26 world premieres and 6 U.S. premieres, underscoring the Oxford Film Festival’s international reputation as a “discovery” film festival, featuring and promoting new filmmaking talent. The festival will also once again feature the top finishers from last year’s Louisiana Film Prize, including the winner of that celebrated film competition’s $50,000 grand prize, Travis Bible’s EXIT STRATEGY.

	Previously announced were the winners of the Vodka Artist competition, the Magnifying Glass Fellowship winner, as well as the winners of Oxford FF’s first screenplay competition, who, in addition to other prizes, will receive mentorship from John Norris, film producer of such films as GET ON UP, THE HELP, and the upcoming AMERICAN PAIN.

	 

	2018 OXFORD FILM FESTIVAL FILMS AND DESCRIPTIONS

	 

	Feature Films

	 

	OPENING NIGHT SELECTION 

	THE LAST MOVIE STAR

	Director: Adam Rifkin

	Cast: Burt Reynolds, Ariel Winter, Clark Duke, Chevy Chase Country: USA, Running Time: 94 min

	An aging former movie star is forced to face the reality that his glory days are behind him. On its surface, THE LAST MOVIE STAR is a tale about faded fame, but at its core, it's a universal story about growing old.

	 

	CLOSING NIGHT SELECTION 

	MAD TO BE NORMAL

	Director: Robert Mullan

	Cast: David Tennent, Elisabeth Moss, Gabriel Byrne, Michael Gambon Country: UK, Running Time: 105 min

	During the 1960s, a renegade Scottish psychiatrist courts controversy within his profession for his approach to the field, and for the unique community he creates for his patients to inhabit.

	 

	CENTERPIECE SELECTION 

	ALLURE

	Directors: Carlos Sanchez, Jason Sanchez

	Cast: Evan Rachel Wood, Julia Sarah Stone, Denis O’Hare Country: USA, Running Time: 105 min

	Plagued by the abuse of her past and the turmoil of failed intimate encounters, Laura struggles to find a lover and a sense of normalcy.

	 

	SPECIAL ANNIVERSARY SCREENING 

	BASEKETBALL (1998)

	Director: David Zucker

	Cast: Trey Parker, Matt Stone, Dian Bachar, Yasmine Bleeth, Jenny McCarthy Country: USA, Running Time: 103 min

	Two childhood friends are pro athletes of a national sport called BASEketball, a hybrid of baseball and basketball, and must deal with a greedy businessman scheming against their team.

	 

	SPECIAL WORK-IN-PROGRESS SCREENING

	CIRCLES PRESENTED BY MISSISSIPPI HUMANITIES COUNCIL

	Director: Cassidy Friedman

	Country: USA, Running Time: 82 min

	A Hurricane Katrina survivor who works to keep black teenagers in school in Oakland, California, finds his personal and professional lives colliding when his 15-year-old son is accused of a crime he didn’t commit.

	 

	NARRATIVE FEATURES JURIED COMPETITION 

	BERNARD AND HUEY

	Director: Dan Mirvish

	Cast: Jim Rash, David Koechner, Sasha Alexander, Eva Darville , Richard Kind, Nancy Travis, Bellamy Young, Mae Whitman

	Country: USA, Running Time: 94 min

	Based on characters from Jules Feiffer’s Village Voice comic strip dating back to 1957, roguish Huey, and nebbishy Bernard are unlikely friends in late 1980s New York. 25 years later, and now Bernard is a successful bachelor, and Huey arrives on his doorstep looking old and washed up. As the two reconnect, Bernard starts a relationship with Huey’s estranged daughter Zelda. Huey slowly gets his mojo back and tries to seduce various women in Bernard’s life, while reconnecting with his family. At least one of them is in danger of marrying a woman old enough to be his wife.

	 

	COP CHRONICLES: LOOSE CANNONS: LEGEND OF THE HAJ-MIRAGE       WORLD PREMIERE

	Director: Mark Potts

	Country: USA, Running Time: 83 min

	Action. Suspense. Death. Love. Hot men. Etc. COP CHRONICLES: LOOSE CANNONS: THE LEGEND OF THE HAJ-MIRAGE tells the story of two wild police officers, Higgs and McGraw, and their chase to take down Samir, an evil mastermind hell bent on making the world bow down to him.

	 

	DOOR IN THE WOODS

	Director: Billy Chase Goforth Country: USA, Running Time: 90 min

	A young family encounters paranormal forces and face a devastating choice after they install a mysterious vintage door in their home.

	 

	THE DRAWER BOY

	Directors: Arturo Perez Torres, Aviva Armour-Ostroff Country: Canada, Running Time: 98 min

	Set in Ontario, 1972, the film follows Miles, a naive actor from Toronto, who turns up at a remote farm run by two men: the ruggedly practical Morgan and the simple-minded Angus. However, when the farmers let the city-boy into their home, Miles’ search for a story gradually unearths a devastating truth that threatens to destroy the tranquil lives of his hosts forever.

	 

	ERIKO, PRETENDED

	Director: Akiyo Fujimura

	Country: Japan, Running Time: 93 min

	Ten years have gone by since Eriko moved to Tokyo to pursue her dream of becoming an actress. However, things haven’t gone like she expected, and for Eriko, there was no hope in sight. She receives the news about her older sister’s sudden death. Eriko returns home to attend her sister’s funeral her relatives question Eriko’s pretend life as a successful actress. On a whim, Eriko declares that she will take care of Kazuma, her sister’s 10-year-old son, while finding out that her sister worked as a mourner-for-hire at funerals.

	 

	THE SOUNDING

	Director: Catherine Eaton

	Country: USA, Running Time: 93 min

	On a remote island off the coast of Maine, Liv, after years of silence, begins to weave a language out of Shakespeare's words. A driven neurologist, brought to the island to protect her, commits her to a psychiatric hospital. She becomes a full-blow rebel in the hospital; her increasing violence threatens to keep her locked up for life as she fights for her voice and her freedom. At a tipping point for otherness in our current climate, THE SOUNDING champions it.

	 

	DOCUMENTARY FEATURES JURIED COMPETITION 

	FOREVER ‘B’

	Director: Skye Borgman

	Country: USA, Running Time: 91 min

	FOREVER ‘B’ is a twisting, turning, stranger-than-fiction story of the Broberg’s, a naïve, church-going Idaho family whose daughter, Jan, was kidnapped by the family’s best friend and neighbor. Twice.

	 

	LIYANA

	Director: Aaron Kopp, Amanda Kopp

	Country: Swaziland, USA, Running Time: 77 min

	A Swazi girl embarks on a dangerous quest to rescue her young twin brothers. This animated African tale is born in the imaginations of five orphaned children in Swaziland who collaborate to tell a story of perseverance drawn from their darkest memories and brightest dreams.

	 

	THE ORGANIZER

	Director: Nick Taylor

	Country: USA, Running Time: 101 min

	THE ORGANIZER is a portrait of Wade Rathke, the controversial founder of ACORN, as well as an exploration of that much maligned and misunderstood occupation – community organizing.

	 

	RODENTS OF UNUSUAL SIZE

	Directors: Quinn Costello, Chris Metzler, Jeff Springer Country: USA, Running Time: 71 min

	Hard headed Louisiana fisherman Thomas Gonzales doesn't know what will hit him next. After decades of hurricanes and oil spills he faces a new threat – hordes of monstrous 20-pound swamp rats. Known as “nutria”, these invasive South American rodents breed faster than the roving squads of hunters can control them.

	 

	SERENADE FOR HAITI

	Director: Owsley Brown III

	Country: USA, Running Time: 110 min

	A classical music school in the heart of Port-au-Prince, Haiti thrives despite decades of entrenched poverty and political strife. When a catastrophic earthquake completely destroys the school in 2010, a stunned and devastated faculty and student body must pick up the pieces and find a way to move forward.

	 

	MISSISSIPPI FEATURES JURIED COMPETITION 

	THE LONG SHADOW

	Director: Frances Causey

	Country: USA, Running Time: 88 min

	Two daughters of the South look beyond their white privilege to discover a history that’s been hidden, exposing the long and shockingly powerful reach of Southern politics from slavery through to today’s racial imbalance.

	 

	LOVE SOLILOQUY: A VISUAL ALBUM

	Director: Astin Rocks.

	Country: USA, Running Time: 31 min

	Distorting the perception of true events, LOVE SOLILOQUY uses avant-garde storytelling to reveal the psyche behind young women navigating their relationships. Astin Rocks doubles as the band’s vocalist, lyricist, and film director.

	 

	MISSISSIPPI MADAM: THE LIFE OF NELLIE            WORLD PREMIERE JACKSON

	Director: Timothy Givens and Mark K. Brockway County: USA, Running Time: 81 min

	In 1902 Nellie Jackson, an African-American woman born into poverty in Possum Corner, Miss., travels north to Natchez and opens a brothel she ran for more than 60 years with full knowledge of police and Natchez officials until a fiery end one hot July night in 1990

	 

	THE PROCESS: THE WAY OF PABLO SIERRA         WORLD PREMIERE

	Director: Jeff Dennis

	Country: USA, Running Time: 66 min

	A film about a potter named Pablo Sierra who lives in Yocona, MS. Born in Spain, he came to Ole Miss on track scholarship. He became a world-class runner, and is now a potter, baker, and horseman. For Pablo, the process is everything.

	 

	MUSIC DOCUMENTARIES JURIED COMPETITION 

	CASSETTE: A DOCUMENTARY MIXTAPE

	Director: Zack Taylor

	Country: USA, Running Time: 88 min

	CASSETTE: A DOCUMENTARY MIXTAPE is, in fact, a documentary mixtape about a musical format that refuses to die. Through a series of one-on-one interviews, Lou Ottens, inventor of the cassette, confronts 50 years of mixed emotions about his creation. He is joined on his journey by Henry Rollins, Thurston Moore, Ian MacKaye, Rob Sheffield, Burger Records, and many more.

	 

	DO U WANT IT?

	Directors: Sam Radutzky, Josh Freund Country: USA, Running Time: 96 min

	DO U WANT IT? is an exploration and celebration of the musical culture  of  New Orleans. The film chronicles the rise of beloved New Orleans' band Papa Grows Funk and uses their illustrious thirteen-year career, from formation up to the band's emotional final shows, as a vehicle to explore the nuances of success and struggle in the greatest musical city in the world.

	 

	HOW THEY GOT OVER

	Director: Robert Clem

	Country: USA, Running Time: 87 min

	HOW THEY GOT OVER explores the evolution of black gospel quartet music and its contributions to the emergence of rock & roll. The film includes performances by the Blind Boys of Mississippi and Alabama, the Soul Stirrers, Dixie Hummingbirds, Davis Sisters, Sister Rosetta Tharpe, Sensational Nightingales and many more.

	 

	WORD IS BOND

	Director: Sacha Jenkins

	Country: USA, Running Time: 85 min

	Word Is Bond is a documentary film by Sacha Jenkins that examines the transformative power of lyrics in the world of hip-hop music. What was born on the streets of the South Bronx has now taken root globally, and the young poets of New York have helped to spawn regional dialects everywhere.

	 

	 

	LGBTQ FEATURES JURIED COMPETITION 

	ALASKA IS A DRAG

	Director: Shaz Bennett

	Country: USA, Running Time: 89 min

	A fish out of water story – literally. Our hero Leo is an aspiring superstar stuck working in a fish cannery in Alaska. Leo and his twin sister Tristen hang out at the one gay bar in a hundred miles, owned by their surly surrogate mom Jan (Margaret Cho). After years of getting beat up by his former best friend, Leo has learned to fight back, catching the eye of his cannery boss, an amateur boxer who offers to train him to be a fighter.

	 

	BETWEEN THE SHADES

	Director: Jill Salvino

	Country: USA, Running Time: 82 min

	BETWEEN  THE  SHADES  seeks  to  put  faces  to  the  letters  that  make  up   LGBTQI and how those letters have evolved. The film examines the immense power of labels and the transcendence of love.

	 

	BOYS FOR SALE

	Director: Itako

	Country: Japan, Running Time: 76 min

	Boys are selling sex in Japan. Who is buying? In the Tokyo district of Shinjuku 2-chome there are bars that specialize in “Urisen”, young boys who have sex with men.

	 

	KID FILM FESTIVAL FEATURE FILMS 

	THE AMAZING WIZARD OF PAWS

	Director: Brian Michael Stoller Country: USA, Running Time: 96 min

	What happens when you find out the family dog is actually six-hundred years old and was once owned by a great and powerful wizard? In this charming and magical adventure, young Bobby Spade and his faithful therapy dog, Ozzy, stumble upon an ancient wizard's mystical book of spells.

	 

	MEERKAT MOONSHIP

	Director: Hanneke Schutte

	Country: South Africa, Running Time: 97 min

	Timid, wildly imaginative 13-year-old Gideonette de La Rey learns that the name she was given comes with it a horrible curse. After her father dies, Gideonette is paralyzed by fear and is sent to live on a farm with her grandparents where she befriends a young deaf boy who is “training” to become an astronaut and preparing to fly away in a Moonship that Gideonette’s grandfather built for him.

	 

	WHALE RIDER (2002)

	Director: Niki Caro

	Country: Running Time: 101 min

	A contemporary story of love, rejection and triumph as a young Maori girl fights to fulfill a destiny her grandfather refuses to recognize.

	 

	ADDITIONAL SPECIAL SCREENINGS 

	I AM EVIDENCE

	Directors: Trish Adlesic, Geeta Gandbhir Country: USA, Running Time:

	An investigation into the way sexual assault cases are handled by police departments across the United States and an examination of how there came to be a backlog of tens of thousands of untested rape kits.

	 

	LIVING ON SOUL

	Directors: Jeff Broadway, Cory Bailey Country: USA, Running Time: 96 min

	LIVING ON SOUL is a hybrid docu-concert film featuring the late Sharon Jones, Charles Bradley and the rest of the Daptone Records family. Filmed largely during Daptone’s December 2014 three-night, sold-out residency at the historic Apollo Theater in Harlem, the documentary features a mixture of live performances and verité scenes that paint a robust picture of the Daptone family and culture.

	 

	SEEING IS BELIEVING: WOMEN DIRECT

	Director: Cady McClain

	Country: USA, Running Time: 57 min

	SEEING IS BELIEVING Is an in-depth investigation into the challenges faced by women directors. The film focuses on the journeys of four articulate filmmakers – Lesli Linka Glatter (HOMELAND), Sarah Gavron (SUFFRAGETTE), li Lu (THERE IS A NEW WORLD SOMEWHERE), and Naima Ramos Chapman (AND NOTHING HAPPENED) who provide a wonderful mix of perspectives.

	 

	URANIA DESCENDING

	Director: Tav Falco

	Country: Austria, Running Time: 69 min

	An American girl, Gina Lee is an alienated and disaffected female who has become disenchanted with hometown strip malls, sleaze bars, and rides along the river-side in her BMW. Impulsively she buys a discount airline ticket in a shopping mall travel agency. Destination: Vienna, the merry/sinister imperial city on the Danube. Gina Lee quickly slips into discreet, yet decadent dalliances at Cafe Central and at the notorious Hotel Orient, where she becomes embroiled in an intrigue to uncover buried Nazi plunder. Her tragic liaison with rakish Karl Heinz Von Riegl results in her submersion beneath the  dark waters of Lake Atter, yet her ultimate fate remains unresolved.

	 

	 

#### 2018 Tallgrass International Film Festival To Honor Pam Grier With Ad Astra Award
 

	The Tallgrass Film Association today announced that film legend and 70’s cinema icon, Pam Grier, will be this year’s recipient of the Ad Astra Award during the 16th edition of the Tallgrass Film Festival Presented by Consolidated Equities Trust (October 17-21) in Wichita, Kansas.

	Tallgrass Film Festival’s Program Director Nick Pope said, “Pam Grier is someone that Tallgrass has sought to bring to Wichita and honor for the longest time. She is the iconic feminine face of urban cinema in the 70s. A prime inspiration both for an entire genre’s mainstream success, a muse for multiple filmmakers, and an inspiration and trend-setter for many actors and filmmakers that followed, it will e the biggest thrill to welcome her and celebrate her career.”

	Tallgrass will present the Ad Astra Award to Grier at the Orpheum Theater (200 N Broadway Street) followed by a “Conversation on Film” prior to a screening of her classic film directed by Quentin Tarantino, JACKIE BROWN, on Thursday, October 18 at 6:30PM. The special evening will conclude with a late-night screening of one of Grier’s 70s staples, COFFY, at Roxy’s Downtown (412 E. Douglas Avenue) at 11:15PM.

	TALLPass holders have access to the ceremony & both screenings– tickets to individual events will be $10 (GA) for the public. ($10 for Ad Astra/Jackie Brown, $10 for Coffy)

	Born on May 26, 1949 in Winston-Salem, North Carolina, and raised in Denver, Colorado, Pam Grier was spotted by an agent at a beauty contest in Colorado Springs, who invited her to come to Hollywood and try her hand at acting. She subsequently moved to Los Angeles and began taking acting classes while she worked as a switchboard operator for American International Pictures. Soon after, she had made it onto the big screen in BEYOND THE VALLEY OF THE DOLLS (1970) and BIG DOLL HOUSE (1971.)

	Following appearances in HIT MAN (1972) and BLACK MAMA, WHITE MAMA (1973), Grier gained notice in Jack Hill’s COFFY (1973) as the title character, “the baddest one- chick hit-squad that ever hit town.” The next year, she cemented her status as the undisputed queen of urban cinema as the high-class prostitute out for revenge in Hill’s FOXY BROWN (1974.)

	 

	70s Cinema Icon, Pam Grier

	Grier solidified her status as a film star throughout the 70s with a string of films including SCREAM BLACULA SCREAM (1973), SHEBA, BABY (1975), BUCKTOWN (1975) with Fred Williamson, FRIDAY FOSTER (1975), and GREASED LIGHTNING (1977) opposite Richard Pryor. The 80s were highlighted by FORT APACHE, THE BRONX (1981) with Paul Newman, the Ray Bradbury classic, SOMETHING WICKED THIS WAY COMES (1983), and the Steven Seagal actioner ABOVE THE LAW (1988), as well as regular turns on the television via Michael Mann’s “Crime Story” and “Miami Vice.”

	 

	COFFY, ESCAPE FROM L.A.

	Grier continued to work in both film and television throughout the 90s with memorable appearances in John Carpenter’s ESCAPE FROM LA (1996) and Tim Burton’s MARS ATTACKS (1996). However, it was Quentin Tarantino’s JACKIE BROWN (1997) that offered the actress an opportunity to play a character tailor-made for her unique brand of strength and charisma, resulting in the best critical notices of her career as well as her first Best Actress nominations for both a SAG Award and the Golden Globes. Roles in the thriller IN TOO DEEP (1999) and Jane Campion’s HOLY SMOKE (1999) immediately followed, as well as a reunion with Carpenter on his film GHOSTS OF MARS (2001). Grier became a very familiar sight on television as well, with appearances on several series culminating in a regular stints on “Law & Order: Special Victims Unit” (2002-2003) and Showtime’s “The L Word” (2004-2009). On the big screen, Grier has most recently been seen in Tom Hanks’s LARRY CROWNE (2011), Rza’s THE MAN WITH THE IRON FISTS (2012), and last year’s BAD GRANDMAS, and ROSE.

	 

	For more information on the Tallgrass Film Festival, please visit tallgrassfilmfest.com for more information.

#### 2019 Chicago Underground Film Festival Announces Lineup of Films for 26th edition of the Fest
 
The Chicago Underground Film Festival, today announced the lineup for its 26th edition, taking place on June 5-9. Known for featuring an international slate of innovative, exciting and provocative films and videos, CUFF bookends this year’s film festival with two films that epitomize those three words. Adam Khalil and Bayley Sweitzer’s EMPTY METAL will screen as the Opening Night selection on Wednesday, June 5, and Nicole Brending’s DOLLHOUSE: THE ERADICATION OF FEMALE SUBJECTIVITY FROM AMERICAN POPULAR CULTURE is the Closing Night selection, screening on June 9 – both at Logan Theater (2646 N. Milwaukee Ave.)
In addition to the 12 features on its slate, CUFF will also screen 12 thematic shorts programs and additional programming featuring 104 films. Underlining the film festival’s draw as a place where new work and talent make their debut, as well as introducing Chicago and Midwestern audiences to new and exciting voices in cinema, this year’s slate includes 10 world premieres, 1 international premiere, 1 North American premieres, 9 U.S. premieres, and 34 Midwest premieres.
Artistic Director Bryan Wendorf, “This year’s exciting group of films came to us through our ever-growing number of submissions and films that truly struck us at other festivals. It is as diverse a slate as we have ever had, with films that will entertain in the purest sense, but also challenge and surprise our audiences whether it be through the stories told or the documentary subjects that are being focused on. As always, we want to introduce everyone to films and filmmakers that gave us a thrill when we first saw their films, and inspired us to re-think what we just saw and perhaps debate about it with our friends.”
Khalil and Sweitzer’s EMPTY METAL will make its Midwest premiere as the Opening Night selection on Wednesday, June 5. In the film, a punk band is ensnared in a murder plot by an indigenous family whose mother communicates telepathically with her meditation companions, a
Rastafarian hacker and a Buddhist whose son is a member of a secret militia. While this motley crew goes about their business, the drones fly overhead, seeing all. EMPTY METAL previously screened at Lincoln Center’s Art of the Real festival, and the screening at CUFF will mark a return to the film festival by Khalil, whose film INAATE/SE/ (which he co-directed with his brother Zack Khalil) won a jury award in 2017.
Closing Night will feature Nicole Brending’s puppet animation satire DOLLHOUSE: THE ERADICATION OF FEMALE SUBJECTIVITY FROM AMERICAN POPULAR CULTURE. The disturbingly entertaining feature film directorial debut of Brending recently won both Best Feature and The Spirit of Slamdance awards at the 2019 Slamdance Film Festival. DOLLHOUSE charts the rise and fall of fictional child pop star Junie Spoons as her life story (and the ensuing disasters) unfold, as told by those who knew her. From losing her virginity in a sex tape to 24-hour marriages to a Patty-Hearst style kidnapping and bank heist to the murder of her mother, the film reveals the hypocrisies of an opportunistic society that preys on the talents and contributions of women, the film is a scathing look at what it means to be female in a modern world. Assaulted by men, women, the media, and a new era obsessed with identity and entitlement, Junie’s fall from grace is a cautionary tale about the consequences of denying women their own voice and perspective.
Two notable premieres among the feature films include the North American premiere of Ian Haig’s THE FOAMING NODE, which tells the story of the last remaining observers who were members of a cult of sorts who followed the transmissions and evacuations of the mysterious Foaming Node, whose main project and mission was the distribution of the human body. The U.S. premiere of Marco Porsia’s documentary WHERE DOES A BODY END? focuses on the Swans, from their roots as a post-punk band through their ill-fated bid at mainstream in the 90s indie-rock goldrush, through breakups and chaos to their current status as one of the most accomplished bands in the world.
A number of feature films will be making their Midwest premieres at CUFF. Those films include; Adam Sekuler’s immersive verité 36 HOURS, about a woman’s pregnancy and birthing experience; Emmanuelle Antille’s music documentary A BRIGHT LIGHT – KAREN AND THE PROCESS, which focuses on the 60s enigma that was Karen Dalton; Aaron Schimberg’s CHAINED FOR LIFE, which stars Jess Weixler (TEETH) as an actress who struggles to connect with her disfigured co-star on a film shoot; Kavich Neang’s documentary LAST NIGHT I SAW YOU SMILING, which takes a look at Phnom Penh’s iconic housing block, the “White Building” and the history it has weathered prior to being demolished; Lonnie Martin’s THE LAST OF THE MANSON GIRLS, which follows a counterculture journalist as he investigates Manson followers Sandra Good, Brenda McCann, and Lynette “Squeaky” Fromme; and Peter Parlow’s THE PLAGIARISTS, about a young couple dealing with emotional fallout from a seemingly fraudulent yet unprovable act done to them. Stuart Swezey’s documentary DESOLATION CENTER, about the punk rock desert concerts and “happenings” during the Reagan-era, will make its Chicago debut.
Included in the impressive slate of shorts screening this year in the thematic shorts programs as well as accompanying features at CUFF are several short films making their world premieres. Those films include; Patrick Müller’s ACTUALLY, THIS IS NOT A FILM; Darrin Martin and Torsten Zenas Burns’ ARK 3: CROSSOVERCHRONICLES; Giuliana Foulkes’ BLACK BOX; Lina Sieckmann, Miriam Gossing, and Nicole Wegner’s CHINA LIGHT; Jake Hart’s COREDEMPTRIX; Robert C. Banks Jr., and John W. Carlson’s DON’T BE STILL; Kate Kapuza’s HUNKS; Ellery Chalmers’ JAMES L THOMPSON CENTER; Monica Panzarino’s MEMORY; and K$K’s WALKED IN.
Festival passes and tickets are on-sale now. For more information, visit www.cuff.org.
2019 Chicago Underground Film Festival Official Selections
 
FEATURE FILMS
 
Opening Night Selection
EMPTY METAL                                                                     Midwest Premiere
Directors: Adam Khalil, Bayley Sweitzer
Country: USA, Running Time: 85 min
A punk band is ensnared in a murder plot by an indigenous family whose mother communicates telepathically with her meditation companions, a Rastafarian hacker and a Buddhist whose son is a member of a secret militia. While this motley crew goes about their business, the drones fly overhead, seeing all.
Closing Night Selection
DOLLHOUSE: THE ERADICATION OF FEMALE SUBJECTIVITY FROM AMERICAN POPULAR CULTURE
Director: Nicole Brending
Country: USA, Running Time: 91 min
The disturbingly entertaining feature debut of director Nicole Brending, DOLLHOUSE: THE ERADICATION OF FEMALE SUBJECTIVITY FROM AMERICAN POPULAR CULTURE charts the rise and fall of fictional child pop star Junie Spoons as her life story (and the ensuing disasters) unfold, as told by those who knew her. Set in the bubble gum pop world of Britney Spears and Lindsay Lohan and told in the style of VH1’s Behind The Music, Junie’s story tops itself one scandal after another as she rockets to international stardom and then faces the aftermath of life under scrutiny.
36 HOURS                                                                             Midwest Premiere
Director: Adam Sekuler
Country: USA, Running Time: 77 min
Angelle is in labor. She rides the waves of emotion and physical pain without pharmaceutical intervention as she, along with her partner Nathan and her mother, try to follow a natural birth plan. As her contractions get heavier, though, Angelle gets caught in the undertow of time. Her birth is taking much longer than expected. With her preconceived notions of birth shattered, Angelle must make difficult decisions, bringing into focus the true work of motherhood and womanhood. Weaving together immersive verité filmmaking and expressionistically captured movement sequences is a tour de feminine force.
A BRIGHT LIGHT – KAREN AND THE PROCESS            Midwest Premiere
Director: Emmanuelle Antille
Country: Switzerland, Running Time: 94 min
A music documentary, a cinematographic essay that travels across the United States in Karen Dalton’s footsteps. In search of one of the 1960’s most astonishing voices, worshiped by her peers, but unknown to the general public, the film also questions the process of creation, its frantic and mesmerizing paths.
CHAINED FOR LIFE                                                             Midwest Premiere
Director: Aaron Schimberg
Country: USA, Running Time: 91 min
A beautiful actress struggles to connect with her disfigured co-star on the set of a European auteur’s English-language debut.
DESOLATION CENTER
Director: Stuart Swezey
Country: USA, Running Time: 93 min
The untold story of a series of Reagan-era anarchic punk rock desert happenings that still reverberate throughout our culture, DESOLATION CENTER transported punk and industrial music fans in rented school buses into the far reaches of the Mojave Desert for now-legendary performances. DESOLATION CENTER is a feature documentary about these guerilla music and performance events staged in remote and unusual locations. Directed by the principal organizer of the events, Stuart Swezey, DESOLATION CENTER is the true story of how the risky, and at times even reckless, actions of a few outsiders can unintentionally lead to seismic cultural shifts.
THE FOAMING NODE                                                          North American Premiere
Director: Ian Haig
Country: USA, Running Time: 65 min
THE FOAMING NODE tells the story of the last remaining observers who were members of a cult of sorts who followed the transmissions and evacuations of the mysterious Foaming Node, whose main project and mission was the distribution of the human body. This is their story.
LAST NIGHT I SAW YOU SMILING                                     Midwest Premiere
Director: Kavich Neang
Countries Cambodia/France, Running Time: 78 min
Since 1963, Phnom Penh’s iconic housing block, the “White Building”, witnessed a tremendous set of events: the young nation’s “Golden Age”; a traumatic breakdown under a radical regime; decades of cultural revival centered within its walls; and, the rapid pace of capitalist development that would ultimately lead to its demise. Kavich Neang, born here in 1987, is one of hundreds of residents who must leave immediately. He picks up a camera to record. When demolition comes, it’s all a memory.
 
THE LAST OF THE MANSON GIRLS                                 Midwest Premiere
Director: Lonnie Martin
Country: USA, Running Time: 73 min
Convinced there’s more to the Manson murders than meets the public eye, counterculture journalist Paul Krassner embarks on an LSD tinged investigation of the last of Manson’s disciples: Sandra Good, Brenda McCann, and Lynette “Squeaky” Fromme.
THE PLAGIARISTS                                                              Midwest Premiere
Director: Peter Parlow
Country: USA, Running Time: 76 min
THE PLAGIARISTS follows a young novelist and her cinematographer boyfriend, who are caught in a snowstorm on their way to visit a friend in upstate New York. Needing shelter, a man puts them up for the night. However, months later a discovery puts the evening into a different context, bringing resentments to the surface.
THE WASHING SOCIETY                                                    Midwest Premiere
Directors: Lynne Sachs, Lizzie Olesker
Country: USA, Running Time: 44 min
THE WASHING SOCIETY brings us into New York City laundromats and the experiences of the people who work there. A cinematic collage of narrative, experimental and documentary elements creates a dream-like, yet hyper-real portrayal of a day in the life of a laundry worker, both past and present.
WHERE DOES A BODY END?                                            U.S. Premiere
Director: Marco Porsia
Country: USA, Running Time: 121 min
An intimate portrait of the Swans, from their roots as a post-punk band through their ill-fated bid at mainstream in the 90s indie-rock goldrush, through breakups and chaos to their current status as one of the most accomplished bands in the world.
SHORT FILMS
ONLY THE TRUTH DISGUISED IN A DREAM
TRT: 64 min
THE KANSAS CITY GORK (1968)
Directors: Dennis Lo, Thomas Baum
Country: USA, Running Time: 16 min
LINE OF APOGEE (1968)
Director: Lloyd Michael Williams
Country: USA, Running Time: 16 min
UPPE U ESS (1965)
Director: Ronald Nameth
Country: USA, Running Time: 16 min
VARIATIONS (1967)
Director: Mike Kuchar
Country: USA, Running Time: 16 min
 
Shorts 1: TRASVERSE LINE
TRT: 82 min
 
CLAMS CASINO                                                                   Midwest Premiere
Director: Pam Nasr
Country: USA, Running Time: 10:27 min
FEEL GOOD
Director: Kathryn Lee
Country: USA, Running Time: 8:51 min
FORECLOSED HOME MOVIE
Director: Lisa Danker
Country: USA, Running Time: 8 min
FRONTIER WISDOM
Director: Jenna Caravello
Country: USA, Running Time: 5:13 min
LARP: A LOVE STORY                                                        Midwest Premiere
Director: Summre Garber
Country: USA, Running Time: 10:33 min
RUSSIAN WINDOWS
Director: Olivia Ebertz
Countries: Russia/USA, Running Time: 15:35 min
STREAKERS
Director: Brielle Brilliant
Country: USA, Running Time: 10:55 min
WINNERS BITCH
Director: Sam Gurry
Country: USA, Running Time: 7 min
WUNDERKAMMER
Director: Jennifer Linton
Country: Canada, Running Time: 5:36 min
Shorts 2: THE PERSISTENCE OF MEMORY
TRT: 86 min
ARK
Director: Michael Morris
Country: USA, Running Time: 7 min
DANNY’S SUPER 8
Directors: Colin Russell, Alec Rodriques
Country: USA, Running Time: 4 min
DON’T BE STILL                                                                   World Premiere
Directors: Robert C. Banks Jr., John W. Carlson
Country: USA, Running Time: 3:37 min
 
KODAK                                                                                  Midwest Premiere
Director: Andrew Norman Wilson
Country: USA, Running Time: 30 min
LOVE AND THE EPIPHANISTS (PART 1)                          Midwest Premiere
Director: Scott Stark
Country: USA, Running Time: 30 min
NEGATIVE 25                                                                        Midwest Premiere
Director: Jenny Stark
Country: USA, Running Time: 3 min
NIGHT CLERK
Director: Damon Mohl
Country: USA, Running Time: 1:35 min
VERA                                                                                      Midwest Premiere
Director: Karen Yasinsky
Country: USA, Running Time: 6:51 min
Shorts 3: THE KISS
TRT: 85 min
FLING
Director: Levni Yilmaz
Country: USA, Running Time: 23:30 min
IT’S A MATCH
Director: Annabella Schnabel
Country: USA, Running Time: 13:42 min
MAKE OUT PARTY
Director: Emily Esperanza
Country: USA, Running Time: 24:33 min
NOBODY LIKES YOU AS MUCH AS I DO?                        Midwest Premiere
Director: Jerzy Rose
Countries: USA/France, Running Time: 15 min
TWO GIRLS ONE AFTERNOON                                         Midwest Premiere
Director: Katrina del Mar
Country: USA, Running Time: 6:30 min
Shorts 4: THE TREACHERY OF IMAGES
TRT: 85 min
24 (TWENTY-FOUR) BURNED EYELASHES                     U.S. Premiere
Director: Tetsuya Maruyama
Countries: Brazil/Japan, USA, Running Time: 1:57 min
A STUDY OF FLY
Director: Cherlyn Hsing-Hsin Liu
Country: USA, Running Time: 12:45 min
ABSENT REFERENT
Director: Riikka Gröndahl
Countries: Finland/Sweden, Running Time: 10:14 min
THE AIR OF THE EARTH IN YOUR LUNGS
Director: Ross Meckfessel
Countries: USA/Japan, Running Time: 11 min
 
CHINA NOT CHINA                                                              Midwest Premiere
Director: Richard Tuohy
Countries: Australia/Taiwan/Hong Kong, Running Time: 14 min
JAMES R. THOMPSON CENTER                                        World Premiere
Director: Ellery Chalmers
Country: USA, Running Time: 5:20 min
 
LAS BREAS                                                                           Midwest Premiere
Directors: Laura Kraning, Blue Kraming
Country: USA, Running Time: 12:20 min
NEVER NEVER LAND                                                          Midwest Premiere
Director: Michael Fleming
Countries: The Netherlands/USA, Running Time: 9:15 min
SIR BAILEY                                                                           U.S. Premiere
Director: Matthew Ripplinger
Country: Canada, Running Time: 8 min
Shorts 5: HARMONY SQUARES WITH CONCENTRIC RINGS
TRT: 87 min
A PROTEST, A CELEBRATION, A MIXED MESSAGE     International Premiere
Director: Rhea Storr
Country: UK, Running Time: 11:46 min
HOARDERS WITHOUT BORDERS 1.0
Director: Jodie Mack
Country: USA, Running Time: 5:44 min
OPERATION JANE WALK                                                   Midwest Premiere
Directors: Robin Klengel, Leonhard Müllner
Country: Austria, Running Time: 16:14 min
ORE                                                                                        U.S. Premiere
Director: Claudia Larcher
Country: Austria, Running Time: 6 min
 
RECKONING 7
Director: Kent Lambert
Country: USA, Running Time: 4:34 min
ROUGHLY DELICATE
Director: Heqiuzi Wang
Country: USA, Running Time: 16:14 min
SWATTED
Director: Ismaël Joffroy Chandoutis
Country: France, Running Time: 21:15 min
TRIGGER WARNING
Director: Scott Fitzpatrick
Country: Canada, Running Time: 5 min
Shorts 6: THE NINTH WAVE
TRT: 86 min
ARTIST STATEMENT                                                           Midwest Premiere
Director: Shayna Connelly
Country: USA, Running Time: 5:15 min
ATOMKRAFTWERK ZWENTENDORF
Director: Hope Tucker
Countries: USA/Austria, Running Time: 16:40 min
 
THE COMIC SANS VIDEO
Director: Roger Beebe
Country: USA, Running Time: 8:22 min
HALL OF FISHES
Director: Jennifer Boles,
Country: USA, Running Time: 9:04 min
IT’S GOING TO BE BEAUTIFUL                                         Midwest Premiere
Directors: Luis Gutiérrez Arias, John Henry Theisen
Countries: USA/Mexico, Runtime: 8:41 min
LIFE ON THE MISSISSIPPI
Director: Bill Brown
Country: USA, Running Time: 28:13 min
ON THE LINE                                                                         Midwest Premiere
Director: Tina Takemoto
Country: USA, Running Time: 6:40 min
THE REAL THING
Director: Julianna Villarosa
Countries: USA/Mexico, Running Time: 2:45 min
Shorts 7: THIS KNOT OF LIFE
TRT: 87 min
BLACK BOX                                                                          World Premiere
Director: Giuliana Foulkes
Country: USA, Running Time: 20:30 min
THE EDDIES
Director: Madsen Minax
Country: USA, Running Time: 16:05 min
EXIT STRATEGY #2
Director: Kym McDaniel
Country: USA, Running Time: 5:18 min
FIVE SECRETS TO MOM
Director: Charles Dillon Ward
Country: USA, Running Time: 1:58 min
FLAME                                                                                   U.S. Premiere
Director: Sami van Ingen
Country: Finland, Running Time: 15 min
 
HER MOUTH WAS                                                                Midwest Premiere
Director: Haley McCormick
Country: USA, Running Time: 8:17 min
PIEDAD                                                                                  U.S. Premiere
Director: Naya (The Outdoor Cat)
Country: Spain, Running Time: 14 min
SLOWER
Director: Kelly Gallagher
Country: USA, Running Time: 6:49 min
Shorts 8: THE UNCERTAINTY OF THE POET
TRT: 92 min
BOOKANIMA: DANCE
Director: Shon Kim
Country: South Korea, Running Time: 7:31 min
E-TICKET
Director: Simon Liu
Countries: Hong Kong/UK, Running Time: 13 min
_GALORE
Director: Bernd Lützeler
Countries: Germany/India, Running Time: 8:30 min
GONE SALE
Director: Matt Meindl
Country: USA, Running Time: 5 min
MUDANZA CONTEMPORÁNEA
Director: Teo Guillem
Country: Spain, Running Time: 20 min
THE SEQUENCE OF YEARS
Director: Ben Balcom
Country: USA, Running Time: 8:30 min
UNTITLED (TIME)
Director: Julie Murray
Country: USA, Running Time: 14:53 min
WATERMARKS                                                                    Midwest Premiere
Director: Sara Suarez
Country: USA, Running Time: 14:03 min
Shorts 9: EXILE FROM THE SHORE OF REASON
TRT: 85 min
2000 WOMEN NAMED STACY
Director: Jessie Darnell
Country: USA, Running Time: 10:04 min
A COLLECTION OF ATTEMPTS IN ASTRAL TRAVEL
Directors: Ryan Betschart, Rachel Nakawatase
Country: USA, Running Time: 6:18 min
ANIMAL CONDENSED>>>ANIMAL EXPANDED #2          U.S. Premiere
Director: Jennet Thomas
Country: UK, Running Time: 14:06 min
ARK3: CROSSOVERCHRONICLES                                    World Premiere
Directors: Darrin Martin, Torsten Zenas Burns
Country: USA, Running Time: 25:10 min
HUNKS                                                                                   World Premiere
Director: Kate Kapuza
Country: USA, Running Time: 2:48 min
MY DADDY WAS A GUNMAN
Director: Jimmy Schaus
Country: USA, Running Time: 1:47 min
TECHNOLOGY LAKE: MEDITATIONS ON DEATH AND SEX
Director: Brandon Daley, Running Time: 8:09 min
TOPOGRAPHIES OF A DISTANT NOISE
Director: Agustin Telo
Country: Argentina, Running Time: 3:03 min
WE LOVE ME
Director: Naween Noppakun
Country: Thailand, Running Time: 13:18 min
Shorts 10: THE NIGHT WATCH
TRT: 88 min
A LEAF IS A SEA IS A THEATER
Director: Jonathan Schwartz
Country: USA, Running Time: 16:24 min
AND BY THE NIGHT
Director: Anna Kipervaser
Countries: Ukraine/USA, Running Time: 9:45 min
CALDER FOR PETER
Director: Ephraim Asili
Country: USA, Running Time: 11 min
CONSOLAR                                                                          Midwest Premiere
Director: Susan DeLeo
Country: USA, Running Time: 4:52 min
COREDEMPTRIX                                                                  World Premiere
Director: Jake Hart
Country: USA, Running Time: 7:07 min
GLORIA’S CALL
Director: Cheri Gaulke
Country: USA, Running Time: 16:47 min
I HOPE I’M LOUD WHEN I’M DEAD
Director: Beatrice Gibson
Countries: USA/UK/Italy, Running Time: 20:47 min
TULIPS ARE MY FATHER’S FAVORITE FLOWER           U.S. Premiere
Director: Nisha Platzer
Country: Canada, Running Time: 1 min
Shorts 11: I WAS A RICH MAN’S PLAYTHING
TRT: 86 min
DO IT AGAIN
Director: Curtis Miller
Country: USA, Running Time: 8:43 min
THE FILM MACHINE
Directors: Sonia and Miriam Albert-Sobrino
Country: USA, Running Time: 6:05 min
GOODBYE FOREVER PARTY
Director: Jonni Phillips
Country: USA, Running Time: 19:14 min
HEDGE
Director: Amanda Bonaiuto
Country: USA, Running Time: 6:05 min
MIDNIGHT CONFESSION                                                    Midwest Premiere
Director: Maxwell McCabe-Lokos
Countries: Germany/USA, Running Time: 10:22 min
WALKED IN                                                                           World Premiere
Director: K$K
Country: USA, Running Time: 10:14 min
YELLOW HAIR                                                                      Midwest Premiere
Director: Lee Lynch
Country: USA, Running Time: 25:18 min
Screening with Features and Events
A CHORUS OF BLACK VOIDS SINGS IN                           Midwest Premiere
RAYS OF UNSEEABLE LIGHT
Director: Michael Morris
Country: USA, Running Time: 15 min
(Screens at Opening Night After Party)
            
ACTUALLY, THIS IS NOT A FILM                                       World Premiere
Director: Patrick Müller
Country: Germany, Running Time: 4:42 min
(Screens with THE PLAGIARISTS)
 
THE BLESSED ASSURANCE                                             Midwest Premiere
Director: Isabelle Carbonell
Country: USA, Running Time: 21:32 min
(Screens with THE WASHING SOCIETY)
CHINA LIGHT                                                                        World Premiere
Directors: Lina Sieckmann, Miriam Gossing, Nicole Wegner
Country: Germany, Running Time: 4 min
(Screens with DESOLATION CENTER)
EVERY GRAIN OF RICE
Director: Carol Nguyen
Country: USA, Running Time: 6:19 min
(Screens with THE WASHING SOCIETY)
IVRY
Director: Jake Oleson
Country: USA, Running Time: 9:26 min
(Screens with LAST NIGHT I SAW YOU SMILING)
LICENSE & REGISTRATION                                               Midwest Premiere
Director: Jackson Ezinga
Country: USA, Running Time: 9:50 min
(Screens with THE LAST OF THE MANSON GIRLS)
LUMEN                                                                                   Midwest Premiere
Director: Richard Ashrowan
Country: Scotland, Running Time: 3:09 min
(Screens with THE WASHING SOCIETY)
MEMORY                                                                               World Premiere
Director: Monica Panzarino
Country: USA, Running Time: 4:12 min
(Screens with DOLLHOUSE)
PRESSED
Director: Kimberly Forero-Arnias
Country: USA, Running Time: 5:20 min
(Screens with 36 HOURS)
PITUVAHALAYÂ (THE EXILE)                                            Midwest Premiere
Director: Rajee Samarasinghe
Country: Sri Lanka, Running Time: 7:49 min
(Screens with THE WASHING SOCIETY)
SHADOWBANNED                                                               U.S. Premiere
Director: Jon Rafman
Country: Canada, Running Time: 8 min
(Screens with THE FOAMING NODE)
SKIN OF MAN                                                                       Midwest Premiere
Director: Jimmy Joe Roche
Country: USA, Running Time: 10:18 min
(Screens with THE FOAMING NODE)
Expanded Cinema Performances
 
LINEAGE (FOR NORMAN MCLAREN)
Director: Roger Beebee
 
WHAT IS NOTHING (AFTER WHAT IS NOTHING)
Director: Kristin Reeves
Running Time: 10 min

#### 2019 Harlem International Film Festival Announces Filmmaker Awards
 
The Harlem International Film Festival (Hi) announced the award winning films and filmmakers during a raucous closing night party at Aloft Harlem (2296 Frederick Douglass Blvd) on Sunday, May 19. Paul Starkman’s WHEELS was named Best Narrative Feature, with Mike Majoro and Buster Cram’s THE LAST AMERICAN COLONY: ONE MAN’S REVOLUTION taking the award for Best Documentary Feature. Lynsey Miller’s DOING MONEY was cited as Best World Film (Narrative) and Cynthia Biestek and Ruben Gomez’s ELIADES OCHOA: FROM CUBA TO THE WORLD took the prize for Best World Documentary.
Harlem International Film Festival Program Director Nasri Zacharia said, “In our 14th year, the Harlem International Film Festival welcomed filmmakers from all over the country and throughout the world uptown to Harlem to be a part of what has grown into a very special celebration of the moving image each year. It was wonderful to see the connection our audience members made with these visionary artists as they shared their stories and style through their screenplays, films, videos, and virtual reality.”
Robert Rippberger’s STRIVE took the Audience Award, courtesy of an enthusiastic standing room only crowd. Best Director Awards went to the directing tandem of Mirko Bischofberger and Dario Bischofberger for KATRINA’S DREAM (Narrative Feature), and Cam Cowan for MADAGASIKARA (Documentary Feature).
The Mira Nair Award for Rising Female Filmmaker went to Bridget Stokes for her work on EMMETT. Acting awards were received by Joi Starr (Best Actress) for STRIVE, and Sven Schelker (Best Actor) for GOLIATH. A nod for Best Cinematography went to Gabor Basztonyi for his work on NO WAY OUT.
The Harlem International Film Festival’s commitment to putting the work of local filmmakers on a pedestal continued with a lineup that yielded wins for; Gretchen Hildebran and Vivian Vazquez’s DECADE OF FIRE (New York Showcase Award); Sophia Tewa’s SEAMAN AND 207 (Uptown Feature Award); and Gio’ Crisafulli’s CHEVERE CON SALSA (Uptown Short Film Award).
In other categories; Best Experimental Film went to Abe Abraham’s SALT WATER; Best Animation went to Jamaal Bradley’s SUBSTANCE; and the winner for Best Music Video was Alexander Frasse’s Ice Moon. The winning Webisode was Jess Dunn’s Gray Ground; and the Best VR (Virtual Reality) Project went to Chuck Cummings’ The Negro Building VR Experience.
Awards for Short Films went to; Andrew Paul Howell’s 83 DAYS for Best Short Film – Narrative; Andrea Trivero’s THE MAN OF THE TREES for Best Short Film – Documentary; Benedict Campbell’s THE HIGH BRIDGE for Best Short Short; and Jamal Joseph’s WE THE CHILDREN for Best Youth Short Film.
Once again, Hi staged a screenwriting competition, with Dominick Santa Cattarina and Duane Cooper “Harlem Fever” winning Best Feature Screenplay and Desmond Duncker’s “Woke?” winning Best Short Screenplay.
THE 2019 HARLEM INTERNATIONAL FILM FESTIVAL AWARD WINNERS
 
FILM AWARDS
Best Film
WHEELS
Director: Paul Starkman
Best Documentary
THE LAST AMERICAN COLONY: ONE MAN’S REVOLUTION
Directors: Mike Majoro, Bestor Cram
Best World Film
DOING MONEY
Director: Lynsey Miller
Best World Documentary
ELIADES OCHOA: FROM CUBA TO THE WORLD
Directors: Cynthia Biestek, Ruben Gomez
Audience Award
STRIVE
Director: Robert Rippberger
Best Experimental Film
SALT WATER
Director: Abe Abraham
Best Animation
SUBSTANCE
Director: Jamaal Bradley
Best Music Video
Ice Moon
Director: Alexander Frasse
Best Webisode
Gray Ground
Director: Jess Dunn
Best VR (Virtual Reality)
The Negro Building VR Experience
Director: Chuck Cummings
INDIVIDUAL AWARDS
Mira Nair Award for Rising Female Filmmaker
Bridget Stokes (EMMETT)
Best Narrative Director
Mirko Bischofberger, Dario Bischofberger (KATRINA’S DREAM)
Best Documentary Director
Cam Cowan (MADAGASIKARA)
Best Actress
Joi Starr (STRIVE)
Best Actor
Sven Schelker (GOLIATH)
Best Cinematography
Gabor Gasztonyi (NO WAY OUT)
HARLEM AND NEW YORK SHOWCASE AWARDS
New York Showcase Award
DECADE OF FIRE
Directors: Gretchen Hildebran, Vivian Vazquez
Uptown Award (Feature)
SEAMAN AND 207
Director: Sophia Tewa
Uptown Award (Short)
CHEVERE CON SALSA
Director: Gio’ Crisafulli
SHORT FILM AWARDS
Best Short Narrative 
83 DAYS
Director: Andrew Paul Howell
Best Short Documentary
THE MAN OF THE TREES
Director: Andrea Trivero
Best Short Short
THE HIGH BRIDGE
Director: Benedict Campbell
Best Youth Short
WE THE CHILDREN
Director: Jamal Joseph
Hi SCREENPLAY COMPETITION
Best Feature Screenplay 
“Harlem Fever”
Writers: Dominick Santa Cattarina, Duane Cooper
Best Short Screenplay
“Woke?”
Writer: Desmond Duncker
Feature Screenplay Finalists
“Diversity”
Writer: Desmond Duncker
“Ida”
Writer: Francisco Polin
“Ivy League”
Writers: August Darnell, Peter Schott, Harriet Wichtowski
“Marvel Rose”
Writer: Margaret Ford-Rogers, Dane Krogman
“Robert Smalls”
Writer: John F. Harris
Short Screenplay Finalists
“Fury of a Woman Scorned”
Writer: Eriah S. Howard
“Love-Love”
Writer: Sabrina Hofkin

#### 2019 Louisiana Film Prize Announces 20 Finalists  to compete for this year’s $50,000 Grand Prize
 
The 2019 Louisiana Film Prize announced the 20 finalists, including its first international finalist and an overall lineup comprised of a 50/50 spilt between female directed or co-directed films and films directed by males – all competing for a $50,000 grand prize (the nation’s largest cash prize for a narrative short film). The 8th edition of the Louisiana Film Prize takes place in Shreveport, Louisiana with each of the Top 20 films screening during Prize Fest (October 3-5) with the grand prize winner determined via a rare combination of voting from audience members and film and industry judges.
“The Louisiana Film Prize and our $50,000 cash prize has become the ultimate proving ground for burgeoning indie filmmakers, and the eighth edition of Film Prize promises to be our best display of independent filmmaking yet,” said Gregory Kallenberg, Founder and Executive Director of the Film Prize Foundation. “If you’re a film enthusiast, the Film Prize in October in Shreveport, LA is the place to be.”
The Louisiana Film Prize is notable not just for the films themselves, but for the personal connection that the audience members and the judges make with the competing filmmakers. Passholders and attendees can’t help but learn the stories behind the films as they see interviews with the filmmakers, listen to their participation in panel discussions, and experience the sidewalk presentations and promotions the filmmakers do to create interest and awareness of their films.
The class of 2019 includes the very first international entry (NOWHERE ARKANSAS), whose director, Robert Linsley, hails from Australia. Another new wrinkle for the competition, which routinely features a heavy dose of dramas, is the wide variety of genres represented this year, including 7 comedies, 2 experimental films, a horror film, and a musical.
For the first time in its history, the Louisiana Film Prize, which has consistently had very strong participation by female filmmakers (far beyond the Hollywood average of 4%), has achieved 50/50 parity between male and female filmmakers. The ten finalists directed or co-directed by women include; Jaya and Jacob McSharma’s BEST IN SHOW; Hattie Haggard Gobble’s BLACK PAJAMAS; Makenzie Smith and Finch Nissen’s CICERO; Kari Kennon’s FAST FORWARD STYLE; Rachel Emerson’s MAVEN VOYAGE; Hannah Dorsett’s RIP; Kalah Roberts’ SAME TIME NEXT WEEK; Abigail Kruger’s SHREVEPOET; Camille Schmoutz’s ST. ESTHER DAY; and Sarah Philips’ SUPPLEMENTS.
The Louisiana Film Prize’s impact making the area a prime destination for film production continues this year with another record number of filmmakers having shot films in the area in order to submit them for the competition, with the largest geographical divide in the history of the acclaimed event.
In order to qualify for the Louisiana Film Prize, filmmakers must create a short film (5-15 minutes) in which the production must be shot in northwest Louisiana. In addition to the one $50,000 grand prize winner, the Top 5 Louisiana Film Prize films will receive distribution through Shorts International on iTunes and will also screen at various festivals across the country, including invitations from critically-acclaimed festivals like Oxford Film Festival. This year, films from the 2018 competition screened (or will screen) at numerous prominent film festivals across the country including Tribeca. Louisiana Film Prize will also distribute filmmaking grants and $1,000 “Best Actor” and “Best Actress” accolades. To date, the Film Prize Foundation has awarded over $400,000 in cash to independent filmmakers.
Tickets to the Louisiana Film Prize along with Prize Fest’s music and food events are on sale now at prizefest.com. For those who want to enjoy all of the Prize Fest experiences with food and drink included, VIP Gold and Platinum passes are available starting at $500. VIP tickets include all-access with filmmakers and judges in the exclusive VIP Lounge, free food and drinks, preferred seating at all screenings and events, access to special panels, and the Incredibly Famous LAFP VIP goodie bag. Festival sponsorships are also available. Visit prizefest.com for more ticket, volunteer, and festival information.
 
The 2019 Louisiana Film Prize Finalists
A DIMINISHED ART
Director: Jeremy Enis
An aging black man struggles to come to terms with the future he never saw for himself – one in which his dear wife is gone, and his step-son is white and gay.
AND THAT IS WHY I SUCCEED
Director: Travis Bible
A basketball coach gives a unique halftime speech to his team.
ANNIVERSARY
Director: James Harlon Palmer
Their life is a musical – and it’s gone straight to their heads.
ASCENSION
Directors: Jeremy Spring, Rex Davey
All Johnny wanted was a free boat, man.
BEST IN SHOW
Directors: Jacob and Jaya McSharma
An unconventional fashion show model no longer makes the cut and finds out what happens when the price of fitting in is too high to pay.
BLACK PAJAMAS
Director: Hattie Haggard Gobble
Post U.S.-Vietnam War, a young man is determined to heal from PTSD despite his atypical bouts of disassociation.
CICERO
Directors: Makenzie Smith, Finch Nissen
A hitman finds himself trapped inside an elevator with the man he’s been contracted to kill.
FAST FORWARD STYLE
Director: Kari Kennon
A glamorous 50-year-old widow named Caroline goes on 6 dates with a variety of men.
GHOSTED
Director: Blayne Weaver
A lonely man uses his special gift to pursue his dark infatuation with a coworker.
INVITATION
Director: Chad Hill
Pastor Paul is trying to save Ambrose’s soul. It’s not going well.
LEO AND GRACE
Director: Gabriel Savodivker
A couple in love, torn apart by race, find each other 30 years later and must do the impossible to stay together; even if it means risking their freedom forever.
MAVEN VOYAGE
Director: Rachel Emerson
Maeve Fairbanks is working toward living out her sister’s lifelong goal by submitting a video to be considered for the first piloted mission to Mars, her approach is a bit…offbeat.
MR. MARVELOUS
Director: Evan Falbaum
On Christmas Eve, after a long shift as a mall Santa, Mike’s house is broken into by a pair of robbers who are in for a big surprise.
NOWHERE ARKANSAS
Director: Robert Linsley
Nowhere, Arkansas, 1863. A Confederate veteran, haunted by his past, hunts redemption in the form of a famous eagle that belongs to the Union Army.
RIP
Director: Hannah Dorsett
Becky, a southern belle with southern grit, has loft goals of joining a ladies tennis team at the local country club.
SAME TIME NEXT WEEK
Director: Kalah Roberts
A flustered first time mom attends a therapy session, with her toddler in tow.
SHREVEPOET
Director: Abigail Kruger
Through movement we find the resilience and creativity of the people of Louisiana, when moving through a difficult time.
ST. ESTHER DAY
Director: Camille Schmoutz
An immigrant housekeeper struggles to adjust to the outlandish snobbery of her widowed mistress and forms an unlikely friendship with the woman’s sheltered daughter.
STIFF ARM
Director: Matthew Ramsaur
A lifelong group of friends won’t let a one in a million genetic disorder get in the way of Jacob’s wedding day.
SUPPLEMENTS
Director: Sarah Philips
The year is 2289, and all that’s left on Planet Earth is the domed city Old Centauri, roaming sun flares that scorch the land, and the nomadic tribes that mitigate the two. Kiirke comes from one such tribe, and she must travel to Old Centauri, along with her brother, to seek a small fortune to save her her family.

#### 2019 Oxford Film Festival Announces Roger Bart To Receive Lisa Blount Memorial Acting Award
 
The 2019 Oxford Film Festival (February 6-10) announced that Roger Bart will be honored with this year’s annual Lisa Blount Memorial Acting Award prior to the Opening Night Gala screening of John Stimpson’s GHOST LIGHT on Thursday, February 7 at 7:00PM at the Gertrude C. Ford Center (351 University Ave.).
Oxford Film Festival Executive Director Melanie Addington, said, “We pride ourselves in celebrating the work of actors’ actors with the Lisa Blount Memorial Acting Award each year, and Roger Bart could not fit the bill more perfectly. Whether you’ve been impressed by his characters in films like AMERICAN GANGSTER, THE PRODUCERS, LAST VEGAS, and TRUMBO, or happen to be a huge genre fan and have appreciated his work in films like HOSTEL: PART II, THE MIDNIGHT MEAT TRAIN, and EXCISION, Roger exemplifies great character acting. And this will be a wonderful night and setting to celebrate his career – prior to the Opening Night Gala screening of his latest film, GHOST LIGHT.”
In addition to the films mentioned previously, Bart has also made a significant mark on TV (“Desperate Housewives”, “How I Met Your Mother,” “Graves”, and most recently, “A Series of Unfortunate Events”), as well as being a veteran and Tony and Drama Desk Award winner on the Broadway stage (“You’re a Good Man, Charlie Brown”).
Stimpson’s GHOST LIGHT combines laughs and scares as an understudy, aiming for the lead role and the leading lady during a traveling production of Shakespeare’s Macbeth, unleashes mayhem by disregarding the time-honored superstitions that go along with staging “The Scottish Tragedy.” The film stars an impressive cast including Cary Elwes, Roger Bart, Carol Kane, Shannyn Sossamon, Danielle Campbell, and Tom Riley. The film screens Thursday, February 7 at 7:00PM at the Gertrude C. Ford Center (351 University Ave.).

#### 2019 Warner Bros. Home Entertainment First Wave Holiday Gift Guide
As we progress into Fall, it is time to start thinking about our Christmas wish lists.  Warner Bros. Home Entertainment Inc. is first out of the gate with their Holiday Gift Guide.  There is something for everyone in the family in this guide.  For the DC Comics enthusiasts, we have both Gotham: The Compete Series and Batman Beyond: The Complete Series Limited Edition.  For the kids (and those of us who are still kids at heart) we have Peanuts Holiday Collection 70th Anniversary Limited Edition and Scooby-Doo, Where Are You! The Complete Series Limited Edition 50th Anniversary Mystery Machine.  For family viewing, we have A Cinderella Story: Christmas Wish.  And finally, but certainly not least, we have the hit CBS series The Big Bang Theory: The Complete Series.
This is an impressive list of offerings for our gifts and stocking stuffers!  I have to admit that I feel like I’m like a kid in the candy store, I want one of everything!  Check out the details below!
 

 
Peanuts Holiday Collection 70th Anniversary Limited Edition – Available October 1, 2019 in a Collectible Blu-ray™ Giftset and Available Now on Digital
Good grief! The legendary Peanuts comic strip turns 70 and to celebrate the occasion, Warner Bros. Home Entertainment will release a gorgeous, collectible Blu-ray™ giftset comprised of three iconic animated holiday specials packaged in a limited edition Snoopy doghouse giftset! Titled Peanuts 70th Anniversary Holiday Collection Limited Edition, this collection includes It’s the Great Pumpkin, Charlie Brown, A Charlie Brown Thanksgiving and A Charlie Brown Christmas, as well as six additional Peanuts specials that are re-mastered/restored, plus brand-new special features. All nine specials are released on Blu-ray™ with a digital copy. This must-own box set comes with two additional, keepsake collectibles, including an exclusive Snoopy figurine and a Charlie Brown holiday book. This is a numbered, limited edition set with only 25,000 total sets available. It’s the perfect idea for seasonal gift-giving! Peanuts 70th Anniversary Holiday Collection Limited Edition retails for $99.99 SRP ($141.00 in Canada). The six additional specials include: It’s Magic, Charlie Brown, Charlie Brown’s All-Stars, The Mayflower Voyagers, Play it Again, Charlie Brown, It’s Christmastime Again, Charlie Brown and It’s Flashbeagle, Charlie Brown.
 

 
A Cinderella Story: Christmas Wish – Available on Digital October 15, and on Blu-ray™ Combo Pack and DVD October 29:
Break out the mistletoe and holly and get ready to sing and dance as Warner Bros. Home Entertainment releases A Cinderella Story: Christmas Wish. Relive the beloved timeless tale of Cinderella with a modern-day holiday twist! The enchanting all-new original movie stars Laura Marano (Disney’s Austin and Ally) as Kat Decker, Gregg Sulkin (Marvel’s Runaways, Faking It, Wizards of Waverly Place) as Dominic Wintergarden, Barclay Hope (Riverdale) as Terrence Wintergarden, three-time Leo® Award winner and Hallmark Channel favorite Johannah Newmarch (When Calls The Heart, Garage Sale Mystery franchise) as the cruel stepmother Deirdra Decker, Isabella Gomez (One Day at a Time) as Kat’s best friend Isla, and evil-stepsisters Joy and Grace are played, respectively, by Lillian Doucet-Roche (The Miracle Season) and Chanelle Peloso (Syfy’s Deadly Class). A Cinderella Story: Christmas Wish will be available on Blu-Ray™ Combo Pack for $24.98 SRP ($34.97 in Canada) and DVD for $19.98 SRP ($24.99 in Canada) as well as on Digital for $19.99 SRP. The Blu-ray Combo Pack (and Blu-ray in Canada) include a digital version of the film. This is the fifth installment in the A Cinderella Story movie series, and first one with a Christmas theme. Other titles include A Cinderella Story (Hilary Duff), Another Cinderella Story (Selena Gomez), A Cinderella Story: Once Upon a Song (Lucy Hale) and A Cinderella Story: If the Shoe Fits (Sofia Carson).
 
The Big Bang Theory: The Complete Series – Available Now on Digital, and on Blu-ray November 12
For years, fans have been delighted watching their favorite physicists Leonard (Johnny Galecki) and Sheldon (Jim Parsons) navigate the universe and everyday life along with Penny (Kaley Cuoco), and fellow scientists Howard (Simon Helberg), Raj (Kunal Nayyar), Amy (Mayim Bialik) and Bernadette (Melissa Rauch), as well as other beloved characters. The Big Bang Theory: The Complete Series, includes all 279 original episodes from 12 seasons of the top-rated sitcom, and is available for fans to own on DVD ($179.99) and a premium Limited Edition Blu-ray ($249.99 SRP). The complete set will feature nearly 12 hours of extras along with an additional disc including three exclusive and never-before-seen featurettes! The special Limited Edition Blu-ray Boxset comes in a beautiful lay-flat book with a fun pop-up and includes a digital copy.
 

 
Scooby-Doo, Where Are You! The Complete Series Limited Edition 50th Anniversary Mystery Machine – Available Now on Blu-ray™
Jinkies! Warner Bros. Home Entertainment salutes that lovable Great Dane, Scooby-Doo and the Mystery Inc. gang with the release of Scooby-Doo, Where are You!: The Complete Series Limited Edition 50th Anniversary Mystery Mansion. This release is packaged in an eye-catching, limited edition collectible mystery mansion giftset that includes all 41 episodes of the original series, Scooby-Doo! Where are You!, released on Blu-ray™ for the first time, as well as a Digital Copy of the series. This must-own box set has some fun extras. The set contains all-new HD content and Scooby-Doo collectibles including an exclusive Scooby-Doo Funko keychain, and a mini Scooby-Doo Encyclopedia. Scooby-Doo, Where are You!: The Complete Series Limited Edition 50th Anniversary Mystery Mansion retails for $89.99 SRP.
 
Batman Beyond: The Complete Series Limited Edition – Available on Digital October 15, and on Blu-ray™ October 29 
Batman Beyond, the landmark animated television series that illuminated the imagination of a new generation of Batman fans with its creation of an altogether new hero, is celebrating its 20th anniversary – and you get the gift! Warner Bros. Home Entertainment has remastered the heralded series for its first-ever presentation on Blu-ray™ in the all-encompassing Batman Beyond: The Complete Animated Series Limited Edition. The extraordinary package features approximately 1,500 minutes of entertainment spread over four Blu-ray™ discs, plus the two bonus discs of enhanced content. In addition to a newly-remastered Blu-ray presentation of Batman Beyond: Return of the Joker, there are 15 featurettes on the bonus discs, highlighted by two new inside looks at the beloved television series, led by Nostalgic Tomorrow, a gathering of Batman Beyond production talent and cast led by executive producer Bruce Timm and actors Kevin Conroy and Will Friedle, the voices of Batman and Terry McGinnis, respectively. The bonus discs also spotlight four episodes with audio commentary from Timm and select members of the production team.
 

 
Gotham: The Complete Series – Available Now on Blu-rayTM, DVD and Digital
Gotham: The Complete Series, which includes all five seasons of the hit Gotham series, is available for fans to own on Blu-ray and DVD for $112.99 / 99.99 SRP. From character origins to the final episodes of the hit DC/WBTV series that lay the foundation for the city’s iconic future, the release is the perfect gift for veteran fans and newcomers alike. The series features an all-star cast lead by Ben McKenzie (The O.C., Southland), Donal Logue (Grounded for Life, Vikings), David Mazouz (Touch), Sean Pertwee (Elementary), Robin Lord Taylor (The Walking Dead), Erin Richards (The Quiet Ones), Camren Bicondova (Gotham Stories), Cory Michael Smith (Carol) and Chris Chalk (12 Years a Slave). Shane West (A Walk to Remember) is also introduced in the as the iconic DC Super-Villain, Bane for the final season. Developed by Bruno Heller, the series is executive produced by Heller, Danny Cannon and John Stephens. Based on the DC characters, Gotham is produced by Warner Bros. Television.

#### 2020 Louisiana Film Prize (October 2-11) Announces 20 Finalists Who Will Compete for $25,000 Grand Prize
 
The 2020 Louisiana Film Prize announced the 20 finalists who will compete for a $25,000 grand prize (the world’s largest cash prize for a narrative short film). The 9th edition of the award-winning Louisiana Film Prize will be take place virtually this year with viewing and voting online open, for the first time ever, to an international audience. The grand prize winner will be determined, as in past years, via a rare combination of voting from audience members and judges comprised of film and industry veterans, tastemakers, and celebrities.
“The Louisiana Film Prize and the winning cash prize has become an ever-growing international draw for burgeoning indie filmmakers around the world. Not even a global pandemic could slow down the enthusiasm and participation for this year’s Film Prize,” said Gregory Kallenberg, Founder and Executive Director of the Film Prize Foundation. “This year will be special because people from around the world will be experience this one-of-a-kind event.”
In May, the Louisiana Film Prize expanded its “shooting zone” from Northwest Louisiana to the entire state as a response to the COVID-19 pandemic to assist aspiring filmmakers in their efforts to film their stories and be eligible to compete in this year’s event. With 13 of the 20 finalists hailing from the state, including; Baton Rouge, Bossier, Metairie, Monroe, New Orleans, and of course, Shreveport, it is clear that many filmmakers took that opportunity and ran with it.
In addition to the numerous Louisiana residents vying for this year’s $25,000 check, the class of 2020 includes filmmakers from Dallas (Suzanne Racz/BAKED POTATO NIGHT), Los Angeles (Michael Landry/NICE TO MEET YOU) and Hannah Dorsett (BECKY’S BIG CATCH), Washington D.C. (Abigail Kruger/GREEN’S ALLEY), and London (Hattie Haggard Gobble/STRANGERS IN A STALL). Each of those filmmakers (among numerous others) made the trip to Louisiana to shoot their films so they would qualify for the Film Prize competition.
Film Prize has routinely had a strong contingent of female filmmakers, with this year’s line up once again following suit with eight women directors in the mix, including; Anne Nichols Brown’s AWAY; Suzanne Racz’s BAKED POTATO; Hannah Dorsett’s BECKY’S BIG CATCH; Abigail Kruger’s GREEN’S ALLEY; Mary McDade Castille’s MS. BLUE; Hattie Haggard Gobble’s STRANGERS IN A STALL; Eva Contis’ STUCK IN THE MIDDLE; Lorna Street Dopson’s UNTITLED POST-BABY PROJECT; and Christine Chen’s VOUÈE.
Film Prize’s rare hybrid film festival and film competition will also see another notable change this year as the virtual presentation will allow for a wider international audience with an extended schedule to allow more film fans to view the films, vote, and participate in an event that last year saw more than 5000 film lovers descending upon Shreveport to be a part of one of the film festival circuit’s most popular weekends.
The event has made an undeniable yearly impact on both filmmaking in Northwest Louisiana and the local economy (the Film Prize has brought in over $4 million in economic impact for the area) achieved by encouraging filmmakers from around the world to journey to the area to make their films and then return to Shreveport for the film festival/competition itself. This year, while there will not be an in-theater component, Film Prize is actually expected to go to another level with the planned virtual presentation allowing the event to extend its reach, further advertising the possibilities for aspiring film artists all around the world to make the trip, make their films in Northwest Louisiana in 2021 and go for the big check themselves.
In order to qualify for the Louisiana Film Prize, filmmakers created a short film (5-15 minutes) in which the production was shot in the state of Louisiana. In addition to the one $25,000 grand prize winner, the Top 5 Louisiana Film Prize films will receive distribution through Shorts International on iTunes and will also screen at various festivals across the country. Louisiana Film Prize will also distribute filmmaking grants and $1,000 “Best Actor” and “Best Actress” accolades. To date, the Film Prize Foundation has awarded over $475,000 in cash to independent filmmakers.
Tickets to the Louisiana Film Prize are on sale now. Festival sponsorships are also available. Visit prizefest.com for more information.
 
 
The 2020 Louisiana Film Prize Finalists
A CRY FOR HELP
Director: Steven Esteb
When a man of color is convicted of a crime he did not commit, his life and death hang in the hands of a woman too afraid to stand for truth.
AWAY
Director: Anne Nichols Brown
Troubled teenager attempts to save his sister from what seems to be an abusive home.
BAKED POTATO 
Director: Suzanne Racz
Twin sisters, Helen and Pete, on the eve of their 80th birthday, endure a test to their lifelong bond when a dapper new resident of their retirement village begins to court them both.
BECKY’S BIG CATCH
Director: Hannah Dorsett
After accidentally killing her tennis teammates (R.I.P. Char’s Krewe), Becky decides to try fishing but ends up catching more than she bargained for.
DOUBLE DATE NIGHT
Director: Paul Petersen
Two roommates find the intimate meaning of friendship through the trials and tribulations of preparing a stay-at-home dinner for their dates.
FIND HER
Director: Dexter Duran
A family goes hunting after the daughter to prevent her from revealing a dark secret.
THE GAZEBO
Director: Barry Larsen
To protect the memory of her late husband, Nina George will stop at nothing. She’s a tough nut to crack but she finds an unexpected partner in crime and confidant when she enlists the help of local n’ere-do-well Charley.
GREEN’S ALLEY
Director: Abigail Kruger
In a complicated moment we can forget about those most vulnerable… those we deem unfit. In these times we may also find ourselves escaping with a wild circus of imagination and color.
IMMINENT
Director: Topher Simon
A hardworking, everyday man is startled by an unknown, imminent threat that stands between him and his family.
IN(APP)LICABLE
Director: Cam Owen
After moving from small-town Louisiana to New Orleans, Ted navigates the city through a dating app.
MORIAH 
Director: Nathan Tape
In the 70’s in the Deep South, an estranged son is violently reunited with his father against his will. Sometimes we all need a little Mercy.
MS. BLUE
Director: Mary McDade Castille
Ms. Blue, a charismatic elderly woman spends her days sitting on her porch and talking to those that pass by. Some bring pleasantries, others bad memories.
NICE TO MEET YOU
Director: Michael Landry
When a recently separated couple meet up at their favorite bar, the reunion awakens feelings of bitterness and love.
RONNIE
Director: Justin Lacalamita
Planned obsolescence is the way of life.
STRANGERS IN A STALL
Director: Hattie Haggard Gobble
With the neighboring help from their fellow stallmates, three distinct women try to overcome their unfortunate, yet somehow predictable, circumstances in the women’s restaurant bathroom.
STUCK IN THE MIDDLE
Director: Eva Contis
When a mother witnesses the racial bullying of her son, she confronts the apathetic principal.
THREE MILE HELL
Director: Jeremy Enis
A haunted man is forced to face the consequences of his troubled past. He will have to walk the Three Mile Hell once again – this time to set things right.
UNTITED POST-BABY PROJECT
Director: Lorna Street Dopson
A young woman struggles to adjust to motherhood.
VALUE INN
Director: Ken Burton
A young woman dealing with alcoholism and the loss of her fiancé seeks forgiveness and redemption from his mother in his hometown.
VOUÈE
Director: Christine Chen
A man makes a choice to accept his fate and sacrifice in the name of love.
 

#### 2020 Louisiana Film Prize Replaces Finalist for First Time in Event’s History
 
The 2020 Louisiana Film Prize announced that Catherine Ann Taylor’s THIN SLICING has been added to the roster of 20 finalists who will compete for a $25,000 grand prize (the world’s largest cash prize for a narrative short film). The film will replace a disqualified film that had been previously selected. The disqualified film premiered at a festival prior to the Film Prize which, automatically, removed it from competition.
While the removal of the original film is disappointing, the Film Prize also reported that the inclusion of THIN SLICING has made Film Prize 2020 the first Film Prize with 50% female filmmakers.
Taylor’s THIN SLICING follows the romantic push and pull between a guy and a girl as they navigate their feelings and an attraction for each other past the road block she has set up with her “thin slicing” assessment of her dating prospects and his crush on her friend.
Taylor joins a strong roster of women filmmakers Film Prize has in the competition, including; Anne Nichols Brown’s AWAY; Suzanne Racz’s BAKED POTATO; Hannah Dorsett’s BECKY’S BIG CATCH; Abigail Kruger’s GREEN’S ALLEY; Mary McDade Castille’s MS. BLUE; Hattie Haggard Gobble’s STRANGERS IN A STALL; Eva Contis’ STUCK IN THE MIDDLE; Lorna Street Dopson’s UNTITLED POST-BABY PROJECT; and Christine Chen’s VOUÈE.
Film Prize’s rare hybrid film festival and film competition virtual presentation will allow for a wider international audience with an extended schedule to allow more film fans to view the films, vote, and participate in the event. In addition to the one $25,000 grand prize winner, the Top 5 Louisiana Film Prize films will receive distribution through Shorts International on iTunes and will also screen at various festivals across the country.
Film Prize 2020 films will play at Prize Fest 2020, October 2-11. This unique film competition combines audience and judge’s to determine the $25,000 winner, the world’s richest cash prize for a short narrative film. More info at www.PrizeFest.com.
 

#### 2020 San Luis Obispo International Film Festival Announces Cancellation of Film Festival
 
The San Luis Obispo International Film Festival’s board of directors and staff announced today that the SLO Film Fest, scheduled for March 17-22, will be cancelled. The San Luis Obispo Public Health agency, in accordance with State health guidelines surrounding the impacts of the Coronavirus/COVID-19 has asked that the event be cancelled. Festival organizers will begin the process of working with filmmakers to find new ways to share variations of the festival’s program in the future, when it is safe to do so.
“I know I speak for our staff, volunteers, sponsors, vendors and many more who have been working hard for many months to present what was set to be our biggest and best festival ever. It is truly heart-breaking but we know this is the right plan of action at this time. We appreciate the love and support we get from our community and appreciate their patience as we sort out the aftermath and determine the best way forward. There will definitely be ways to share some of these exceptional films with our audiences,” said Festival Director, Wendy Eidson.
Like many non-profit organizations and small businesses, these developments will deeply impact SLO Film Fest creating a significant financial loss. For that reason, the festival is requesting that festival-goers please consider converting their festival pass and ticket purchase into a donation. However, all 2020 passes will be honored for next year.
Individual tickets will be offered a voucher good for a future event or the next edition of the film festival. The film festival’s staff will be in contact with all patrons over the course of the next few weeks to offer more details regarding ticketing. The San Luis Obispo International Film Festival’s staff and board appreciate everyone’s patience as the organization navigates this difficult time. Any questions can be sent to info@slofilmfest.org

#### 2021 Bentonville Film Festival Announces Film Lineup
 
The Bentonville Film Foundation today announced the narrative, documentary feature, short, and episodic film selections debuting in the 2021 Bentonville Film Festival’s competition program set for August 2-8 in Bentonville, AR. For this year’s event BFF will combine virtual and safe in-person activations, including premieres, conversations, awards, and events to produce a hybrid experience for Festival attendees. Festival passes and single tickets are on sale now.
This year Festival attendees will enjoy a 30th anniversary screening of Thelma & Louise at the 112 Drive-In (Fayetteville, AR) on Tuesday, August 3 followed by an exclusive conversation with the film’s star and Festival Chair, Academy Award® winner Geena Davis and Academy Award®-winning screenwriter Callie Khouri. The film, which first premiered in 1991, is an empowering tribute to trailblazing women.  Davis’ (Thelma) and Susan Sarandon’s (Louise) iconic strong female lead performances cemented the revolutionary film as a feminist classic that still resonates today.
“We are proud to offer audiences an inspirational line up celebrating diversity and inclusion on screen and behind the camera, to demonstrate the power of intersectional equity in entertainment media. Through our unique inclusion qualifiers, we are giving voice to directors who are 71% Female, 75% BIPOC or AAPI and 33% LGBTQIA+,” said Geena Davis, Bentonville Film Festival Chair. “We were excited last year to see our audience grow globally as a result of our virtual component. Come to our Festival this year, in person or virtually, and be transported into stories that can change the world,” said Davis.
“We are thrilled to come together in the heartland to share stories of inclusion at the 7th Annual BFF. The mission of the Festival has always been to create a platform that champions a multitude of new, diverse voices. The silver lining from last year’s 2020 virtual Festival was the unique opportunity to expand our capacity and thereby, our audiences, with more than 30,000 virtual attendees,” said Wendy Guerrero, President of Bentonville Film Festival and Foundation. “The Festival is a welcome celebration of art and creativity, and is central to our mission of supporting filmmakers from diverse backgrounds. With exciting and fresh narratives from some of the most up-and-coming voices in film, this year’s competition lineup is one we can’t wait to share with Festival audiences,” said Guerrero.
The Bentonville Film Festival is an annual Festival and globally recognized platform amplifying female, non-binary, LGBTQIA+, BIPOC, and people with disabilities’ voices in entertainment. The week-long Festival, presented by the Bentonville Film Foundation, in partnership with founding sponsor Walmart and presenting sponsor Coca-Cola, is known for its dedication to championing marginalized and underrepresented voices in film with 71 percent of the competition titles directed by women.
In the BFF 2021 juried competition program, 71% are directed by women, 75% by people that are BIPOC or AAPI, and 33% by people of the LGBTQIA+ community. 70% of these films are written by women, 70% by people that are BIPOC or AAPI, 32% by people of the LGBTQIA+ community and 87% feature a female lead, 81% a BIPOC or AAPI lead, and 30% an LGBTQIA+ lead. 96% of these films have a cast and crew that was made up of more than half of people from these same communities. The Festival’s director of programming, Ashley Edwards, and film curator, Drea Clark, led program selections for this year’s competition lineup.
In 2020, the Bentonville Film Festival’s hybrid virtual program saw more than 30,000 attendees over the course of the Festival. More Festival programming announcements are forthcoming, including special events, panels and jury. Passes and tickets for the 2021 Bentonville Film Festival can be purchased here.
The following projects are confirmed for the 2021 Bentonville Film Festival competition: NARRATIVE FEATURES:
7 DAYS, U.S.A. (Director/Writer: Roshan Sethi) Ravi is set up on an arranged marriage date with Rita by their traditional Indian parents. When the circumstances of quarantine force them to shelter together, Ravi discovers that Rita is not quite the traditional girl of his dreams.
Cast: Mark Duplass, Geraldine Viswanathan, Aparna Nancherla, Karan Soni
AMERICANISH, U.S.A (Director: Iman Zawahry, Writers: Aizzah Fatima, Iman Zawahry) In Jackson Heights, Queens two sisters and their fresh off the boat cousin try all the conventional ways to earn the love and respect of the matriarch of their family only to learn that life works out in the most unconventional ways.
Cast: Aizzah Fatima, Salena Qureshi, Shenaz Treasurey, Mohammed Amer, Kapil Talwalker, Godfrey, Ajay Naidu, David Rasche
BEANS, CA (Director: Tracey Deer, Writers: Tracey Deer, Meredith Vuchnich) BEANS is a 2020 Canadian drama film that explores the 1990 Oka Crisis at Kanesatake, which Deer lived through as a child, through the eyes of Tekehentahkhwa, a young Mohawk girl whose perspective on life is radically changed by these events.
Cast: Kiawentiio, Violah Beauvais, Rainbow Dickerson, Joel Montgrand, Paulina Alexis, D’Pharaoh Woon-A-Tai, and Jay Cardinal Villeneuve
CATCH THE FAIR ONE, U.S.A. (Director/Writer: Josef Kubota Wladyka) A former boxer embarks on the fight of her life when she goes in search of her missing sister.
Cast: Kali Reis, Daniel Henshall, Tiffany Chu, Michael Drayer, Lisa Emery, Kimberly Guerrero, Kevin Dunn
THE DAPHNE PROJECT, U.S.A. (Directors/Writers: Alec Tibaldi, Zora Iman Crews) Daphne Wilco, actress and social justice warrior, wreaks havoc on a production of Euripides’ “The Bacchae” in the name of progress — her progress.
Cast: Zora Iman Crews, April Lavalle, Jake Horowitz
THE DISAPPEARANCE OF MRS. WU, U.S.A. (Director: Anna Chi, Writers: Donald Martin, Anna Chi, Ella Lee) Aware that her time is running short, irascible Wu family matriarch Lily (Lisa Lu) is eager to repair the strained relationship with her adult daughter Mary (Michelle Krusiec) and help her shy 18-year-old granddaughter Emma (Rochelle Ying) find her voice. As her final wish, she persuades longtime friend Charlotte (Joely Fisher), Emma and Emma’s best friend Karen (Tiffany Wu) to spring her from her L.A. nursing home and take a wild road trip up the California coast to a special place from her past. Along the way, long-held secrets are revealed and Mary and Emma each come to understand the painful choices their mothers made in this funny and touching multi-generational story about family, forgiveness and being true to oneself. World Premiere
Cast: Lisa Lu, Michelle Krusiec, Jiani “Rochelle” Ying, Adrian Pasdar, Joely Fisher, Karen Chan and Da’Vinchi
I’M FINE (THANKS FOR ASKING), U.S.A. (Directors: Kelley Kali, Angelique Molina, Writers: Kelley Kali, Angelique Molina, Roma Kong) In this exhilarating, poignant debut feature, Danny (played by co-director Kelley Kali in a star-making performance), a recently widowed woman barely makes ends meet by braiding hair and making deliveries on roller skates. Having convinced her 8 year old daughter they are ‘camping out’ in a tent for fun (in a nod to “Life is Beautiful”) she manages to save enough money for a downpayment on a new apartment. When a client is unable to pay her, she realizes that if she can’t raise $200 by day’s end she will lose the apartment and have to admit to her daughter that they are actually “houseless”. What follows is an intense, manic and frayed day until the final reckoning. In a world where we need more underrepresented voices telling their own stories, this movie hits the mark. Equal turns funny and heart wrenching, this is a soaring, urgent achievement that announces the co-directors, co-writers, and leading cast as major forces in a work that will have audiences cheering.
Cast: Kelley Kali, Wesley Moss, Deon Cole, BK Marie
LUDI, U.S.A. (Director: Edson Jean, Writers: Edson Jean, Joshua Jean-Baptiste)  Ludi, a hardworking and exhausted nurse, battles coworkers, clients and one impatient bus driver to learn her self worth as she chases the American Dream in Miami’s Little Haiti neighborhood.
Cast: Shein Mompremier, Alan Myles Heyman, Madelin Marchant, Success St. Fleur Jr., Kerline Alce, Plus Pierre and Patrice DeGraff-Arenas
THE NOVICE, U.S.A. (Director/Writer: Lauren Hadaway) A college freshman joins her university’s cutthroat rowing team, and undertakes an obsessive journey to make the top varsity boat, no matter the cost.
Cast: Isabelle Fuhrman, Amy Forsyth, Dilone, Kate Drummond, Jonathan Cherry, Charlotte Ubben, Nikki Duval
SEE YOU THEN, U.S.A. (Director: Mari Walker) Kris, a transgender computer programmer, and Naomi, an Asian-American performance artist, used to date in college. They haven’t seen each other for 15 years, since Kris left town without a word. Over the course of a one night encounter, they engage in a series of increasingly intimate and revealing conversations, before a revelation sends everything spiraling out of control. See You Then focuses on the universal truth that no matter how much you change, a part of you will always stay the same.
Cast: Pooya Mohseni, Lynn Chen
WAIKIKI, U.S.A. (Director/Writer: Christopher Kahunahana) When a Native Hawaiian hula dancer escaping her abusive boyfriend crashes her beat-up van into a mysterious homeless man, she finds herself flung into a surrealistic journey of self-exploration and enlightenment. Director Christopher Kahunahana’s eagerly awaited feature debut breaks down the enduring, stereotypical image of paradise we have of Waikiki to reveal a vulnerable and authentic portrait of indigeneity. Leaving behind the touristic image of paradise and island culture, WAIKĪKĪ tackles the often-unspeakable generational trauma of postcolonial cultures through a mixing of genre conventions, experimental storytelling, and perspectives. Cast: Danielle Zalopany, Peter Shinkoda
WOMEN IS LOSERS, U.S.A. (Director/Writer: Lissette Feliciano) Inspired by real women and the Janis Joplin song of the same title, Women Is Losers is a dramedy that follows the life of a young single mother whose refusal to let herself and her newborn son sink into poverty puts her at odds with pre-Roe v. Wade America.
Cast: Lorenza Izzo, Bryan Craig, Chrissie Fit, Simu Liu, Steven Bauer
 
DOCUMENTARY FEATURES:
 
ALL THESE SONS, U.S.A. (Directors: Bing Liu, Joshua Altman) In the summer of 2020, Chicago experienced the worst rates of gun violence in nearly 20 years. While city leadership has responded with aggressive and racist policing, a collection of anti-violence organizations has fought for change within the neighborhoods most impacted. Beginning in 2018, we follow Marshall Hatch Jr. from the West Side and Billy Moore from the South Side as they work directly with young men from the community to not only end this cycle of death but to end it by undoing generations of oppression leading all the way back to the American slave trade. As Marshall puts it, at stake is the very soul of the nation.
AT THE READY, U.S.A. (Director: Maisie Crow) Ten miles from the Mexican border, the students at Horizon High School in El Paso (many of whom are Latinx) train to become police officers and Border Patrol agents. As they discover the realities of their dream jobs may be at odds with the truths and people they hold most dear, we learn the price they must pay as they grapple with their place within their communities at the intersection of identity, immigration, and personal politics.
CRUTCH, U.S.A. (Directors: Chandler Evans, Sachi Cunningham) Crutch chronicles the life of Bill Shannon, an internationally renowned artist, breakdancer and skateboarder on crutches, as he finds his voice and uses his performance art to expose the secret world of assumptions that exists all around us.
A FIRE WITHIN, U.S.A. (Director: Christopher Chambers) A Fire Within chronicles the incredible, true story of three Women who are immigrants from Ethiopia and torture survivors, who one day discover that their torturer is in the U.S…working at a hotel in Atlanta, Georgia. It is a thrilling story about three immigrants, three refugees, three survivors taking a stand to make their voices heard and their courageous fight to bring a notorious torturer from Africa to justice — right here in America.
KILL BIG, U.S.A (Director: Ida Joglar) A group of plus-sized women from around the world attempt to climb the tallest peak in Africa, Mount Kilimanjaro. World Premiere
MOM & M, U.S.A. (Director: Jena Burchick) Mom & M is an intimate portrait of modern American parenthood. Meet Nikki, a transgender writer; Elise, a social media influencer; and Sansa, their adopted daughter who battles leukemia. Together they navigate what happens when your partner comes out as transgender while caring for an ill child and that remission is not the end to life’s challenges. The Richard family offers a deep-seated glimpse of love’s power in surviving extraordinary circumstances.
SUBJECTS OF DESIRE, U.S.A. (Director: Jennifer Holness) Subjects of Desire explores the cultural shift in North American beauty standards towards embracing Black female aesthetics and features while exposing the deliberate and often dangerous portrayals of Black women in the media. Told from the POV of women who aren’t afraid to challenge conventional beauty standards, the film is partially set at the 50th Anniversary of the Miss Black America Pageant, a beauty pageant that was created as a political protest. SUBJECTS OF DESIRE is a culturally significant, provocative film that deconstructs what we understand about race and the power behind beauty.
TRY HARDER!, U.S.A. (Director: Debbie Lum) At the top public high school in San Francisco — with a majority Asian American student body — the seniors are stressed out. Students are keenly aware of the intense competition for the few open spots in their dream colleges. With humor and heart, Try Harder takes us to the reality of the American college application process and the intersection of class, race, and educational opportunity as they navigate a quintessential rite of passage and make it their own.
UPROOTED: THE HISTORY OF JAZZ DANCE, U.S.A. (Director: Khadifa Wong) The history, lineage and future progressions of jazz dance. The story of Jazz Dance is a complex one, it goes to the very heart of humanity.It is a story of triumph over adversity, oppression and privilege as well as a celebration, because ultimately, what all people have in common is rhythm and a basic human need to get down.
WORKHORSE QUEEN, U.S.A. (Director: Angela Washko) By day, Ed Popil worked as the manager of a telemarketing center in post-industrial Rochester, New York for 18 years. By night, he transformed into drag queen Mrs. Kasha Davis. Not your average aspiring pop star drag queen, Mrs. Kasha Davis is a 1960’s era housewife trying to liberate herself from domestic toil through performing at night in secret – an homage to Ed’s own mother. After seven years of auditioning to compete on reality television show RuPaul’s Drag Race, Ed Popil was finally cast onto the show and thrust into a full time entertainment career at the late age of 44. Workhorse Queen explores the complexities of mainstream television’s impact on queer performance culture. In addition to following Ed’s life and career before and after being cast onto RuPaul’s Drag Race, the film focuses on the growing divide between members of a small town drag community – those who have been on television, and those who have not. Throughout the film, Ed Popil navigates the exciting highs and devastating lows of pursuing the fame promised by a reality television platform. With one foot inching toward Hollywood’s doorstep and the other cemented firmly within her beloved Rochester community, Mrs. Kasha Davis finds a surprising new audience at home as she works toward becoming the queer role model for children that Ed didn’t have and desperately wanted growing up.
YOUTH V GOV, U.S.A. (Director: Christi Cooper) A story of global importance that has already inspired numerous legal actions around the world, Youth V Gov is the story of America’s youngest citizens taking on the world’s most powerful government. Twenty-one courageous youth lead a groundbreaking lawsuit against the U.S. government, asserting it has willfully acted over six decades to create our climate crisis, thus endangering their constitutional rights to life, liberty, and property. If these young people are successful, they’ll not only make history, they’ll change the future.
 
SHORT FILMS:
 
#WHITINA, (Director/Writer: J.Sean Smith)
Inspired by coming of age cult classics, #WHITINA is a film about exploring the crossroads of the inner and outer struggles of being Mexican-American against the backdrop of a social media obsessed society. High School cheerleader and whitina (white acting Latina) Genesis Valdez is forced to go on the run with her two former best friends (Bella and Chris) after a confrontation with undercover I.C.E. Agents. The altercation is filmed by two middle schoolers and the group goes #viral. While on the run Chris reveals he is a dreamer and could get deported. Genesis makes a decision to help Chris escape and learns what it really means to be “down for La Raza.”
Cast: Xolo Maridueña, Inde Navarrette, Keyla Mejia
AMERICANIZED, (Director/Writer: Erica Eng)
Growing up in Oakland’s hip-hop culture, Eng struggles with her Chinese American identity. To her high school basketball team, she’s just that girl who sits on the bench; but to the Asian kids she’s “Americanized.” As her sophomore year of high school comes to an end, Eng tries to find a sense of belonging within the two worlds that don’t accept her.
Cast: Terry Hu, Amber Gaston, Helen Ong, Charles Yan, Shannon Dang, Sharar Ali-Speaks Mark A. Neely
BIG TOUCH, (Director/Writer: Christopher Tenzis)
An Afro-Surrealist story about a giant woman and a tiny man who through the power of touch, experience an unexpected transformation.
Cast: Raymond Ejiofor, Arabella Frost, Carly Stewart, Astra Marie Varnado
 
BJ’S MOBILE GIFT SHOP, (Director/Writer: Jason Park)
A young Korean-American hustler runs throughout the city of Chicago making sales out of his “mobile gift shop”.
Cast: Johnnyboy Tellem, Soonshim Shin, Gwangwee Jung
 
BUG FARM, (Director: Lydia Cornett)
In this documentary short, four distinct women in Central Florida bond over working with crickets, superworms, and roaches on an insect farm in the small town of LaBelle.
 
CONGRATULATIONS (MABROOK), (Director/Writer: Asad Farooqui)
Amir is a struggling actor, meddling with lowly, wordless terrorist roles. More importantly, he struggles with his parents not taking his career choice seriously. Amidst the party chaos highlighted by politics, cricket, and community gossip, a revelation brings Amir a new challenge—just making it through the day.
Cast: Asad Farooqui, Manahar Kumar, Nasim, Rajiv Vora, Navin Gurnaney, Rabinder Campbell, Farah Toor, Annam Rizwan
 
CRACKED, (Director/Writer: Lin Que Ayoung)
It’s the end of the summer of 1985 in Queens, New York City. Toya, a feisty young girl, falls in love for the first time. After a series of disturbing events, Toya’s affection for Poochy compels her to face her traumatic past.
Cast: Tatum Marilyn Hall, Meliki Hurd, Kizzmett Pringle, Dwayne Grant, Paris Crayton III
 
DREAMER, (Directors: Vergi Rodriguez, Diana Zollicoffer, Writer: Vergi Rodriguez)
Lily Cruz, a DACA recipient, travels on a medical volunteer mission and upon returning to the USA a TSA agent isn’t so welcoming.
Cast: Vergi Rodriguez, Linden Waddell, Rafael Noble, Avery Waddell, Jared Bell
 
EL TRISTE, (Director/Writer: Manuel Del Valle)
A Drama that takes place on the backstage of a marionette show.
This short film follows “El Triste”, an old used ragdoll-like marionette, and his journey of self-acceptance and discovery as he decides to do all it takes to prove to himself and his fellow puppets that he is valuable and worthy of admiration.
Cast: Matt Scott, Cain Carian
 
FIRST DOWN, (Director: Carrie Stett, Writer: Brian Loschiavo)
A group of teenage girls who find a way out though America’s favorite sport…for men. World Premiere
 
I AM NORMAL, (Director: Olia Oparina, Writer: Anya Bay)
A sane woman fakes the symptoms of a mentally unstable patient in order to be admitted into a mental institution for a secret psychiatric experiment. Inspired by the Rosenhan Experiment of 1973.
Cast: Nora-Jane Noone, Saul Rubinek, Susan Moore Harmon, Anya Bay
 
I’M A VAMPIRE, (Director/Writer: Sofia Garza-Barba)
In and amongst the confusion created by the COVID-19 pandemic lockdown, 8 year-old Jackie believes she is turning into a vampire. As her suspicion is reinforced by her parents’ bewildering behavior, the imaginative girl creates her own plan to survive the confinement.
Cast: Elisa Garza T, Lucy Vico, David Angulo
 
I WAS A STRANGER, (Director: Reiko Aylesworth, Writer: April E. Brassard)
A woman fleeing domestic violence finds refuge on the road in a community of boondockers. They have an esoteric awareness of the terms of her exile—everyone here is running from something. When her cruel captor tracks her down, these strangers become unceasing allies, no matter the cost. Inspired by true events. World Premiere
Cast: Elizabeth Rodriguez, Jason Butler Harner, James Badge Dale, Bernard Addison, Carlease Burke
 
KOREATOWN GHOST STORY, (Directors/Writers: Minsun Park, Teddy Tenenbaum)
In this supernatural horror tale based on a Korean ritual starring Margaret Cho and Lyrica Okano, a woman entertains a macabre offer that would let her pursue her dreams, for better or for much much worse.
Cast: Margaret Cho and Lyrica Okano
 
MESSAGE READ, (Director: Spencer Glover, Writer: Kariss Forte)
In the afterlife material possessions cease to exist. For those who can’t let go, there’s one stop before that final resting place and it’s called Firth. Message Read tells the story of a father who desperately misses his son and must decide between moving on to finality or spending another eternity stuck in Firth.
Cast: Ricco Ross, Germar Gardner
 
NAHJUM, (Directors: Sebastian Torres Greene, Manuel Del Valle, Writers: Sebastian Torres Greene, Manuel Del Valle, Erik Hirschhorn)
A prehistoric family’s desperate search for a mythical source of life turns into tragedy when the egos and obsessions of their male members rise to the surface.
Cast: Alejandra Herrera, Estanislao Marin, Fernando Rojasbarr
 
NOOR AND LAYLA, (Director/Writer: Fawzia Mirza)
Noor and Layla are breaking up. Is it the end of the road for these two Muslim women… or is it the beginning? Noor & Layla is about reclaiming ritual through the love story of two queer, Muslim women, told at five different moments in their relationship, marked by the five calls to prayer (fajr, dhur, asr, maghrib, isha). The film opens at fajr, the dawn prayer, at the end of their relationship and follows a reverse chronology to the evening prayer, isha, the moment they first met.
Cast: Nicole Nwokolo and Sahar B. Agustin-Maleki
 
PIZZA PARTY, (Director/Writer: Tessa Hope Slovis)
“We are not broken, we are a million shattered pieces glued into something strong and solid”
Based on a true event preceding the Larry Nassar trials, an unlikely pair come together at a dystopian pizza party for sexual assault survivors. #42; A quiet high schooler meets #1; A quick-witted litigator due with her first child any day now- flanked lovingly by her husband Max. Their relationship blooms and #42 becomes #1’s greatest teacher. Through solidarity, #42, #1 and every woman in the room begins to reconcile with and acknowledge the innocence that was taken away from them. Opening a portal into a dream-like world of leotards and little girl cries, of strength, joy and unrelenting fury.
Cast: Margot Bingham, Jen Ponton, Catherine Elvir, Gene Gallerano
 
SELAHY (MY WEAPON), (Director/Writer: Alaa Zabara)
A short narrative film that takes place in war-torn Yemen and follows a young deaf girl, Saleemah who has one major love in this world; her camera which her brother Aqeel introduced her to. Aqeel works as a news reporter and is unable to take her out to film because he is preoccupied covering the war.
Frustrated, Saleemah wanders out of the house during an impending air strike. To make matters worse, she loses her hearing aids.
Cast: Malak Nassar, Mohammad Nizar
 
SORRY FOR THE INCONVENIENCE, (Director/Writer: Jane Chow)
In Los Angeles Chinatown, a lonely teenager tries to help her parents keep their seafood restaurant afloat during the COVID-19 pandemic. Between chopping green beans and packing takeout orders, she attempts to hang on to a semblance of normalcy by studying for her driver’s permit and prepping for her high school Zoom theater debut in “The Tempest.”
Cast: Caitlin Cheung, Alice Ko, Jim Lau
 
STAIRS, (Director: Zoljargal Purevdash, Writers: Nomin-Erdene Turmunkh, Zoljargal Purevdash, Genevieve Clay-Smith)
A young man’s dream to make a living in Ulaanbaatar is put to the test when he must navigate the social and physical obstacles in his path.
Cast: Davaasuren Bayarmunkh, Egshiglen Bayarbat, Dambiljantsan Vandansodov, Byambabud Sukhtumur
 
THE SUMMER OF SNAKES, (Director/Writer: Lara Panah-Izadi)
A famous sculptor revisits a childhood summer haunted by a trauma that she will overcome through her colorful art. Inspired by the life of feminist icon and artist Niki de Saint Phalle (1930-2002).
Cast: Isabella Crovetti, Will Murden, Sydney Lemmon, JB Waterman
 
SUPERESTAR, (Director/Writer: Daniel Larios)
Two Salvadoran women, one a first generation indie-pop singer, and the other an immigrant bathroom attendant at an LA nightclub, bond over their different troubles and their mutual love of music.
Cast: Jacqueline Munguia, Jasmin Iraheta, Pedro Isaac Chairez, David Atsbaha, Freddy Giorlando, Nico de Gallo
 
WALKING THROUGH PEANUT BUTTER, (Director: Lorena Russi, Writer: Anna Marr)
22-year-old workaholic Jessie has just moved to the city that never sleeps to follow her dreams of stand-up comedy. She also has narcolepsy, a misunderstood sleep disorder that even she knows little
about. In this short, Jessie steps up to the mic only to discover a strange new symptom that will threaten to challenge her comedy career and force her to wake up to the reality of having a serious chronic illness. World Premiere
Cast: Anna Marr, JJ Warshaw, Fumi Abe, Bethany Lauren James, Sarah Wharton, Brian Morabito
 
WHEN THE LEAVES FALL, (Director/Writer: Chantel Chavon)
Triggered by a haunting childhood memory, a homeless woman living inside an abandoned bus shelter loses her grip on reality, ultimately putting herself and those around her in imminent danger. Based on true accounts, When the Leaves Fall is a gripping story that explores the intersectionality of mental illness and racism, exposing the dangerous fallout that can arise for people when symptoms are ignored or neglected. This is a thought-provoking film that hopes to bring awareness to those who suffer from mental illness and to ignite a powerful conversation around the pervasiveness of racism in today’s society.
Cast: Morgan Lavenstein, Mickey O’Sullivan, Nadia Simms, Sophie Leonard, Jeremy Phillips, Tonray Ho, Chantel Chavon
 
WOMANHOOD, (Director/Writer: Sierra Swartz)
Two polar opposite sisters navigate the emotional mishmash of becoming a woman.
Cast: Sierra Swartz, Ryker Baloun, Andi Rexha, Betsy Moore, Juliette Allison Bailey
 
YOU ARE ME & I AM YOU, (Director: Melissa Kirkendall)
A documentary about Carmen Cumba, an indigenous midwife in the High Sierras of Ecuador who despite many hardships and obstacles has dedicated her life to helping the women of her community both as an Ancestral medicine practitioner and as an advocate for equality for her fellow midwives in Ecuador.
 
EPISODICS:
 
BETA, (Director: Calli Ryals, Writer: Adriana Leonard, Carley Marcelle)
Angelina “Lini” is– was– Delta’s assistant. But now they’re… TBD. After Delta finds out her soul-sucking corporate consulting job is officially a dead end, Lini convinces her to pursue her daydream of becoming an “entrepreneur.” What begins as a strange work dynamic between an odd couple eventually grows into a beautiful friendship of two women recognizing the best (and the worst) in each other, and deciding that they’re stronger as a team, in both life and business. World Premiere
Cast: Adriana Leonard, Carley Marcelle, Ian Owens, Patrick John Flueger
 
FOLLOWING HANNAH STONE, (Director/Writer: Clea DeCrane)
Brooke Jensen is in the eye of a quarter-life crisis hurricane, which stems from the bullying she endured in high school. When her prime teen tormentor Hannah Stone suddenly deleted her socials, Brooke spirals out, and begins an instagram-fueled stalking spree, hunting down various bullies from her past until she finds the ultimate one. What will she do when she sees Hannah after almost a decade? She has no clue — she just knows she needs to do it. World Premiere
Cast: Simone Grossman, Shazi Raja, Lindsley Howard, Ben Lorenz and Jessica Darrow
 
GIRL NIGHT STAND: CHAPTER TWO, (Director/Writer: Jenna Laurenzo)
A woman craving connection during Covid, reaches out to her ex-girlfriend. When she’s invited over, they awkwardly navigate whether or not they’re willing to drop their masks to reignite their romance.
Cast: Jenna Laurenzo, Meryl Jones Williams
 
THE HIGH LIFE, (Directors: Amy French, Stephanie Sanditz, Writer: Stephanie Sanditz)
The High Life is a half-hour serialized dramedy exploring a mixed-religious family, when their black sheep daughter moves back home and tries to find God out of her childhood bedroom. The Pilot follows the Gold family as they reunite upon the mysterious death-request of their wealthy Aunt Linda, where everyone is forced to look at their lives with a little more honesty, revealing no one is who they pretend to be. Based on a Real-Life Co-Ed Naked Family Funeral.
Cast: Stephanie Sanditz, Amy Landecker, Ron Perkins, Jesse Garcia, Linda Purl, Jeremy Glazer, Christopher Mychael Watson, Jonathan La Vallee
 
NOW WITH FIONA, (Director: Fiona Dawson)
Now With Fiona is an unscripted series hosted by Emmy® nominated and award winning filmmaker Fiona Dawson, who shares unexpected stories from the LGBTQ community of people being kind and courageous in the face of adversity. In this WorldPride themed proof-of-concept show, Fiona finds voices of hope from the streets of New York City. Taking inspiration from the visionary gay politician Harvey Milk, and Kate, an indomitable Honduran transgender woman seeking asylum, Fiona demonstrates that we are all legends unto ourselves. The episode has versions in full English and full Honduran Spanish subtitles. Later in the season, Fiona will explore stories from all facets of life through an intersectional lens, including Texans who empower LGBTQ youth to Morman families supporting their queer children. Fiona brings a vivaciousness, excitement and wit, while at the same time opening up dialogue that breaks down stigma and discrimination affecting the LGBTQ community.
 

#### 2021 Deep in the Heart Film Festival Announces Film Lineup
 
The Deep in the Heart Film Festival announced the film lineup for its 5th edition, which will include a celebratory return to theaters as part of its hybrid presentation July 22-31. Deep in the Heart FF will open with Chris White’s comedy about Christian music, Electric Jesus and then close the film festival with Kevin Smokler and Christopher Boone’s festival-hit documentary Vinyl Nation, about the love of records. Brett Bentman’s thriller Outlaw’s Buckle will make its world premiere as a special Spotlight Screening. Deep in the Heart FF will also present the always ambitious lineup of themed short film programs the film festival has become noted for over the past five years. The popular Waco-based film festival will be screening 133 films (5 features, 128 shorts and music videos).
Deep in the Heart FF co-founders and directors Samuel Thomas and Louis Hunter, said, “Last year was an important step in our film festival’s continued growth as this city and area’s primary presentation of new film discoveries, but it will be incredibly exciting and fulfilling to welcome film fans back into the theater and give our filmmakers that interaction with audiences that is so vital to their development as artists. This year we won’t just be returning to our theater seats. We will also continue to present our films online, virtually, and reach out to Texas audiences in order to introduce them to these films and the filmmakers responsible for them as well. The sense of fun and love of cinema that Deep in the Heart FF has been known for since our very first year never left, even during a challenging year, but our voice and ability to spread the gospel of our films and what we do has become stronger and made us quite a force to be reckoned with.”
White’s Electric Jesus, which will open the film festival’s in-person first weekend on Thursday, July 22 at the famous Waco Hippodrome Theatre (724 Austin Avenue), is a comedy set in the Christian Rock world of the 80s about a teenager who connects and starts to travel with a Christian hair metal band made up of older kids from his church. The film also stars Brian Baumgartner (The Office) and Judd Nelson. White and additional cast and crew are expected to attend.
Friday, July 23 will feature the world premiere of Bentman’s Outlaw’s Buckle as the film festival’s Spotlight Screening selection. The Texas-based production about a serial killer facing off against a group of deputies in pursuit during a storm will make its world premiere at the film festival. Bentman and members from the filmmaking team will be on hand for the screening.
Closing out the in-person opening weekend will be Smokler and Boone’s popular documentary Vinyl Nation. Screening on Sunday, July 25, the film, which looks at the revival of record-playing culture via “Record Store Days” and the handing of the baton from one generation of collectors and enthusiast to the next generation will include a record collector’s event to go along with the screening and Q&A.
Two discussion-point documentaries will fill out the feature film roster with Eden Wurmfeld and Margaret Munzer Loeb’s Chasing Childhood and Nicol Ragland’s Trans Pecos sure to inspire a debate-filled lobby at Hippodrome, as well as at the festival’s after parties and lounge. Chasing Childhood takes a close look at how American children are faring under the weight of overburdened schedules of extracurricular activities and expectation to “succeed” in the academic world. The film follows education professionals and reformed helicopter parents who seek to find a better and more practical balance to the lives of children. Trans Pecos is a Texas-centric exploration of the issues of land and water rights in this state, while painting an honest portrait of what is to come if we allow oil interest to supersede public good. The film is unflinching as it uncovers the truth in Far West Texas and one pipeline reflecting the beginning of the invasion of one of the last American frontiers.
Since it’s inception, Deep in the Heart FF has had a strong focus on programming short films and curating themed programs that go far beyond basic “drama” or “comedy” programs. This year’s themed short film programs run the gamut from “Seeing is Believing” which will put forth films dealing with “Secrets, lies, deceptions, and discoveries. What exactly is the whole truth?” to “Wants and Needs” that focuses on “Obsessions, desires, and some dang 3-ply toilet paper in the employee bathroom”. Other programs include “Relationships 101,” “Altered States,” “Heart of Texas,” and “Oddities.” Of course, there will also be the yin and yang of “Family Friendly Films” on one hand, and “Horror” on the other.
The first week in July, the Deep in the Heart Film Festival will roll out additional details regarding plan for red carpet entrances, and filmmaker appearances, filmmaker panel discussions, script readings, parties, and other events that will underline the “festival” within the Deep in the Heart Film Festival.
Passes and tickets go on sale Monday, June 21. To purchase passes and ticket and find more information (including how to volunteer for this year’s edition) on the Deep in the Heart Film Festival, please go to: https://www.deepintheheartff.com/.
2021 Deep in the Heart Film Festival Official Selections
 
OPENING NIGHT SELECTION
Electric Jesus
Director: Chris White
Country: United States, Running Time: 107 min
Set in the summer of 1986, Electric Jesus follows a teenager and his experience traveling with an aspiring Christian hair metal band made up of older kids from his church. Following a blistering performance at a church camp talent show, the band is taken under the wing of a flashy Christian Rock promoter with a plan to get them a recording contract and make Jesus famous. However, complications arise when a pastor’s daughter stows herself away in the band’s RV and starts to emerge as their muse, head-turning opening act, and the teenager’s first love.
 
CLOSING NIGHT SELECTION
Vinyl Nation
Directors: Kevin Smokler, Christopher Boone
Country: US, Running Time: 92 min
A deep dig into the crates of the vinyl record resurgence to discover what an old technology says about our relationship to music and each other during a divided time in America.
 
SPOTLIGHT SCREENING – World Premiere
Outlaw’s Buckle
Director: Brett Bentman
Country: United States, Running Time: 80 min
During a terrible storm, a serial killer faces off with deputies in hot pursuit of a stolen belt buckle.
 
 
ADDITIONAL FEATURE FILMS
Chasing Childhood
Director: Eden Wurmfeld, Margaret Munzer Loeb
Country: US, Running Time: 85 min
Overprotected and over-directed, American children are wilting under the weight of well-meaning parents. In the pursuit of keeping them safe and creating an impressive resumé of extracurricular activities to wow admissions boards, over-parenting smothers children across socioeconomic classes and leads to anxiety and depression. Chasing Childhood follows education professionals and reformed helicopter parents who seek and offer solutions for developing more confident, independent young people while restoring some joy and freedom to childhood.
 
Trans Pecos
Director: Nicol Ragland
Country: US, Running Time: 75 min
Trans Pecos is a timely intervention weaving together the issues of land and water rights, while painting an honest portrait of what is to come if we allow oil interest to supersede public good. It is a cautionary tale meant to inspire people from every walk of life to take action and work toward change that can happen if informed citizens and those in power hold oil and gas companies accountable. A documentary that uncovers the truth in Far West Texas and one pipeline reflecting the beginning of the invasion of one of the last American frontiers.
 
 
SHORT FILMS AND MUSIC VIDEOS
 
SHORT FILMS 
 
ALTERED STATES 
A Grievance with Gravity
Director: Kelli Horan
Country: United States; Running Time: 12:26 min
In order to stay tethered to the Earth, Zoe wears bricks and blocks to weigh her down. Why? Gravity doesn’t affect her. While she tries her best to live a normal life, she constantly feels like an outcast. Then, she decides to open herself up to the world and celebrate her different-ness!
 
Asparagus 2
Director: Yuma Slowbinder
Country: United States; Running Time: 5:09 min
The next great American asparagus movie. A doctor informs his patient that when he thinks he’s eating asparagus he is actually smoking an entire pack of unfiltered Cuban cigarettes. Upon learning this the patient must reckon with his own subjectivity, with no help from at all from his doctor.
 
Casiopea
Director: Fernando Manso
Country: Spain; Running Time: 14:00 min
Casiopea is the journey to life itself. A captivating adventure that unravels the eternal question of humankind: What happens before/after life?
 
Doffice
Director: Leclercq David
Country: Belgium; Running Time: 20:00 min
An old guy works into the same office, every day. But one day, a young colleague arrives and puts his world upside down.
 
Exactly as They Are
Director: Philip Heinrich
Country: United States; Running Time: 13:13 min
Amidst a late night of deliveries, a struggling bike messenger is tasked with a bizarre delivery: a lunchbox of uncanny origins. After tonight, her life will never be the same.  Exactly as They Are is an urban fantasy brought to life through a blend of character study, the uncanny, and classical stop-motion puppetry effects.
 
Faces
Director: Iván Sainz-Pardo
Country: Spain; Running Time: 9:00 min
A love story in the times of programmed obsolescence.
 
In White Places
Director: Keith Powell
Country: United States; Running Time: 10:35 min
Chester has just moved into the neighborhood.
 
It’s Okay
Directors: Justin Giddings, Ryan Welsh
Country: United States; Running Time: 9:02 min
In the style of Black Mirror, It’s Okay follows a couple as their life takes an unexpected turn in this futuristic, Sci-Fi short.
 
 
Transfer
Director: Sage Mears, Aaron Pagniano
Country: United States; Running Time: 11:11 min
Max has the most important interview of his life.
 
 
DEMO DAY 
Falling Sparrow
Director: Justin Wang Powell
Country: United States; Running Time: 14:59 min
A young woman sets out to take her family’s sword back from her murderous uncle.
 
Gail
Director: Katie Lemon
Country: United States; Running Time: 10:00 min
A recently widowed woman who used to take partner dancing classes with her husband must decide whether to remain stifled by her grief or find the courage to dance on her own.
 
He Left Instructions
Director: Zeke Farrow
Country: United States; Running Time: 13:00 min
Death brings family together.
 
Lead Belly
Director: Sean Glynn
Country: United Kingdom; Running Time: 20:00 min
Homeless ex-soldier Mark has PTSD and is haunted by tragedy from his time in combat, causing chaos for ex-wife Emma. When Mark goes missing, Emma is desperate to find him and help Mark fight his demons.
 
Masterclass
Director: Nancy Sullivan
Country: United Kingdom; Running Time: 8:29 min
A group of drama school students eagerly await their Masterclass from a prolific West End star. But just how far will she go to get the results she wants for her art, and who will she destroy on the way?
 
Not Just Another Day
Director: Ricky Rhodes
Country: United States; Running Time: 15:56 min
In 2015, Lionel Tate was one of the 142,000 Black Americans arrested for marijuana possession. Facing a felony conviction, homelessness, and crippling debt, he strives to rebuild his life with his family, but all black Americans remain at risk of unequal criminalization from marijuana laws in our country. Meanwhile, legal cannabis is sold medicinally and recreationally across the country and has boomed into a multi-billion-dollar industry.
 
NYR
Director: Jonathan Leveck
Country: United States; Running Time: 2:46 min
Calling upon a wellspring of self awareness, a man seeks to master an achievable goal.
 
Ride or Die
Director: Zeke Farrow
Country: United States; Running Time: 13:57 min
Zeke made a Doomsday escape plan and it was pretty lousy.
 
 
FAMILY FRIENDLY 
At the End of the World
Director: Fon Davis
Country: United States; Running Time: 13:08 min
In an apocalyptic future, a lonely government worker finds solace in a still hopeful soldier during the very last World War. But their future together is threatened when the soldier is sent back into battle.
 
Fishbowl
Director: Deborah Shearer
Country: United States; Running Time: 10:46 min
After moving from California to Virginia because of a military relocation, a young boy named Casey must once again adapt to middle school life in unfamiliar territory but along the way find comfort in an unexpected friend.
 
Fraser Syndrome & Me
Director: Kyle Anne Grendys
Country: United States; Running Time: 19:43 min
Filmmaker Kyle Anne Grendys, is only the 75th person to be born with the rare, recessive gene disorder called Fraser Syndrome. Having always felt alone in the world, she sets out on a journey to find her community and finally meets others just like her.
 
His Eyes Are Blue
Director: Agatha Ryan
Country: United States; Running Time: 14:23 min
Set on a utopian ranch in the Texas Hill Country, His Eyes Are Blue traces the growth of a snarky teenage boy as he struggles to write his college admissions essay.
 
Home Of My Memories
Director: Javier Méndez Lafón
Country: Mexico, United States; Running Time: 6:05 min
A kid finds his passion through the experiences of his grandfather.
 
Night Shift
Director: Nicole Solis, Al Fontanilla
Country: United States; Running Time: 4:08 min
Night Shift follows a curious and bouncy little girl as she awaits the presence of someone in the midst of the night. As she waits, she is whisked away by an ethereal Moon Woman for a magical night of play and together they dance among the clouds of the night’s sky.
 
The Organized Life
Director: Patrick Yu Wang, Nguyet Nghi Duong
Country: United States; Running Time: 2:29 min
“The Organized Life” is a 3D animated short film that presents the relationship between mother and son through the son solving the issue of not being able to control himself from organizing everything in life.
 
The Ribbon
Director: Polla-Ilariya Kozino
Country: Germany; Running Time: 4:25 min
A young girl suddenly finds herself in a beautiful imaginary world. As she explores this enchanting place, the long ribbon of her dress gets caught, holding her back. As she pulls on the ribbon to break free, a completely unexpected journey begins.
 
White Night
Director: Issam Taachit
Country: Algeria; Running Time: 7:12 min
The events of the movie take place at the top of the high Aures Mountains. In those mountains and in the cold winter, the snow masses that accumulate on a tree fall, to roll on the mountain until it reaches the bottom, in front of a warm house. It is divided into three balls forming a snowman, some beautiful events happen with a snowman and a girl in that house.
 
FAMILY TIES 
A Democratic Proposal
Director: Chandana Prasanna
Country: Sri Lanka; Running Time: 18:18 min
Just after a proposed suitor and his family had visited and left, Kanchana’s whole family start to try and pitch her the marriage proposal. Kanchana, who didn’t like the idea of seeing proposed suitors in the first place, is annoyed, but find it hard to argue with the elders who aren’t ready to listen to her.  Amid one-sided arguments and emotional blackmailing from her family and relatives, she tries to build up some courage and figure out a way to escape.
 
Ángelito
Director: Carlos Estrada
Country: United States; Running Time: 10:30 min
After his father’s death, Ángel seeks reconciliation and the chance to learn more about his family through the help of his grandfather and Day of the Dead.
 
Dawn on the Blanco River
Director: Rylan McCoy
Country: United States; Running Time: 6:17 min
A father tries his best to guide his son while dealing with his own past.
 
Endless Pain
Director: Natalie Lehnart
Country: Germany; Running Time: 12:30 min
A life with endometriosis is plagued with pain and the incomprehension of others. Julie tells the story about her fight with the disease, that she has had to fight since her childhood. Her painful memories are accompanied by animated scenes of her experiences.
 
Mama’s Ashes
Director: Caspar Commijs
Country: Spain; Running Time: 19:05 min
Under pressure of his stepfather Estevan, Jurriën travels to Spain to disperse his recently deceased mother. The rebellious teenager has a different wish, but how far does he have to go to bring his mother’s ashes safely back home?
 
The Maroon Bomber
Director: Joshua M. Thomas
Country: United States; Running Time: 9:57 min
Four siblings walk down memory lane with the family’s old, beat-up Ford truck. Their love is tested when the truck acquires a new, controversial, accessory. Will they still love their old friend?
 
Natal
Director: Luisa Maria Gonzalez
Country: United States; Running Time: 7:23 min
Set within a Mexican-American household during Christmas Day, Natal tells the story of Carlos, a young boy’s first encounter with heteronormative gender roles, and the confrontation between his father and uncle, who disagree on the implications of masculinity.
 
Nene
Director: King Louie Palomo
Country: Philippines; Running Time: 16:42 min
Nene is in her eighties, an accomplished and retired painter. Her daughter travels from the city to see her with her grandson, and unknown to her family Nene attempts to finish the final painting of her lifetime.
 
 
FRIDAY NIGHT HORRORS 
Bloodshed
Director: Paolo Mancini, Daniel Watchorn
Country: Canada; Running Time: 12:37 min
Ridden with guilt after the untimely death of his wife from a rare blood disease, grief-stricken Getty turns his hobby shed into a bloody altar of worship and brutal sacrifice in his relentless search for Redemption. As he descends into madness, many will bleed…BLOODSHED. It’s where you bleed.
 
Dark Passage
Director: Roshni “Rush” Bhatia
Country: United States; Running Time: 1:00 min
A part time drivers last ride of the night maybe the last ride of his life.
 
The Farmhouse
Director: Garreth Carter, Will Douglas
Country: United Kingdom; Running Time: 13:18 min
After the recent disappearance of a girl in a nearby village, Janet sneaks out with friends. When things turn bad, her father comes to her rescue, only for her to find out that her father is not what he seems.
 
Hear Hear
Director: Emmet O’Brien
Country: Ireland; Running Time: 5:20 min
A one-shot horror film about finding your voice.
 
House Hunting
Director: Patrick Andrew Higgins
Country: United States; Running Time: 7:00 min
Hunters sneak inside our homes to steal our most private moments and anonymously post the video for all the world to see.
 
Hyder
Director: Ali Alkhafaji
Country: United States; Running Time: 6:57 min
A man’s Arab imaginary friend refuses to let him sign divorce papers.
 
ISS Titanic
Director: Christopher Satola
Country: United States; Running Time: 1:00 min
Hiding in a car in a cargo room of the first human voyage into the space, moments after the fatal system failure, two lovers need to face the final moments of their lives.
 
Koreatown Ghost Story
Director: Minsun Park & Teddy Tenenbaum
Country: United States; Running Time: 14:52 min
In this supernatural horror tale based on a Korean ritual starring Margaret Cho and Lyrica Okano, a woman entertains a macabre offer that would let her pursue her dreams, for better or for much worse.
 
Movie Night
Director: Matt Rosenblatt
Country: United States; Running Time: 7:18 min
On their first date a couple watches a bootleg movie.
 
No One Is Coming
Director: Matthew Barber, Nathaniel Barber
Country: United States; Running Time: 7:40 min
A young woman awaits the return of her boyfriend at a secluded cabin only to discover that she may in fact not be alone.
 
The Occult Son
Director: Patrick Murphy
Country: United States; Running Time: 13:16 min
A couple’s morning is interrupted when a witch moves in next-door during a solar eclipse.
 
Two-Headed Beast
Director: Nate Southard
Country: United States; Running Time: 10:00 min
Siblings Marissa and Marcus believe some strange things, and they can’t wait to teach their new friend Sullivan all about them. Mom will be home soon, but there’s still time to learn and play.
 
 
HEART OF TEXAS 
Adam’s Job Interview
Director: Brian McAughan
Country: United States; Running Time: 5:15 min
Adam gets used to Zoom interviews.
 
Bittersweet
Director: Dylan Hensley
Country: United States; Running Time: 11:24 min
An elderly Texas couple reflect on their lives living on the family farm as growing industries and infrastructure dissolve what’s left of country living and their memories of the home they must leave behind.
 
Bound
Director: Danielle Wheeler
Country: United States; Running Time: 3:54 min
A young girl is lured from her troubled home by a mysterious stranger that seems to have all the answers.
 
Changing Tides
Director: Joshua Ulmer
Country: United States; Running Time: 7:15 min
A girl’s life is seen through pieces of her memories. With each passing memory, we see snippets of her childhood innocence as well as her carefree spirit in her teenage years.
 
Manos de Oro (Hands of Gold)
Director: Merced Elizondo
Country: United States; Running Time: 33:25 min
Sergio, a former mechanic, is in the middle of a crippling battle with arthritis. When the opportunity to fix an old family-friend’s truck arises, Sergio begins a downward spiral towards denial and self-destructive behavior in an attempt to regain his identity as a working man with purpose. As a result, his struggling relationship with his son is put to the ultimate test.
 
Red Flag
Director: Elijah Alderfer
Country: United States; Running Time: 5:05 min
Red Flag is a quirky comedy about a couple on a first date. Neither one of the two, however, thinks that they are deserving of the others time.
 
Tejano Night
Director: Alexander Rosales
Country: United States; Running Time: 13:00 min
While out of town at a family gathering, a young Latino is forced to tag along with his cousin to a local Tejano Bar after butchering his Spanish at dinner.
 
When You Clean a Stranger’s Home
Director: Sharon Arteaga
Country: United States; Running Time: 7:00 min
A cinematic essay where Abby, a first-generation high school student describes what her and her mom learn about people when cleaning their homes. House decor and items left around convey a privilege that unveils Abby’s imagination, jealousy, and frustrations.
 
Wolves Inside
Director: Samantha Ireland
Country: United States; Running Time: 10:07 min
1897 in West Texas, a woman, and her granddaughter encounter a dangerous stranger who is seeking revenge. In one fateful night, they must all come to face the wolves that walk among them and the ones inside themselves. Told through the eyes of women from different walks of life, Wolves Inside explores the conscious choices people face while fighting with their animalistic compulsions in a brutal and unforgiving world.
 
OCCUPATIONAL HAZARDS 
The Bee Farmers
Director: Steve Utaski
Country: United States; Running Time: 6:57 min
A short doc profiling a one-of-a-kind program based in the Pacific Northwest that rents bees to residential customers which in turn are used to pollinate farms around the US.
 
Beef Stew
Director: Nikos Kallipolitis
Country: Greece; Running Time: 10:39 min
Nontas, a failed actor, has given up his career and is working part-time in an escape room. Tony the slimy owner of a restaurant in the countryside, lives far from his shadowed past; a past that has heavily affected Nonta’s life. The story of two men as a 3-course meal. Appetizer: a gluttonous bear. Main course: a greedy rabbit. Dessert: Beef stew: sweet as revenge…
 
Behind the Mask
Director: Simon K Matthews
Country: United Kingdom; Running Time: 10:53 min
Two actors enter a mental, physical and emotional dick-swinging contest, leading to the inevitable reveal of their worst selves. Urgh, actors.
 
Cold Mind
Director: Harrison Dove-Green, Austin Smith
Country: United States; Running Time: 15:55min
After surviving a massive cave-in, a coal miner must face his inner demons in order to free himself, all with a canary at his side. Filmed deep within Beckley Coal Mine in West Virginia.
 
Conference Room Three
Director: Natasha Straley
Country: United States; Running Time: 3:21 min
James goes in for an interview.
 
Flypaper
Director: Sam Bench, Seth Bench
Country: United States; Running Time: 11:14 min
A detective’s plan backfires as he attempts to get a confession from his seemingly corrupt former partner.
 
Quiet on Set
Director: Jeanette Buck
Country: United States; Running Time: 7:46 min
An actress assaulted on a film set during the filming of a sex scene, must choose whether to pursue accusations or complete the film that could start her career.
 
She Used to Laugh
Director: Greg Berman
Country: United States; Running Time: 10:00 min
Under the familiar glow of the spotlight, Jay wrestles with a past relationship in the only way he knows how. While Jay takes the small crowd of the legendary Kibitz Room in Los Angeles on a comedic journey of love and loss, we begin to notice how much of his own past Jay has yet to confront.
 
Years Ago
Director: Jason Habel
Country: United States; Running Time: 24:00 min
A businesswoman’s life is turned upside down when her new boss turns out to be the man who assaulted her twenty years before.
 
 
ODDITIES 
A Girl’s Night In
Director: Timothy Haug
Country: United States; Running Time: 1:20 min
A girl enjoys a night at home.
 
Asynchron
Director: Robin Schüllenbach, Jens Kipper
Country: Germany; Running Time: 7:30 min
One job, one decision, two points of view.
 
Endangered
Director: Alex Wroten
Country: United States; Running Time: 18:00 min
The world of easy-going teenager Roger Burns flips upside-down after he’s seduced into a late-night swim with his girlfriend and contracts a rare, endangered parasite. All Roger wants to do is get back to adolescent frivolities and basketball, but everyone from his parents, to his doctors, to animal rights groups, have their own opinions about what he needs to do with his life.
 
F*cking Ghosts!
Director: Jason Cook
Country: United States; Running Time: 3:00 min
A parody film trailer about a family that buys a new home that is haunted by horny ghosts.
 
Fruity
Director: Selwin Vervoort
Country: Netherlands; Running Time: 1:12 min
Travelling through the thoughts of Lucas, a man who is afraid of losing his masculinity after eating a pink fruit. This dialogue-free movie is about insecurity, it’s juicy and a bit erotic.
 
Late Night
Director: JJ Pollack
Country: United States; Running Time: 6:54 min
When his guest comes on a bit intoxicated, a controlling late night TV host struggles to run his show smoothly.
 
My Dinner with Werner
Director: Maverick Moore
Country: United States; Running Time: 17:50 min
Inspired by the real-life, insane “friendship” between acclaimed filmmaker Werner Herzog and controversial actor Klaus Kinski, My Dinner with Werner is a wildly bizarre story about a 1987 dinner date with a murder plot as the main dish.
 
The New World: Variations on Stay-home Activities
Director: Hong Ning, Zhao Xiaofeng
Country: China; Running Time: 1:45 min
In 2020, most residents on the planet were forced to live indoors for days and months due to the epidemic, which has influenced our usual work and life to some extent. In this isolation, people tend to create ways of self-entertainment and take limited exercise at home. As a result, a large amount of ordinary people emerged on the Internet and started to show the interesting bits of living indoors in their own way.
 
The Quiet
Director: Radheya Jegatheva
Country: Australia; Running Time: 10:00 min
When an astronaut ponders on the quietude of space, he comes upon a startling self-realization. The truth is written in the stars, but what will he uncover?
 
Un-heard
Director: Jason Habel
Country: United States; Running Time: 5:00 min
A lame cover-up causes some serious daddy issues for a five-year-old girl.
 
Yellow Ribbons
Director: Caleb Gritsko
Country: United States; Running Time: 12:21 min
Cassie struggles against a vivid world of distorted memories to silence her inner demons and save her father.
 
(You’ll Make It In) Florida
Director: Phil Chernyak
Country: United States; Running Time: 19:35 min
When a magazine ad comes to life, a depressed English teacher (and her dog) embark on a wild ride through the wonders of the Sunshine State.
 
RELATIONSHIPS 101 
1NS
Director: Fiona Campbell, Ella Exley
Country: United Kingdom; Running Time: 9:06 min
It’s the near future and a one-night stand for two Londoners, Jamie and Milo, turns into a bittersweet date inside a safe room, after a routine government lockdown causes the partygoers to spend the day together.
 
2 weeks
Director: Victoria Negri
Country: United States; Running Time: 8:52 min
When 20-something-year-old Tanya begins to realize she’s asexual, the highly charged sexualized world she lives in as an actress and partner begins to fall apart and feels more and more like an unbearable nightmare.
 
Aurora
Director: Paulina Manseau
Country: United States; Running Time: 10:28 min
A woman navigates a surreal landscape encountering memories of the past.
 
Cannibals
Director: Gustavo Garcia Sierra
Country: Spain; Running Time: 6:46 min
Eva arrives at Carlos’ home after they broke up their relationship. Carlos appears to be upset for this, and the situation progressively becomes strange and complicated.
 
Honor
Director: Lauren Noll
Country: United States; Running Time: 15:46 min
Laine faces expulsion from BYU with her graduation around the corner after her roommate hears her in bed with a woman and turns her into the Honor Code. Upon being invasively questioned, Laine is granted a troubling option to save her degree, forcing her to choose between her heart and her faith.
 
How to End a Conversation
Director: Gregory JM Kasunich
Country: United States; Running Time: 7:30 min
A heartbroken man unable to stop calling his ex enlists a therapist to help him lift the weight of his past relationship off of his shoulders… literally.
 
The Little Death
Director: Justin Harrison
Country: United States; Running Time: 18:03 min
A doting, young married couple riding the emotional wave of infertility & miscarriage.
 
Manasanamaha
Director: Deepak Reddy
Country: India; Running Time: 16:00 min
A young man muses on the nature of love, recounting three relationships from his past. The girls in his life resemble three different seasons, namely Chaitra (Spring), Varsha (Monsoon) & Seeta (Winter).
 
Meet Cute
Director: Jason C. Brown
Country: United States; Running Time: 7:40 min
Meet Cute is a short romantic comedy in which two strangers connect at a funeral home, while attending services for their deceased family members.
 
SEEING IS BELIEVING
Beth
Director: Frankie Stewart
Country: United Kingdom; Running Time: 12:26min
A true story of one asylum patient’s struggle as her focus on returning home does not go as she planned. A period piece that highlights the travesty of those resting in unmarked graves from barbaric treatments.
 
Full Picture
Director: Jacob Reed
Country: United States; Running Time: 11:56 min
Santina has been in a wheelchair since she was six years old. With meetings, hangouts, and classes happening virtually due to the Coronavirus quarantine, she’s experiencing something new: Choosing when (or if) to disclose her disability.
 
In My View: Perspectives on a Surveillance Society
Director: Taryn Reneau
Country: United Kingdom, United States; Running Time: 15:59 min
Inspired by the extraordinary access citizens of the United Kingdom have over their own data, including one’s image on CCTV, in contrast to a lack of access in the United States, IN MY VIEW was born to contrast perspectives of citizens with rights to those without. Striking differences in perspective between citizens under surveillance in London versus those in Los Angeles beg the question: Why do citizens of the UK have rights to their data that we, in the U.S., do not?
 
The Reunion
Director: Laura Galt
Country: United States; Running Time: 10:57 min
At a 40-year High School reunion, two attendees must face the consequences of a painful breakup from long ago.
 
Stalling It
Director: Caroline Ward, Jemma Moore
Country: United Kingdom; Running Time: 6:52 min
Five toilets, three bridesmaids, one pregnancy test, one nosey neighbor… zero ideas of what to do next. It’s 1988, Sammy, Bethan and Jo are bridesmaids. We join them in the midst of the time-honored female tradition…the joint bathroom break.
 
Sundown Trail
Director: Luke Guidici
Country: United States; Running Time: 13:59 min
In a post-apocalyptic world where toxic mushrooms have made the air deadly to breathe, a timid boy must learn to trust a thieving bandit in order to save his dying father.
 
Swear By the Sword: Swords and Sidearms
Director: Benjamin N. Redic II, James Drake Coleman
Country: United States; Running Time: 3:59 min
A set of rivals must battle to decide which is stronger. Swords or Sidearms?
 
Where The Mountains Grow
Director: Gino Ricardo Green
Country: United Kingdom; Running Time: 19:53 min
Tommy is sick; sick of waiting rooms, of tests and of being asked how he’s doing. But the arrival of an unexpected visitor presents the chance to undertake what is meant to be a once in a lifetime journey.
 
WANTS AND NEEDS
The Cause of Death
Director: Timothy McCarthy
Country: United States; Running Time: 15:46 min
Working as an obituary writer, David is very familiar with death. That is, until Death himself shows up to try to give David new perspective.
 
Dance With Me
Director: Gabriel Diamond
Country: United States; Running Time: 5:20 min
Imagine putting on a blindfold on a busy street corner and inviting strangers to dance with you. That’s what Gabriel Diamond did in Berkeley in 2018. Two years later he finally got the courage to revisit the footage and create this touching short documentary about the potential of strangers to meet in unique ways using the power of dance and trust.
 
Ex Patria
Director: Scott Cobb
Country: United States; Running Time: 7:30 min
Ilyana offers a last souvenir to Erica on the final day of their year junior year abroad, sparking a discussion of values and identity with their futures on the line.
 
Megan’s Shift
Director: Zeke Farrow
Country: United States; Running Time: 10:52 min
It’s never too late to give up.
 
Positive
Director: Lauren Lox
Country: United States; Running Time: 6:30 min
A woman experiences a wave of emotions as she waits in anticipation for the sign that could change the rest of her life.
 
Pumpkin Shoot Out
Director: Joy Marzec
Country: United States; Running Time: 9:50 min
A confident leader of the Second Amendment Sisters proves to herself that a gun is her best bet in an unpredictable world.
 
Sea at Night
Director: Kim Fabienne Hertinger
Country: Germany; Running Time: 26:00 min
“Meer bei Nacht” (Sea at Night) tells the story about a man, whose disease took away his self-determination, reputation and social support. His tendency to get lost in memories of his past, leads him to a momentous decision.
 
Tesla Psycho
Director: Devon Ryan
Country: United States; Running Time: 3:40 min
This test drive is psychotic…in more ways than one. Tesla cars have an insane and ludicrous mode but this driver takes it into psycho mode…and he won’t stop until he gets what he wants.
 
WHERE I’VE BEEN, WHERE I’M GOING
4622 Stillwater Circle
Director: Kati Rehbeck
Country: United States; Running Time: 11:18 min
Sadie spends a summer afternoon around her hometown in Wisconsin, while an old flame tries to find a new spot in her life.
 
Apocalypse Notes
Director: Pierre Gaffié
Country: France; Running Time: 8:07 min
What would happen if, like polar bears, music was about to disappear? If all of a sudden, all the melodies in the world are already composed? if no new song could be invented? How would mankind react? That’s what Thomas, a young and enthusiastic musician is about to say to Jeanne, his fiancée.
 
The Book of Ruth
Director: Becca Roth
Country: United States; Running Time: 14:10 min
Margo, Dan, Jordan, and Lizzy visit grandmother Ruth for Passover. Later that night, Lizzy finds Ruth watching a midnight news story about Anne Frank’s death. Lizzy then confesses to have known a related secret for years and Ruth is left with some explaining to do.
 
Maybe This Year
Director: Natalie Lynch
Country: United States; Running Time: 3:11 min
Film is a musical parody of “Maybe This Time” from Cabaret. We can all agree that 2020 was a pretty sucky year. We are cautiously optimistic that maybe this year won’t suck.
 
Plot 9
Director: Stacie duPerrouzel
Country: United Kingdom; Running Time: 11:46 min
While Alice seeks an escape from the world, she discovers a homeless man sleeping in the greenhouse on her Mum’s allotment. Will the need for human connection overcome her initial prejudice and fear and enable them to help each other?
 
Scarlet
Director: Lottie Graham
Country: United States; Running Time: 15:44 min
Two unlikely strangers meet on a desert road.
 
Sidestep
Director: Natasha Straley
Country: United States; Running Time: 10:52 min
A woman finds herself torn between the bustle of her New York life and the quaint dance floors of her home in Texas.
 
Vegetarian’s Lament
Director: Eric Maierson
Country: United States; Running Time: 00:54 min
The true story of a vegetarian’s struggle in the Czech Republic.
 
Voices from the Sit In
Director: Ted Fisher
Country: United States; Running Time: 26:46 min
Voices from the Sit In is the true story of a protest, told by those who lived it.
 
MUSIC VIDEOS
 
17 Wild Horses
Director: Kasey James; Artist: Rich O’Toole
Country: United States; Running time: 4:35 min
 
Carry Me
Director: Shawn Spitler
Country: United States; Running time: 4:35 min
 
Dog Fight
Director: Gregory Kasunich; Artist: Sophie Strauss
Country: United States; Running time: 2:42 min
 
Earth to Heaven
Director: Ali Azhari
Country: United States; Running time: 5:00 min
 
Gone
Director: Gregory J Kasunich
Country: United States; Running time: 4:00 min
 
I Could Tell You
Director: Jeff Gammill; Artist: Nite Sobs
Country: United States; Running time: 2:01 min
 
Kelly Zullo: Where to Go
Director: Kelly Zullo
Country: United States; Running time: 3:45 min
 
Malevitus – “Fire Department”
Director: Charlie Brown
Country: Running time: 4:33 min
 
Mirrir
Director: JJ Pollack
Country: United States; Running time: 3:50 min
 
Policing
Director: Ya’ke Smith
Country: United States; Running time: 5:00 min
 
Red Omen – Ed Roman
Director: Ed Roman, Nelson Diaz and There Be Dragons Creative Media
Country: Canada, United States; Running time:  4:00 min
 
Red Room
Director:
Country: United States; Running time: 4:38 min
Inspired by David Lynch and the TV series Twin Peaks.
 
Rompers
Director: Benjamin N. Redic II
Country: United States; Running time: 3:59 min
 
 
Runaway
Director: Tommie Green; Artist: Hollis Jordan feat. Zaire Danae`
Country: United States; Running time: 3:37 min
 
Sola
Director: Daniel Prypchan
Country: Australia; Running time: 3:23 min
 
Ten Penny Gypsy – Lonesome No More
Director: Metrowest Media
Country: United States; Running time: 3:56 min
 
UFO
Director: John Kennedy Eagle
Country: United States; Running time: 2:21 min
 
When The Bloom Has Left the Rose
Director: Brendan Young
Country: Australia; Running time: 4:45 min
 

#### 2021 Harlem International Film Festival Announces Film Lineup
QUEENS OF THE REVOLUTION
 
The 2021 Harlem International Film Festival (Hi) today announced official selections for its 16th edition – a hybrid event taking place May 6-9. The film festival will open with an audacious presentation of two triple-header screenings at the AMC Magic Johnson Harlem 9 Theaters (2309 Frederick Douglass Blvd) featuring the world premieres of Tarabu Betserai Kirkland’s 100 Years from Mississippi, and Glenn Osten Anderson’s Coogan’s Way, as well as the North American premiere of Anne Via McCollough’s Full Circle.
The red carpet in-person event will kick off the film festival’s celebrated showcase of relatively undiscovered international cinematic gems and local New York filmmaking talent and lead into virtual screenings of 71 films and more (31 features, 32 shorts, 2 VR/360 projects, and 6 webisodes) representing over 17 countries. Other feature films making their world premieres include; Avril E. Russell’s All on a Summer’s Day; Shonnese C. L. Coleman’s Radio Theatre for Your Soul, A Docu-Story; and Ílker Savaskurt’s Reflection (Ákis). Making its North American premiere is McArthur Alejandre’s Crossroads (Tagpuan).
Harlem International Film Festival’s Program Director, Nasri Zacharia, said. “We are thrilled to return to the theater, have a red carpet welcome for our filmmakers, live audiences and Q&As, and experience the magic of film festival discovery in the company of one another the way we did prior to the pandemic. At the same time, we will also utilize the virtual presentations to not just introduce our audiences throughout the state of New York to films from around the world, but also to interact and connect with filmmakers from all over the globe. And, of course, we’ll continue our efforts to truly showcase the filmmakers and the setting of our beloved home neighborhoods of Harlem, Upper Manhattan and the Bronx, which we call the HUB.”
Opening on Thursday, May 6, the Harlem International Film Festival will return to theaters with a vengeance by presenting two separate triple features. Three of the films are documentaries making their world and North American debuts. Tarabu Betserai Kirkland’s 100 Years from Mississippi, about the return of a proud son and his mother to the state she had narrowly escaped as a child over one hundred years earlier, after the filmmaker discovered that the stories he had accepted as family folklore for decades were actually true. Glenn Osten Anderson’s Coogan’s Way tells the story of the iconic Washington Heights bar and restaurant that welcomed all races, religions, and interests becoming a force for good in the community in the 80s and 90s. Anne Via McCollough’s Full Circle celebrates Helen Hays’ Great Gull Island Project, a 50-year quest to save two species of threatened seabirds, the Roseate and Common Terns.
The second Opening Night trio features films making their New York premieres including; Voodoo Macbeth, a film project from the University of Southern California Graduate students collective, about the first all black cast (in 1936 Harlem) to perform Shakespeare’s MACBETH, directed by a young and arrogant Orson Welles; Rebecca Heidenberg’s Queens of The Revolution, a Cuban documentary which is a moving portrait of Mejunje, a cultural center in Santa Clara that paved the road for LGBTQ+ rights in that county, highlighting the bravery of people who have fought for their lives and identities for decades; and Celine Parrenas Shimizu’s The Celine Archive, which looks at the remarkable story of Celine Navarro, who was buried alive by her community in 1932. The story exposes issues that still haunt Filipinax American communities today.
Two international films making their world premieres are Avril E. Russell’s All on a Summer’s Day, a British psychological thriller about a woman whose car breaks down on the infamous Highway of Tears, and Ílker Savaskurt’s Reflection (Ákis), a Turkish tribute to William S. Burroughs about guests in a hotel in Istanbul soon to have an otherworldly experience. Also making its world premiere is Shonnese C. L. Coleman’s Radio Theatre for Your Soul, A Docu-Story, about the making of an internet radio show, featuring the fascinating minds and hearts of storytellers from all genres at the Accelerated Radio Studios in Inglewood, CA. McArthur Alejandre’s drama from the Philippines, Crossroads (Tagpuan) will make it’s North American premiere at the Harlem International Film Festival. The story connects three lonely souls whose chance encounter will change their lives.
The Harlem International Film Festival will also offer its signature curated presentations of curated Harlem Uptown and local New York produced and themed short films preceding each of the features screening during the Opening Night event.
Additional highlights also include; Kelly Walker’s My Fiona, about a woman drawn into an intimate – and potentially catastrophic – relationship with the widowed mother of her best friend following her suicide; and Joseph E. Austin II’s Sundays in July, which follows the love story that develops when a woman meets a man after she returns to New York from L.A.
For Film festival passes, tickets, and more information on the Harlem International Film Festival go to http://HarlemFilmFestival.org
 

#### 2021 Lake Travis Film Festival Announces Full Line Up and Events
 
The Lake Travis Film Festival’s 2nd edition is set to open in two weeks (June 10-13). The experiential festival celebrating independent cinema in beautiful Hill Country, just west of Austin, will kick off with an ambitious “Space Out” Opening Night Showcase with Sevgi Hirschhäuser’s Toprak, Matt Richmond’s Brauhaus: A German-American Fairytale, multiple short film programs and a special screenwriting workshop with noted screenwriter/producer J. V. Hart (Hook, Contact, Bram Stoker’s Dracula).
The four-day in-person film festival will present a film lineup with a decidedly international flavor that will showcase films featuring a wide assortment of genres, styles, and topics. LTFF also will firmly confirm itself as an event dedicated to female filmmakers, young filmmaker showcases, a music video showcase, a special animation presentation, and more screenings, fun events, and after parties in various popup locations throughout the cities of Bee Cave and Lakeway, Texas.
Lake Travis Film Festival Founder and Executive Director, Kat Albert, said, “Like the rest of the country, our community has been isolated for a year, and we want our event to give people a safe space to leave their homes and experience a little bit of normalcy. Filmmakers have been isolated too and they have missed the joy and satisfaction of seeing their films screened in front of live audiences. We were fortunate to have seemingly dodged the pandemic’s course to a great extent from our debut last year to this year’s second edition, but that also makes us want to return in the best way we can both for our filmmakers and our film fans.”
Opening Night will kick things off with an eclectic group of features and shorts led by off a “Space Out Showcase” slate of short films loosely revolving around NASA and outer space. The trio of films include; Zachary Scott’s Space Case, which features a compelling story about a social outcast who must choose between conformity or space travel; Verre De Wilde’s Spaceboy, which tells the story of two brothers who share their passion for space while the time is ticking on their time together; and Ann Michell’s Tracy’s Vision, a touching story of an extraordinary scientist with congenital eye disease who excels in his NASA position, reinforcing the value of a diverse workforce.
Following the “Space Out Showcase” intro, will be Sevgi Hirschhäuser’s Toprak. The Turkish drama which focuses on a teenager struggling with with his uncle and grandmother in a remote Turkish village. While the religious uncle is satisfied to live his life in poverty, the teenager wants to break free, leave for the city and attend university. However, when his grandmother falls sick, they will both have to make decisions that will change their lives forever. Also featured on Opening Night will be Matt Richmond’s documentary Brauhaus: A German-American Fairytale. The film looks at the closing of a beloved family-run restaurant and how a Chicago neighborhood copes with the impending emotional final days.
Adding to the Opening Night highlights, the Lake Travis Film Festival will also host a screenwriting workshop with Hugo and Saturn Award-winning screenwriter J. V. Hart at La Quinta Inn & Suites by Wyndham Lakeway (1943 Medical Drive). Drawing on his career stretching over four decades with writing and producing credits including Hook, Contact, Bram Stoker’s Dracula, Muppet Treasure Island, and August Rush, Hart will discuss The Hart Chart, a story mapping tool he has created for writers. Attendance to the special event will be open to Badge Holders and Non-Badge Holders via a separate ticket available through Eventbrite. Tickets will be limited, and are on a first come basis. Breakfast, lunch, and source materials from Hart are included in the ticket price.
Closing Night will start with the Filmmaker Awards announcement and then wrap things up with Scott Wiper’s The Big Ugly. Starring Malcolm McDowell, Vinnie Jones, Leven Rambin, and Ron Perlman in a knock down, drag out B-movie fueled drama about a business deal between London mob bosses and a West Virginia oilman laundering dirty money going from bad to worse.
Two narrative features highlight the international thread running through LTFF this year. Ilir Pristine’s moody Canadian drama Florrie is about a woman who, while juggling 3 men in her life, is confronted by her complicated past and now feels the pressure to commit to just one man. Alex Gavin’s The Turn of the Screw is a mind-bending New Zealand drama         adapted from the classic Henry James novel. Set in an empty theatre over the course of one evening, an actress finds that she is a last minute replacement for another actress at the dress rehearsal of a stage production of “The Turn of the Screw,” set in 1890.
In its second year, the Lake Travis Film Festival has already begun making a name for itself with its documentary programming. Highlights include; Alice Elliott’s Emmy Award-winning film, Miracle on 42nd Street, which looks at the Manhattan Plaza apartment complex which was legendary for housing such famous actors and singers like Alicia Keys, Terrance Howard, Donald Faison, Larry David, Samuel L Jackson, Giancarlo Esposito and Angela Lansbury; Kaye Cleave and James Daggett’s Australian production Catherine’s Kindergarten follows a mother’s momentous journey to a Nepalese mountain village to open a school in memory of her deceased daughter; Richard Wicksteed’s SanDance! A Journey to the Heart of San Culture is a South African film exploring the dance culture of Africa’s San First Peoples, as San dancers prepare to perform at Botswana’s Kuru Dance Festival; Nils R Cowan’s Spawning Grounds follows the effort by scientists, landowners, elected officials and Tribal leaders, to save a rare native salmon in one of America’s only Urban Wildlife Refuges; and Nico Perrino, Aaron Reese, and Chris Maltby’s Mighty Ira focuses on American Civil Liberties Union leader, Ira Glasser as he reflects on his life at the forefront of defending the rights of all Americans, from civil rights leaders to neo-Nazis.
Another highlight of this year’s Lake Travis Film Festival will be a special animation presentation of curated shorts by Brooklyn-based animator, Emmett Goodman. Viewing will be free and open to the public on the Great Lawn at the Hill Country Galleria (12700 Hill Country Blvd, Bee Cave, TX). Guests are encouraged to bring their own chairs and to grab libations from Vista Brewery.
With an eye toward discovering new talent, LTFF has selected 35 feature-length scripts and 21 short film scripts for this year’s competition. The screenplays cover a wide array of genres from drama and comedy to horror and sci-fi. Screenplays will all be highlighted at the festival starting on Thursday, June 10 with the winners announced, along with the film categories at Star Hill Ranch (15000 Hamilton Pool Road, Bee Cave, TX) on Sunday, June 13.
 
 
2021 Lake Travis Film Festival Official Selections
 
OPENING NIGHT FEATURE SELECTIONS
 
Brauhaus: A German-American Fairytale 
Director: Matt Richmond       
Country: United States; 74 min         
Harry Kempf, his family and his Chicago neighborhood cope with the untimely end of a beloved family-run restaurant.
 
Toprak           
Director: Sevgi Hirschhäuser 
Country: Turkey; 106 min      
TOPRAK is the dramatic story of a simple family in rural Turkey dealing with poverty, family traditions, and religious heritage. Since the death of his parents, the teenage Burak has lived with his uncle Cemil and grandmother in a remote Turkish village. The small family unit has been trying to make a living by selling fruits. While the religious Cemil is satisfied to live his life in poverty, Burak struggles to leave for the city and attend university. When grandmother falls sick, both Burak and Cemil have to make tough decisions that will change their lives forever.
 
CLOSING NIGHT SELECTION
 
The Big Ugly 
Director: Scott Wiper 
Country: United States; 103 min  
Anglo-American relations go bad when London mob bosses invest in a West Virginia oil deal in hopes of laundering dirty money.
 
NARRATIVE FEATURES
 
After the Night with Valerie
Director: Alex Garnett
Country: United States; 98 min    
A recovering amnesiac’s memories are replaced by fantasies he believes actually occurred.
 
Florrie
Director: ilir pristine    
Country: Canada; 79 min      
Florrie, a 30-year-old woman dating 3 men simultaneously, is confronted by her complicated past and pressured by her friend to commit to just one man.
 
His Stretch of Texas Ground         
Director: Ralph Cinque          
Country: United States; 100 min       
Sheriff Joe Haladin is back, and this time, a vicious ex-con returns to Arlettsville and commits a crime so vile, it consumes the whole town and the whole country. But, evil knows no bounds. The sequel to My Stretch of Texas Ground.
 
Love is not Love      
Director: Stephen Keep Mills 
Country: United States; 95 min         
In a city where everyone is on the hunt for love, people turn love into a myth and chase the myth instead.
 
The Good Wolf         
Director: Wilfred H Shipley    
Country: United States; 75 min        
A fugitive and a 12-year-old boy meet in the woods and spend the summer together surviving and learning from one another… and hiding from the police.
 
The Turn of the Screw        
Director: Alex Galvin  
Country: New Zealand; 88 min          
Adapted from the famous Henry James novel, and set in an empty theatre over the course of one evening, Julia finds herself as a last minute replacement for another actress at the dress rehearsal of a stage play version of The Turn of the Screw, set in 1890.
 
 
DOCUMENTARY FEATURES
 
Catherine’s Kindergarten   
Director: Kaye Cleave, James Daggett         
Country: Australia; 70 min     
After the death of her only child, a mother takes a journey to a Nepalese mountain village to open a school in memory of her daughter — all while confronting her grief.
 
I Have No Wings      
Director: Nino Memanishvili  
Country: Georgia; 76 min      
After his beloved bird is confiscated, Makho struggles to get his life back as he faces major financial and emotional loss.
 
Mighty Ira      
Director: Nico Perrino, Aaron Reese, Chris Maltby  
Country: United States; 99 min         
American Civil Liberties Union leader, Ira Glasser reflects on his life at the forefront of defending the rights of all Americans, from civil rights leaders to neo-Nazis.
 
Miracle on 42nd Street        
Director: Alice Elliott   
Country: United States; 68 min         
Explore the Manhattan Plaza apartment complex which housed big names like Alicia Keys, Terrance Howard, Donald Faison, Larry David, Samuel L Jackson, Giancarlo Esposito and Angela Lansbury and led the way in the transformation of the neighborhood and local economy.
 
Mom & M       
Director: Jena Burchick         
Country: United States; 61 min         
Nikki, a transgender writer and Elise, a social media influencer navigates coming out while caring for a child who is battling leukimia.
 
SanDance! A Journey to the Heart of San Culture          
Director: Richard Wicksteed  
Country: South Africa; 60 min
Set in the transcendent dance culture of Africa’s San First Peoples, San dancers prepare to perform at Botswana’s Kuru Dance Festival.
 
Spawning Grounds 
Director: Nils R Cowan          
Country: United States; 54 min
In an effort to save a rare native salmon in one of America’s only Urban Wildlife Refuges, a community of scientists, landowners, elected officials and Tribal leaders bands together around science and Indigenous knowledge.
 
 
SHORT FILMS
 
“F News”
Director: Wendy Pennington
Country: United States; 7 min
 
51: After the Raid
Director: Gregory Pricoli
Country: United States; 43 min
 
5×7
Director: Michele Citoni
Country: Italy; 37 min
 
A Good Son
Director: Suzanne Weinert
Country: United States; 12 min
 
A Revolution Under the Bridge
Director: Lee Anderson
Country: United States; 5 min
 
A Serious Predicament
Director:          Jason Vandygriff
Country:          United States; 13 min
 
Abby and Emily Go to Palm Springs
Director: Hellin Kay
Country: United States; 14 min
 
Aida
Director: Christopher W. Graham
Country: United States; 10 min
 
Amphibians
Director: Drake Howard, Devin Finn
Country: United States; 13 min
 
Anna
Director: Éric PINÉDA
Country: France; 10 min
 
Ark of the Apocalypse
Director: Jeremy Seifert
Country: United States; 13 min
 
Blood on the Risers
Director: Caleb Fanning
Country: United States; 20 min
 
Bloom
Director: Lucy Owens
Country: United States; 15 min
 
Borne, Bottled
Director: Cassie Kramer, Jessica Ridenour
Country: United States; 8 min
 
Bumpy Rhodes
Director: Patrick Coleman
Country: United States; 17 min
 
Caprock
Director: James Fite
Country: United States; 15 min
 
Cheap Devils
Director: Shrader Thomas
Country: United States; 7 min
 
Crazy
Director: Holt Boggs
Country: United States; 10 min
 
Discount Pickles
Director: Felix Nora Morgan, Seth Meeks
Country: United States; 10 min
 
Estranged
Director: Samantha Siegel, Adam Siegel
Country: United States; 8 min
 
Face to Face
Director: Robert Hope
Country: United States; 10 min
 
Frank Parese, a Jersey Shore Veteran Story
Director: Jennifer Suwak, Steve Abruzzese
Country: United States; 20 min
 
Guest Room
Director: Joshua Tate
Country: United States; 13 min
 
Heading South
Director: Yuan Yuan
Country: China; 12 min
 
Hello Sunshine
Director: Luke Albert
Country: United Kingdom; 15 min
 
Hi.
Director: Olivia Nash
Country: United States; 7 min
 
House Slaughter
Director: Thomas Peck
Country: United States; 19 min
 
Hundred Flowers Project
Director: Joel Mendez-Zarate
Country: United States; 13 min
 
IRA: Cashing In
Director: Catherine Vouvray
Country: United States; 8 min
 
Javelina Run
Director:Lisa Belcher
Country: United States; 19 min
 
Keys
Director: Cameron Berkman
Country: United States; 9 min
 
Killing Time
Director: Cody Lovorn
Country: United States; 8 min
 
Limbo
Director: Anthony von Seck
Country: Canada; 17 min
 
Liminal Spaces
Director: Michael Wiggin
Country: United States; 5 min
 
Lotus
Director: Beibei Xu
Country: United States; 14 min
 
Macy’s Goes to War
Director: Duncan Putney
Country: United States; 6 min
 
Magician of the Heart
Director: Sandeep Sharma
Country: United States; 24 min
 
Mailer Daemon
Director: John Mudge
Country: United States; 20 min
 
McCrorey Rd.
Director: Shane Coffey
Country: United States; 20 min
 
Misfit
Director: Steve Segal
Country: United States; 6 min
 
Mors Bonum
Director: Paulina Manseau
Country: Not Specified; 12 min
 
My Dinner with Werner
Director: Maverick Moore
Country: United States; 18 min
 
Nemeku Lights
Director: Travis Patten
Country: United States; 29 min
 
Ordinary
Director: Jeneffa Soldatic
Country: United States; 15 min
 
Pack Co.
Director: Ronny Tibbs
Country: United States; 15 min
 
Play Date
Director: Herb Cremer, Joe Cremer
Country: United States; 8 min
 
Remnant
Director: Sandra Urquhart
Country: United States; 9 min
 
Rise Above: WASP
Director: Kara White
Country: United States; 20 min
 
SaaSy
Director: Joe Stanton Kelly
Country: United States; 13 min
 
Sac de Merde
Director: Greg Chwerchak
Country: United States; 14 min
 
San Marcos River Project
Director: Nick Breaux
Country: United States; 21 min
 
Sidestep
Director: Natasha Straley
Country: United States; 11 min
 
Softcore
Director: Travis Jones, Austin Tinius
Country: United States; 24 min
 
Space Case
Director: Zachary T Scott
Country: United States; 19 min
 
Spaceboy
Director: Verre De Wilde
Country: Belgium; 22 min
 
Take Me Home
Director: Russell Reed
Country: United States; 27 min
 
Tell Me Who I Am
Director: Luca Caserta
Country: Italy; 18 min
 
Thank You for Staying
Director: Ty Clancey
Country: United States; 12 min
 
The Annunciation
Director: WonChan Sohn
Country: United States; 45 min
 
The Method of Places
Director: Aman Johnson
Country: United States; 12 min
 
The Reunion
Director: Laura Galt
Country: United States; 11 min
 
The Story of Special Woodstock
Director: Erin Rooke
Country: Canada; 43 min
 
The Substitute
Director: Malibu Taetz
Country: Canada; 14 min
 
The Time of Your Life
Director: Frank Juarez
Country: United States; 5 min
 
Tracy’s Vision
Director: Ann Michel
Country: United States; 10 min
 
Two-Headed Beast
Director: Nate Southard
Country: United States; 10 min
 
Un Métier Comme Un Autre (A Job Like Any Other)
Director: Annick Roussy
Country: Canada; 21 min
 
When You Clean a Stranger’s Home
Director: Sharon Arteaga
Country: United States; 7 min
 
Yellow Ribbons
Director: Caleb Gritsko
Country: United States; 13 min
 
You are Me & I am You
Director: Melissa Kirkendall
Country: United States; 15 min
 
 
MUSIC VIDEOS
 
Ave Maria
Director: Jeremy Culver
Country: United States; 4 min
 
Ghost
Director: Manuel Alejandro Vargas
Country: United States; 5 min
 
I am the ONE!
Director: Theo Eifrig
Country: France; 5 min
 
I Tell All My Friends About You
Director: April Lee
Country: United States; 5 min
 
If I Should Die
Director: Niia
Country: United States; 5 min
 
Kae Astra – Softly Tread
Director: Jackie Pardue Scripps
Country: United States; 5 min
 
Macaroni Salad
Director: Niia
Country: United States; 5 min
 
Personal
Director: April Lee & Brian De La O
Country: United States; 4 min
 
Red Room
Director: Sheila V.A.
Country: United States; 5 min
 
Skylark Hollow – Light by Night (Official Music Video)
Director: Cody Tilton
Country: United States; 4 min
 
The Man (Official Music Video)
Director: Benjy Berkowitz, Quinn Dailey
Country: Not Specified; 3 min
 
The Message
Director: Joe Tacke, Rebekah Elizabeth
Country: Not Specified; 4 min
 
The Night in Silence Under Many a Star
Director: Joseph Dwyer
Country: United States; 6 min
 
The Things You Thought by Phonolux
Director: Buddy Calvo
Country: United States; 5 min
 
 
YOUNG FILMMAKER SHORT FILMS
 
01 Escalade
Director: Lincoln Edwards
Country: United States; 20 min
 
bun·ny /’bənē/ – lost girl
Director: Anna Martin
Country: United States; 11 min
 
Chupacabra Uncovered
Director: Kate Saltel
Country: United States; 7 min
 
Ebb and Flo
Director: Grace Soriano
Country: United States; 9 min
 
Expression
Director: Harper Sharpe
Country: United States; 18 min
 
Good Night
Director: Adam Van Wagoner
Country: United States; 3 min
 
Hunting Grounds
Director: Justin Buss
Country: United States; 14 min
 
My Pandemic Life: Tips for Isolation…
Director: Davis Kauffman
Country: United States; 3 min
 
No Takebacks
Director: Adam Van Wagoner
Country: United States; 3 min
 
Tire Kickers
Director: Olivia Carter
Country: United States; 8 min
 
Wake Up
Director: Anna Knobloch
Country: United States; 3 min
 
You Can Find Friends Anywhere
Director: Caroline Holmes, Benajah T. Baskin
Country: United States; 11 min
 
SCREENPLAY COMPETITION
 
FEATURES
Abilene by Michael Raymond
Anything at All by Michael Ward
Charlie & Olivett by Brenda Glim and  Jo McLachlan
Foxfire and the Coywolves by Ricky Barca and Dakoda
Glow Stick by Michael Raymond
Goldilocks Zone by Harry Tyler Kleinman
Hi. by Olivia Nash
Horse Comes Running by Pat Larkin
Imagery by Harry Tyler Kleinman
Lily of the Valley by Isaiah Mouw and Mark Botts
London Fog by Tasha P. Hardy
Love is Love by Jeffrey Kerr
Motel by Jerry J. Sampson
My Dear Enemy by Tasha Hardy and Nono Tamura
Ophelia by Luke Donnelly
Out of the Ditch by Charley Vance
Power Move by Michael Ellis
Raggedy Ann Heart by Heather McPhaul
Review by Jonathan Zarantonello
Room Zero by Jason Partridge
Seraphim’s Miracle by Jeremy Storey
Sometimes in Dreams by G. Lloyd Helm
south of good by Randall Reneau
Starfunk and Astral Pioneers by Glenn Towery
Supposed To Be by Dr. Beth-Anne Blue
Swing by David Toussaint
The Jolly Greens by Harry Kleinman
The Last Day of Paradise by Kiki Denis
The Last Ones by C.D. Peterson
The Venus Effect by Lynn Vincentnathan
The Way Home by Bryan Hays
Tiny, Texas by David Lykes Keenan
Who I am Now by Laurie Powers Going
Will the Circle Be Unbroken by Aaron Schuelke
Why, Arizona by Isaiah Mouw and Mark Botts
 
SHORTS
A Thousand Times a Day by Chantelle James
Avoiding Adulthood by Faley Goyette and Jonathon Broughton
Chalk by Christian Sanchez
Crosshanded by Henry Kana
Dark Red  by Jarret Leger, Joe Barajas
Fig Jam by Frank J. Avella
First Date,Third Date by Mac McStravick
Gretchen by Jeffrey Kerr and Joe Barajas
Ho-Ho-Kus Pocus by Seanan Palmero
Love Bugs by Heidi James
Máscaras por almos by Wilfred Esteves
New Moon 5280 by Dean Harakas
Package of Dreams by Bradley M. Look
Ruin Falls by Caleb Gonzalez
Shooting Jackrabbits by Suzanne Racz
Show Cat by Ally Beans
The Race by Mac McStravick
Trick or Beat by Fernando Rendón
Trouble at Cheery Meadows by Jaclyn Fleming
Weirdo by Avraham Ben Yehuda
Wonderwall by Brandi Blevins

#### 2021 San Luis Obispo International FF Announces Film Lineup
 
The 27th Annual San Luis Obispo International Film Festival (March 9-14) announced this year’s film lineup including the Opening Night selection of Philippe Falardeau’s drama MY SALINGER YEAR, starring Margaret Qualley and Sigourney Weaver, and the US premiere of local photographer Brittany App’s environmental documentary WHERE THERE ONCE WAS WATER on Closing Night. The festival will primarily be a virtual presentation, following the success of last year’s edition in the virtual space. However, SLO Film Fest’s signature Surf Nite event will be held at the Sunset Drive-in (255 Elks Lane), marking the first in-person event for the film festival since March 2019.
This year’s film lineup will feature 111 presentations, including 30 feature films (10 narrative, 20 documentary), 63 short films, and 18 music videos.
San Luis Obispo Film Festival Director Skye McLennan said, “Following last year’s whirlwind experience to shift our film festival to an online presentation seemingly overnight due to the onset of the pandemic, it’s a gift to know that the same dedication we put into selecting our films is matched by the SLO Film Fest audience’s anticipation to see them – virtually or in-person. But safety is still the priority, so while we will all go to the drive-in for Surf Nite, the rest of the time, we will once again be coming into our film faithful’s homes to deliver the best movies we could find.”
Falardeau’s MY SALINGER YEAR is top lined by one of the hottest young actresses (Margaret Qualley, ONCE UPON A TIME IN HOLLYWOOD), and one of the most distinctively singular actresses, Sigourney Weaver in film today. It’s a tale of a young woman who takes a job working for an old-style literary agent whose chief client is J.D. Salinger. The struggling writer-to-be starts to discover her own voice as she begins personalizing the responses to his fan mail.
Brittany App’s WHERE THERE ONCE WAS WATER marks the photographer’s return to the San Luis Obispo International Film Festival, where she could frequently be seen in years’ past catching the directors and stars on the red carpet. Now, she is the director making her feature film debut with a documentary about our personal relationship with water, an increasingly finite resource in need of fresh new approaches to conservation and perhaps even, appreciation for the role it plays in our lives.
SLO Film Fest’s one-of-a-kind surfing film event will be presented on Wednesday, March 10 at the Sunset Drive-In with a double feature of Brent Storm’s new WHITE RHINO and Bruce Brown’s all-time surfing classic THE ENDLESS SUMMER (1965). WHITE RHINO features the surfers and the photographers who followed them during three historic swells hitting the beaches of the South Pacific in 2011-12. Brown’s THE ENDLESS SUMMER, which follows two young surfers chasing the perfect wave, may be the most iconic surfing documentary ever made. Surf Nite will also include the traditional appearance of some classic 60’s surfing autos to add to the atmosphere of what could be called the “Rocky Horror Picture Show” for the surfing film lover.
Additional highlights among the narrative features include; Xuan Liu’s exquisite Chinese love story BLOOM told through a conversation a man has with his younger self; Ana Katz’s Argentinian drama THE DOG WHO WOULDN’T BE QUIET about a man dealing with life’s curve balls, makes its first post-Sundance stop at SLO Film Fest; frequent indie film presence Joshua Leonard steps behind the camera for the comedy FULLY REALIZED HUMANS which takes a look at a couple trying to exhaust their bucket list experiences before impending parenthood; Cassio Pereira dos Santos’ Brazilian drama VALENTINA follows a transgender teen trying to make a fresh start at a new school after having been bullied at the last one; and a Special Presentation of  Andy Goddard’s SIX MINUTES TO MIDNIGHT. Starring Eddie Izzard and Judi Dench, the drama follows the conflict when a new teacher (Izzard) tries to raise the alarm after arriving at a posh finishing school that is training the daughters of Nazis to be ambassadors for the coming Third Reich.
Documentaries are featured in the special presentations of Jen Rainin and Rivkah Beth Meadow’s AHEAD OF THE CURVE about the history of Curve Magazine, which became a lesbian cultural institution, and Judith Ehrlich’s THE BOYS WHO SAID NO! which explores the Selective Service System, the federal justice system, and the prosecution and trials of war resisters. Other highlights in a typically strong SLO Film Fest documentary lineup include; Aurélia Rouvier and Seamus Haley’s BANKSY: MOST WANTED which explores the elusive identity of the rogue street artist; Chelsea Christer’s award-winning BLEEDING AUDIO, which chronicles the rise and disbanding of 90s rock group The Matches; and Lisa Molomot and Jeff Bemiss’ MISSING IN BROOKS COUNTY, another award-winner, which looks at the tragic side of the immigration crisis, through the eyes of families of missing loved ones that have never been found.
The San Luis Obispo International Film festival will once again put local filmmakers on a pedestal via its always-popular Central Coast Showcase, encourage the filmmaking ambitions of elementary, middle school, and high school students with its Filmmakers of Tomorrow Showcase, and put an added emphasis of inclusion and diversity with the introduction of its Short Films, Big Stories: A Program of Diverse Voices section.
Passes are now on sale and information on the film festival can be found at https://slofilmfest.org.
 
The 2021 San Luis Obispo International Film Festival official selections:
 
 
Opening Night Selection
MY SALINGER YEAR
Director: Philippe Falardeau
Country: USA, Running Time: 101 min
In New York City’s late nineties, a young aspiring writer lands a day-job at J.D. Salinger’s literary agency. While her eccentric and old-fashioned boss tasks her to process Salinger’s voluminous fan mail, she struggles to find her own voice.
 
Closing Night Selection
WHERE THERE ONCE WAS WATER
Director: Brittany App
Country: USA, Running Time: 74 min
A story about water. A song for the sacred in all of us. A documentary centered on solutions. WHERE THERE ONCE WAS WATER takes a look at the driest of places – California and the Southwest USA – and the deepest of spaces – our inner worlds. It presents an invitation to change our perspective and heal our relationship with water … one watershed, one meal, one raindrop, at a time.
 
 
SURF NITE
WHITE RHINO
Director: Brent Storm
Country: USA, Running Time: 64 min
WHITE RHINO is a parallel story from the surfers and photographers who witnessed three historic swells that hit the shorelines of the South Pacific in 2011-2012. Photographer Brian Bielmann takes the audience on an edge of your seat adventure as we discover the stories behind some of his most iconic photos and what really transpired on those memorable days. WHITE RHINO features notable big wave riders Nathan Fletcher, Dave Wassel, Bruce Irons, Mark Healey, Kohl Christensen and Kalani Chapman.
THE ENDLESS SUMMER (1965)
Director: Bruce Brown
Country: USA, Running Time: 95 min
The crown jewel to ten years of Bruce Brown surfing documentaries. Brown follows two young surfers around the world in search of the perfect wave, and ends up finding quite a few in addition to some colorful local characters.
 
SPECIAL PRESENTATIONS
AHEAD OF THE CURVE
Directors: Jen Rainin, Rivkah Beth Meadow
Country: US, Running Time: 95 min
From its start in 1990, Curve magazine was a visionary and unapologetic celebration of lesbian life from cover to cover. Facing the magazine’s possible demise in 2019, director Jen Rainin and Curve founder Franco Stevens explore questions of lesbian visibility, legacy, and current day issues through interviews with contemporary LGBTQIA+ tastemakers, “celesbians” including Melissa Etheridge, Jewelle Gomez, Denise Frohman, Kate Kendell, and Lea DeLaria, along with rich archival footage recounting the formation of a lesbian cultural institution.
 
THE BOYS WHO SAID NO!
Director: Judith Ehrlich
Country: USA, Running Time: 90 min
THE BOYS WHO SAID NO! explores the Selective Service System, the federal justice system, and the prosecution and trials of war resisters, showing news footage of anti-war demonstrations and The Resistance’s rising visibility, anti-draft meetings, and smuggled film of resisters serving time in Federal prison as well as the influence of Ghandian nonviolence and the Civil Rights Movement.
 
SIX MINUTES TO MIDNIGHT
Director: Andy Goddard
Countries: Canada/Ireland, Running Time: 99 min.
Eddie Izzard and Judi Dench star in this brand new film directed by Andy Goddard (Downtown Abbey). In the summer of 1939, influential families in Nazi Germany sent their daughters to a finishing school in an English seaside town, run by a strict but humane head mistress (Dench), to learn the language and be ambassadors for the future Nazi state. Eddie Izzard who also co-wrote and produced, plays a new teacher who tries to raise the alarm. But the authorities believe he is the problem. Jim Broadbent plays a supporting character in this fascinating story based on historical facts.
 
SNEAK PREVIEW SCREENING
ECHOES OF THE EMPIRE: BEYOND GENGHIS KHAN                            
Director: Robert H. Lieberman
Country: USA, Running Time: 73 min
Film director/novelist Robert H. Lieberman takes us into this vast country little known by many, creating a stunning cinematic view of Mongolia’s past and present. The film leads us through the remarkable evolution of Genghis Khan’s Mongol Empire—a realm that once encompassed all of Asia, the Middle East and Europe leading up to the doorsteps of Vienna.
 
NARRATIVE FEATURES
BLOOM
Director: Xuan Liu
Country: China, Running Time: 90 min
An amazing first film from Xuan Liu, BLOOM is a richly layered, poetic love story that takes place in late 1990s Beijing. Uniquely told through conversations between Mu Ke and his younger self, it weaves together memories, disillusions and hope. Gorgeous cinematography and superb acting help elevate this film into the realm of great art.
 
THE DOG WHO WOULDN’T BE QUIET
Director: Ana Katz
Country: Argentina, Running Time: 73 min
Straight from a World Premiere at Sundance, this charming film from Argentina follows Sebastian, a man in his thirties, who works a series of temporary jobs as he deals with life’s curve balls. He slowly transforms as he encounters love, loss and crisis.
 
FULLY REALIZED HUMANS
Director: Joshua Leonard
Country: USA, Running Time: 74 min
When parents-to-be Elliot and Jackie are confronted with the fear of pending parenthood, they decide to embark on a journey of self-discovery, crossing adventures off their bucket list while they still can. Dealing with the grandparents-to-be is all part of the fun in this hilarious portrait of parenthood in all its iterations.
 
MONKEY BEACH
Director: Loretta Todd
Country: Canada, Running Time: 104 min
Indigenous Canadian filmmaker Loretta Todd has done justice to Eden Robinson’s novel about a complex family story of love, loyalty and spiritual beliefs. Filmed on the coast of British Columbia in the Haisla Nation in Kitamaat, Lisa Hill returns from Vancouver to her family home after visions warn that her brother is in danger.
 
SISTERS: THE SUMMER WE FOUND OUR SUPERPOWERS
Directors: Silje Salomonsen, Arild Ostin Ommundsen
Country: Norway, Running Time: 78 min
Two sisters, ages 9 and 5, go on an exciting outdoor hike with their adventurous dad, but he suddenly has an accident and the girls are left to figure out what to do next. They take us on a childlike journey through the wilderness of Norway as they navigate their way to find help, discovering strength in sisterhood along the way.
 
SMALL TIME
Director: Niav Conty
Country: USA, Running Time: 104 min
SMALL TIME eloquently mixes the sweet innocence of young Emma growing up in rural Pennsylvania, with poverty, the opioid crisis and “the war on terror.” In a stand-out debut performance, Audrey Grace Marshal takes us on an empathetic and darkly humorous journey through family drama exasperated by addiction and trauma.
 
VALENTINA
Director: Cassio Pereira dos Santos
Country: Brazil, Running Time: 95 min
Valentina, 17, moves to rural Brazil with her mother to start fresh, after being bullied at her last high school. When enrolling with her new name, she faces an unexpected dilemma when the new school requires a second parental signature, exposing the real-life hardships that young trans people must endure as they embrace who they are.
 
DOCUMENTARY FEATURES
ALICE STREET
Director: Spencer I. Wilkinson
Country: USA, Running Time: 96 min
A powerful, colorful display of community and culture is showcased in this battle to preserve Oakland’s downtown from the onslaught of gentrification. A mural comes alive, dedicated to the diverse artists that intersect Alice Street. The community rallies to fight a condo that will obstruct the mural and transform the cultural landscape.
 
BANKSY: MOST WANTED
Directors: Aurélia Rouvier, Seamus Haley
Country: France, Running Time: 90 min
With Banksy, the prevailing question is not about his art, but something more basic — who is he? How can someone so provocative, and who stirs up so much emotion, manage to stay so hidden? BANKSY: MOST WANTED combines a journalistic approach and love of art in a true modern day whodunnit.
 
BLEEDING AUDIO
Director: Chelsea Christer
Country: USA, Running Time: 91 min
Told through the eyes of quirky, charming and humble bandmates Shawn, Jon, Matt and Justin, Chelsea Christer’s BLEEDING AUDIO is an intimate portrait detailing The Matches’ promising career, defeating break up, and inspiring reunion, as they reflect on what success truly means for musicians in today’s digital industry. A recent Slamdance 2021 pick!
 
THE BOOK MAKERS
Director: James Kennard
Country: USA, Running Time: 58 min
What should books become in the digital age now that they’re freed from the burden of fulfilling tasks like encyclopedias and the Yellow Pages? An eclectic group of people are dedicating their lives to answering that question. This film spins a tale of the enduring vitality of the book in a world where physical pages are being creatively reinvented.
 
LIKE A WOMAN
Director: Gail Mooney
Country: USA, Running Time: 52 min
A helicopter pilot. A Goodyear blimp pilot. All are women with moxie who are succeeding in male-dominated fields in this inspiring film that includes current and former female deans at Cal Poly. “There’s no such thing as a boy thing or a girl thing,” one woman says. “There’s the thing that speaks to you, and if it speaks to you, go out and do it.”
 
MEDICINE MAN: THE STAN BROCK STORY
Director: Paul Michael Angell
Country: UK, Running Time: 96 min
This is the incredible life story of Amazonian cowboy turned U.S. TV star, Stan Brock, who sacrificed everything to bring free healthcare to millions of people in need. It is a heart-warming tribute to the unifying power of volunteerism, and an exploration of a perennial outsider’s search for meaning through selflessness and deep compassion.
 
MISSING IN BROOKS COUNTY
Directors: Lisa Molomot, Jeff Bemiss
Country: USA, Running Time: 90 min
This exceptional documentary takes us boldly into an American border town that has been caught in the middle of the daily life and death situation created by our current immigration system. We meet vigilante ranchers, humanitarian activists, Border Patrol and others locked in an endless battle of human rights and politics.
 
THE RACE TO ALASKA
Director: Zach Carver
Country: USA, Running Time: 127 min
Be Safe. Be Bold. Get Over Yourself — is the theme of this 750-mile boat race of a lifetime from Washington to Alaska. Whirlpools, deadly currents, bears and much more test these intrepid mariners to their very limit. The only rule — no engines. The rest is up to the imagination, from state-of-the-art custom craft to a makeshift paddle board.
 
ROAD TO VRINDAVAN
Director: Ravinol Chambers
Country: UK, Running Time: 84 min
On a life-changing journey across India, culture and progress collide as a former Krishna monk re-examines traditional gender roles and the barriers girls face in escaping child marriage and rape. With the obvious need to educate girls, there is the cultural challenge: Will education bring them true equality or transform them into caged butterflies?
 
VAS-Y-COUPE! (WINE CRUSH)
Director: Laura Naylor
Country: USA/France, Running Time: 92 min
A loyal crew of laborers travels from northern France each year to harvest grapes at a small family-owned vineyard. We are privy to the gritty underbelly to the charmed romantic life of the Champagne region. Despite stunning scenery, endless champagne and great food, this is a story of relationships between owners, workers and family.
 
VINYL NATION
Directors: Christopher Boone, Kevin Smokler
Country: USA, Running Time: 90 min
“Everything old is new again!” perfectly sums up the fascinating history of the vinyl record that seemingly vanished into relative obscurity in the 1980s, but is now one of the hottest trends again worldwide. But there’s just something about spinning vinyl, and VINYL NATION does an entertaining deep dive into what that something might be.
 
MOVIES FOR THE HEART AND MIND
Sponsored by The Coastal Awakening / Shanbrom Family Foundation
 
THE FALCONER
Director: Annie Kaempfer
Country: USA, Running Time: 75 min
This is an intimate portrait of master falconer Rodney Stotts on his mission to build a bird
sanctuary and provide access to nature for his stressed community. By weaving Rodney’s
present-day mission with the story of his past, both deeply rooted in issues of social
and environmental injustice, the film reminds us that nature heals.
 
INVITATION TO THE DANCE
Director: Sarah Shoemaker
Country: USA, Running Time: 38 min
Dance teacher Lena Forster introduces us to her adult special-needs ballet class in Greenville, SC where we follow five charming students through a year of dance and life. We get a sensitive and very touching glimpse of a community frequently overlooked, listen to voices frequently unheard and witness the joy of dancing and the arts as it impacts the dancers’ lives.
 
A SHOT THROUGH THE WALL
Director: Aimee Long
Country: USA, Running Time: 88 min
After accidentally killing an unarmed Black man when his gun fires off through an apartment wall, a young Chinese American cop deals with his guilt and begins to unravel as he navigates the charged and complicated worlds of media, justice and racial politics in modern-day New York. The film, drawn from an actual event in Brooklyn, explores systemic racism.
 
 
 

#### 2021 Sound Unseen Film + Music Festival Announces Call for Entries
 
Call for Entries opened today exclusively on Film Freeway for the 22nd edition of the Sound Unseen Film + Music Festival, which will take place November 10-14, 2021. The film festival will once again be offered virtually to both Minnesota and Texas, with the potential to expand to a hybrid approach with in-person screenings in Minneapolis and Austin.
Upon its debut in 1999, Sound Unseen immediately introduced itself as a unique, cutting edge “films on music” festival in Minneapolis/St. Paul and has established itself as one of the premiere niche festivals in the country, a destination film festival for filmmakers, industry veterans and film journalists, and routinely lauded by publications like MovieMaker Magazine and Filmmaker Magazine. Sound Unseen now ranks as an important and vital part of the regional film festival circuit and cultural scene.
Sound Unseen Festival Director Jim Brunzell and Program Director Rich Gill, said, “This year we will build upon the success of our virtual screenings and presentations in both Minnesota and Texas, with the hope that we can return to our familiar and beloved theaters in Minneapolis as well as offering our first screenings in Austin. Sound Unseen is unique in our dedication to the celebration of music artists and music-themed subjects on film and those two cities are so rich in that history and culture that joining them together through our event makes sense and literally doubles the benefit to our filmmakers.”
When it comes to prizes, to paraphrase HIGHLANDER: “There can only be one.” Sound Unseen awards a Best Film from the festival’s competition titles (competition films are selected by Sound Unseen staff) and a five-person jury deliberates to choose the winning film.
Submissions can be made exclusively at https://filmfreeway.com/SoundUnseen.
For more information about Sound Unseen, visit http://www.soundunseen.com/.
Categories
Narrative Features
Documentary Features
Narrative Shorts
Documentary Shorts
Music Videos
Student Made Films
Minnesota Made
Submission Deadlines
Earlybird: March 13, 2021
Regular: June 30, 2021
Late: July 31, 2021
Extended: September 4, 2021

#### 2021 South East European Film Festival (SEEfest) Announces Film Lineup
 
The 2021 South East European Film Festival (SEEfest) (April 28-May 5), co-presented by ELMA, foundation for European Languages and Movies in America, announced the lineup of official selections for the 16th annual edition of the Los Angeles-based film festival. Presenting and celebrating cinematic and cultural diversity of 18 countries of the Balkans and Caucasus to American audiences, the film festival continues to provide a platform in the U.S. for the discovery of new talent from South East Europe.
SEEfest will honor internationally celebrated author Dubravka Ugrešić (“The Age of Skin,” “Baba Yaga Laid an Egg”) with this year’s Legacy Award and Marija Škaričić (Mare) and Jasna Djuričić (Quo Vadis, Aida?) with the film festival’s inaugural Mira Furlan Memorial Acting Award.
A true discovery film festival, this year’s virtual presentation is once again rich with premieres, including 2 world premieres (Elka Nikolova’s A Question of Survival and Kata Oláh’s My Digital Nomad), and 2 international premieres, Jadran Boban’s That Other Village, and Sidar İnan Erçelik’s Wind Horse. Among the 7 North American premieres at SEEfest are Marko Djordjević’s My Morning Laughter, Gjergj Xhuvani’s final feature, My Lake, Ivan Živković’s Galeb (Tito’s Boat), Nebojša Slijepčević‘s 70, Ivana Marinić Kragić’s Nun of Your Business, Bruno Pavić’s Landscape Zero, and Pavel Cuzuioc’s Please Hold the Line. The 2 films making U.S. premieres are Marija Perović’s Breasts, and Catherine Harte’s Faith & Branko.
SEEfest Executive Director Vera Mijojlić, said, “This is another exciting year programming-wise with several films from South East Europe set to make their debut here in the States with our virtual film festival presentation. We are especially excited to host a conversation with our wonderful Legacy Award honoree Dubravka Ugrešić on April 17 and the opportunity to celebrate the great work by Marija Škaričić and Jasna Djuričić, who star in four of our highly anticipated selections, Mare, Breasts, Quo Vadis, Aida?, and My Morning Laughter with the inaugural Mira Furlan Memorial Acting Award, paying homage to our talented and beloved actor, who died earlier this year.”
Making their world premieres at SEEfest will be two documentaries, including Elka Nikolova’s US and Bulgarian co-production, A Question of Survival, which traces the legacy of the Holocaust in the Balkans, as seen through the eyes -and conflicting memories- of three Bulgarian Jewish survivors in New York, and Kata Oláh’s My Digital Nomad, an intimate, first-person documentary from Hungary about the nomadic lifestyle turns into an intimate conversation between mother and daughter throughout countries and years;.
SEEfest’s 2 International premieres include; Jadran Boban’s Croatian film That Other Village about a remote village that changed twice its name, population and its own history as it continues to be torn by never ending historical traumas triggering new conflicts; and Sidar İnan Erçelik’s Wind Horse, a poetic Turkish film which tells the story of two shepherds from Anatolia, one of whom becomes a celebrated jockey; the film juxtaposes human desire for success with the toll on the spirit of freedom in both humans and horses.
North American premieres include; Ivana Marinić Kragić’s Nun of Your Business, a Croatian film about two young nuns, driven by their blossoming love, who choose to leave the convent and start a new life together; Marko Djordjević’s My Morning Laughter, a Serbian dramedy about a 30-year-old trying to lose his virginity; and the late Gjergj Xhuvani’s final feature, My Lake, an Albanian drama about a man who has become a small-time marijuana smuggler to support his family.
Following in the tradition of SEEfest films which bring to life world history in a dynamic way is Ivan Živković’s Galeb (Tito’s Boat), a Croatian film which tells the story of the ship that Yugoslav president Tito sailed numerous times, visiting close to 20 countries as he negotiated an alliance of non-aligned countries, the world’s largest after the United Nations. Other North American premieres include Nebojša Slijepčević‘s 70, a documentary about the LADO Ensemble, the only professional folk music and dance ensemble in Croatia;
Bruno Pavić’s Croatian film, Landscape Zero will also make its North American Premiere, as will Pavel Cuzuioc’s Austrian film Please Hold the Line. The former follows the lives of people who are either fighting for their survival among dangerous facilities surrounding their homes or coexisting with them in harmony, while the latter focuses on cable technicians in Eastern Europe as they navigate a modern-day Tower of Babel. One of the 2 films making its U.S. premiere is Catherine Harte’s Faith & Branko, an intimate story chronicles the relationship between musicians Faith and Branko over seven years.
Mira Furlan Memorial Acting Award honoree Marija Škaričić stars in two other highly anticipated films among SEEfest’s official selections. Andrea Štaka’s Mare, a multiple award-winner including the Solothurn Prize, is a Swiss and Croatian co-production about a woman dedicated to her family life, yet always feeling out of place until a chance romantic encounter with a new neighbor just may put everything to the test. Marija Perović’s Breasts, which makes its U.S. premiere, is a light-hearted drama from Montenegro about four friends from high school brought together again at their 20-year reunion, who all are forced to go beyond the usual pleasantries when it is revealed that one of them has become gravely ill.
Fellow Mira Furlan Memorial Acting Award honoree Jasna Djuričić stars in Jasmila Žbanić’s Quo Vadis, Aida?. a 2021 Academy Award nominee for International Feature Film from Bosnia Herzegovina, the film follows a translator for the UN in a small town taken over by the Serbian army forcing her to use her connections as an insider to look out for the safety of her family and people. Eugen Jebeleanu’s directorial debut Poppy Field follows the struggle of a young Romanian gendarme who tries to balance two opposing parts of his identity: that of a man working in a macho hierarchical environment and that of a closeted gay man. Andrei Zinca’s So, What’s Freedom? is a Romania and U.S. co-production inspired by real events exploring how the lives of a group of people turn when they discover their freedom has become a forced exile.
Twice the recipient of the prestigious festival grant from the Academy of Motion Picture Arts and Sciences, and five other awards for programming excellence from the State of California, County and City of Los Angeles, Cities of Beverly Hills and West Hollywood, and Hollywood Foreign Press Association’s festival grant, the festival’s growing list of renowned organizations which now support the festival includes the California Arts Council, Los Angeles County Board of Supervisors through the Los Angeles County Department of Arts and Culture, ELMA Foundation, UCLA Center for European and Russian Studies, Hollywood Foreign Press Association, Blue Heron Foundation, Villa Aurora artists residence, Film & Ink LLC, West Hollywood Chamber of Commerce, as well as a roster of cultural community partners representing diversity of our State.
To buy passes or tickets or find more information, please go to: https://seefilmla.org/.
 
2021 South East European Film Festival – Los Angeles’ Official Selections
 
FEATURE FILMS
 
NARRATIVE FEATURES
 
Breasts                                                           (U.S. Premiere)
Director: Marija Perović         
Country: Montenegro; Running time: 92 min
Twenty year high-school reunion brings together four friends. One of them is gravely ill. The rest want to help her. But to do that, they first have to find out who they really are.
 
Cream                                                             (West Coast Premiere)
Director: Nóra Lakos
Country: Hungary; Running time: 89 min 
The love of Dora’s life broke up with her, even worse: he married another woman. She starts a pastry shop where she makes unfulfilled love sweet by selling pastries named after famous unfulfilled love couples from film history. When her pastry shop appears to be lost too she makes up her mind to get her love and her pastry shop back, even if she has to lie to do it. On her way, she meets other families as well as her ex-boyfriend and his new wife. These meetings make her realize the love she hangs on to has no basis in reality. Dora stops living in a state of romantic self-pity, ends the lying and opens up to the possibility of a new, real relationship.
 
EST                                                                 (West Coast Premiere)
Director: Antonio Pisu
Country: Italy/Romania; Running time: 103 min 
A few weeks before the Fall of the Berlin Wall, Pago, Rice and Bibi, twenty-four (twenty-five) years old, leave the calm city of Cesena looking for adventure: a ten-days-long holiday in Eastern Europe, in those places where the Soviet regime is still alive. As they get to Budapest, they meet Emil, a Romanian fleeing from the dictatorship in his country. The man is worried for his family that still lives in Romania, so he asks the three Italians for help. It is an easy task: take a suitcase to his wife and daughter. Out of pity and looking for a thrill, the three friends head to Bucharest, in the heart of Ceausescu’s dictatorship. Without knowing what is waiting for them, in a journey beyond their imagination, Pago, Rice and Bibi will find themselves in a country under the dictatorial regime, involved in surreal situations and surrounded by unlikely characters that will seriously put their lives at risk.
 
Fear                                                                            (LA Premiere)
Director: Ivaylo Hristov 
Country: Bulgaria; Running time:  100 min
Svetla, a strong-willed widow, lives alone in a small Bulgarian village close to the Turkish border. She has recently lost her job as a teacher due to the lack of families with young children. One day, while hunting in a forest, she encounters an African refugee, Bamba, who is trying to reach Germany, and will bring about a dramatic turn in her life. Reluctantly, she offers him hospitality, but day after day, a bond develops as Bamba learns the language and takes part in her daily life. Svetla will make life-changing choices that go against her traditional community creating a revolt among the villagers. Absurd, comic and tragic situations ensue as she breaks barriers of loneliness, close mindedness and fear of the outsider.
 
In The Shadows                                                        (LA Premiere)                                    
Director: Erdem Tepegöz      
Country: Turkey; Running time: 96 min 
In a dystopia of undefined place and time, dominated by primitive technology, a group of people is being controlled by an omnipresent surveillance system. When one of them contracts a mysterious disease, out of fear to lose his job he tries to contact the Officials. Doubts arise about the structure he is working in. By questioning the system, he gets to know the depths of this structure which is darker than he thought.
 
Mare                                                                            (West Coast Premiere)          
Director: Andrea Štaka 
Country: Croatia/Switzerland; Running time: 84 min 
Mare has never flown, although she lives right next to the airport with her husband and their three teenage kids. She loves her family, cares for them, but sometimes almost feels like a stranger in her own home. Who are these people she lives with? Mare finds herself gazing at the planes overhead, longing for change and the unknown. When one day a young man moves into the house next door, she puts her life to the test.
 
My Morning Laughter                                               (North American Premiere)
Director: Marko Djordjević
Country: Serbia; Running time: 94 min
MY MORNING LAUGHTER tells the hilariously tragic story of a man who has lived for too long under his parents’ wings. 28-year-old Dejan and his mother visit a fortune teller who bluntly asks Dejan what his sex life is like. The clairvoyant sees right through Dejan’s refusal to answer: “You’re a wimp.” Dejan’s mother sits down for her reading, and she is advised to devote herself to another man in her life. She is the cause of her adult son’s problems. But there is hope for Dejan. A female colleague isn’t easily put off.
 
My Lake                                                                      (North American Premiere) 
Director: Gjergj Xhuvani        
Country: Albania; Running time: 100 min 
Young Kristo lives in a village at the edge of gorgeous Lake Prespa, a body of water divided on the borders of three Balkan countries Albania, North Macedonia and Greece. In order to support his family, Kristo has become a small-time marijuana smuggler, using his boat and knowledge of the lake waters to transport drug packages from the Albanian to the Macedonian side.
 
Poppy Field                                                               (West Coast Premiere)
Director: Eugen Jebeleanu 
Country: Romania; Running time: 81 min  
Poppy Field follows the struggle of a young Romanian gendarme, Cristi, who tries to find the balance between two apparently opposing parts of his identity: that of a man working in a macho hierarchical environment and that of a closeted gay person who tries to keep his personal life a secret.
 
Quo Vadis, Aida?                                                      (screening out of competition)
Director: Jasmila Žbanić        
Country: Bosnia Herzegovina; Running time: 102 min
Bosnia, July 1995.Aida is a translator for the UN in the small town of Srebrenica. When the Serbian army takes over the town, her family is among the thousands of citizens looking for shelter in the UN camp. As an insider to the negotiations Aida has access to crucial information that she needs to interpret. What is on the horizon for her family and people – rescue or death? Which move should she take?
 
So, What’s Freedom? 
Director: Andrei Zinca            
Country: Romania/US; Running time: 93 min 
The lives of a group of people turn when they discover true freedom into a forced exile. This story of love, survival and thirst for freedom is inspired by real events, which took place in 1951, in a country (Romania) which had been recently subjugated by a totalitarian regime, and is told from a present day perspective.
 
 
DOCUMENTARY FEATURES
 
Galeb (Tito’s Boat)                                                    (North American Premiere) 
Director: Ivan Živković           
Country: Croatia; Running time:  56 min
This is the story of the ship that Yugoslav president Tito sailed on 14 times, visiting 18 countries on three continents. On these trips he successfully negotiated an alliance of non-aligned countries, the world’s largest after the United Nations. Yugoslavia was the leader of the Non-Aligned Movement, and Tito its charismatic leader.
 
70                                                                                (North American Premiere) 
Director: Nebojša Slijepčević
Country: Croatia; Running time: 48 min 
Through three personal stories, we learn about LADO Ensemble, the only professional folk music and dance ensemble in Croatia, which has been giving extraordinary performances for 70 years. We learn about its artists, their everyday life and challenges.
 
A Question Of Survival                                            (World Premiere) 
Director: Elka Nikolova          
Countries: USA/Bulgaria; Running time: 56 min 
A Question of Survival is a documentary film about the legacy of the Holocaust in the Balkans, as seen through the eyes -and conflicting memories- of three Bulgarian Jewish survivors in New York. Chaim Zemach, a cellist; Robert Bakish, an engineer; and Misha Avramoff, a social worker on the Lower East side of Manhattan in New York, were living with their families in Bulgaria during the country’s alliance with the Nazis. When in March 1943 the Bulgarian government first postponed and ultimately cancelled the imminent deportation of the entire Bulgarian Jewish community of 48 000, Misha, Chaim and Robert were ages 5, 14 and 17. After the war their families left Bulgaria. The three young Bulgarians only grasped how close they came to death after they arrived in New York and learned the fate of millions of European Jews.
 
Faith & Branko                                                          (U.S. Premiere)
Director: Catherine Harte      
Country: Serbia/UK; Running time: 82 min 
This intimate story chronicles the relationship between musicians Faith and Branko over seven years. In 2011, Faith travels from England to Serbia to learn gypsy accordion. She meets Roma violinist Branko and despite language barriers, they fall in love through music. Captivated by their musical chemistry, they marry and take their duo abroad. As much as Faith is free-spirited and privileged, Branko is untraveled and attached to his family, but they each believe that the other will better their lives. The relationship is tested by the realization of their differences and that music may be all they have in common.
 
Glory to The Queen                                                  (West Coast Premiere) 
Directors: Tatia Skhirtladze, Anna Khazaradze        
Country: Georgia/Austria; Running time: 82 min 
During the Cold War, the four legendary female chess players from Georgia revolutionized women’s chess across the globe, and became Soviet icons of female emancipation. Glory to the Queen reveals their interwoven biographies and is both – a rare look into the present lives of chess stars Nona Gaprindashvili, Nana Alexandria, Maia Chiburdanidze and Nana Ioseliani, as well as a chronicle of their lasting legacy.
 
Landscape Zero                                                        (North American Premiere) 
Director: Bruno Pavić
Country: Croatia; Running time: 71 min 
A small coastal area has been destroyed by the presence of industrial facilities. The film follows the lives of people who are either fighting for their survival among the dangerous facilities or coexisting with them in harmony. Everyday scenes intertwine with different art performances, depicting the adjustment of people and animals to the degraded environment.
 
Line Of Life                                                                (LA Premiere)
Director: Darko Bajić 
Country: Serbia; Running time: 95 min  
A film about the painter and professor Miloš Bajić. But it`s also a film about life in the 20th century, which brought to the Balkan region a period of great destruction and great reconstruction. The cruelty of war in which human life was worth as much as a man was able to work in a monstrous concentration camp. About 11 million people who did not get the chance to live, create and build families after that war. And about how the main character of this film defeats his own death with his imagination and art.
 
My Digital Nomad                                                     (World Premiere)
Director: Kata Oláh    
Country: Hungary; Running time: 78 min 
A documentary about the nomadic lifestyle turns into an intimate conversation between mother and daughter throughout countries and years. Images from the family archive complete this mother-daughter relation portrait, a personal film that also raises universal themes about motherly responsibility, searching for freedom and everything in between.
 
Nun of Your Business                                              (North American Premiere)
Director: Ivana Marinić Kragić           
Country: Croatia; Running time: 71 min 
Two young nuns meet during a Catholic gathering in Croatia and fall in love. They live in two separate convents, but the spaces they once considered havens of solace and spiritual fulfillment turn out to be more “earthly” than expected. Disillusioned by the Church and the sexual and psychological abuse within, yet driven by blossoming love, they make the most difficult decision of their life – to leave the convent, start a new life together on the island and seek acceptance from the traditional local community.
 
Please Hold the Line                                                (North American Premiere)   
Director: Pavel Cuzuioc 
Country: Austria; Running time: 86 min 
Cable technicians in Eastern Europe navigate a modern-day Tower of Babel. With unflappable humor and a dose of philosophy, the technicians hold the line in a dissonant world.
 
That Other Village                                                     (International Premiere)
Director: Jadran Boban          
Country: Croatia; Running time: 73 min 
Hidden on the outskirts of Europe, nested between two mountains in Eastern Croatia, lies a village that changed twice its name, population and its own history. This village, that has two cemeteries, is immersed in numerous unspoken and conflicting memories passed on from generation to generation. Recollection of past inter-ethnic conflicts is being transformed as to forever keep a seed of future suffering, trauma and war. The village that used to be the home of two nations becomes a paradigm of a vicious cycle of mutual feelings of injustice and generalization of guilt, forever trapped in never ending historical traumas of the 20th century.
 
Tied                                                                            
Director: Tassos Morfis         
Country: Greece; Running time: 53 min 
The documentary captures the struggle of 320 unpaid seamen of the Lesvos Shipping Company – one of Greece’s most historic maritime companies- in 2015. With many trapped in the company’s vessels in Drapetsona, a part of the Piraeus port, and away from the spotlight, the camera captures their efforts to receive their back wages for 7 months, following them from the docks to the Prime Ministers office during the most critical times in Greece’s modern history.
 
Wind Horse                                                                (International Premiere)
Director: Sidar İnan Erçelik   
Country: Turkey; Running time: 80 min 
Wind Horse is a poetic Turkish film which borrows its title from Asian shamanism where the term is used as a metaphor to describe the human soul. Through a story of two shepherds from Anatolia, one of whom becomes a celebrated jockey, the film juxtaposes human desire for success with the toll on the spirit of freedom in both humans and horses.
 
SHORT FILMS
           
NARRATIVE SHORTS
           
Bits    
Director: Áron Horváth Botka
Country: Slovenia; Running Time: 15 min
 
Blind Alley    
Director: Olga Koleva
Country: Bulgaria; Running Time: 20 min
 
The Breeze   
Director: Ozan Turgut
Country: Turkey; Running Time: 4 min
 
Days Lost      
Director: Jovana Avramovic
Country: Serbia; Running Time: 20 min
 
Deer   
Director: István Hevesi
Country: Hungary; Running Time: 13 min
 
French Cinema         
Director: Galina D. Georgieva
Country: Bulgaria; Running Time: 20 min
 
I’m Calling Your Father       
Director: Leon Ristov
Country: N. Macedonia; Running Time: 12 min
 
In Between
Director: Ana Pasti
Country: Romania; Running time: 20 min
 
The Jacket    
Director: Aleksandra Nestorov
Country: Serbia; Running Time: 16 min
 
Pilgrims         
Directors: Farnoosh Samadi, Ali Asgari
Country: Turkey; Running Time: 17 min
 
Rainbow        
Director: Aleksandar Vujović
Country: Montenegro; Running Time: 17 min
 
Small Talk with The Bad Man         
Directors: Meni Tsilialidou, Nikos Kolioukos
Country: Greece; Running Time: 15 min
 
Snake
Director: Andrej I. Volkashin
Country: N. Macedonia; Running Time: 20 min
 
Sticker           
Director: Georgi M. Unkovski
Country: N. Macedonia; Running Time: 19 min
 
The Thousand and One Night        
Director: Mahsum Taskin
Country: Turkey; Running Time: 17 min
 
 
DOCUMENTARY SHORTS
                       
Amalgamation          
Directors: Sylvia Nicolaides, Nicolas Iordanou
Country: Cyprus; Running Time: 19 min
 
Collecting Time        
Director: Christos Sagias
Country: Greece; Running Time: 30 min
 
Faceless        
Director: David Lusicic
Country: Croatia; Running Time: 14 min
 
Invisible Life 
Director: Vuk Dapčević
Country: Serbia; Running Time: 10 min
 
Our Lady’s Peace     
Director: Vladimir Perović
Country: Montenegro; Running Time: 18.5 min
 
Salads That Heal      
Director: Didem Tali
Country: Turkey; Running Time: 4 min
 
Teo My Neighbor     
Director: Christos Karteris
Country: Greece; Running Time: 14 min
 
This Is Right; Zack Life and After  
Director: Gevi Dimitrakopoulou
Country: Greece; Running Time: 13 min
 
We Are All Going to Die      
Director: Sashko Potter Micevski
Country: N. Macedonia; Running Time: 25 min
 
 
ANIMATION SHORTS
           
All Those Sensations in My Belly  
Director: Marko Djeska
Country: Croatia; Running Time: 13.5 min
 
Arka   
Director: Natko Stipaničev
Country: Croatia; Running Time: 14.5 min
 
Cockpera      
Director: Kata Gugic
Country: Croatia; Running Time: 4.5 min
 
Elusiveness  
Director: Marija Vulic
Country: Serbia; Running Time: 7 min
 
Norabelle      
Director: Zsofia Katona
Countries: USA/Hungary; Running Time: 3.5 min
 
Sasa and Petre
Director: Luca Istodor
Country: Romania; Running time: 11 min

#### 2021 UCLA Asian American Studies Center Film Festival Announces Film Lineup
Liquor Store Babies (2018)
 
The UCLA Film & Television Archive and UCLA Asian American Studies Center (AASC) celebrate the legacy of Asian American studies with the UCLA Asian American Studies Center Film Festival presented virtually on February 19-21 and 26-28, 2021.
The online program includes six features, 13 short films, one television episode and one webisode offering powerful imagery and poignant commentary about meaningful issues facing Asian American and Pacific Islander communities. Virtual audiences will hear from filmmakers and actors on their creative journeys, as well as from scholars, artists and community leaders on themes that apply to today’s world.
“For 51 years, the UCLA Asian American Studies Center has continuously worked to give voice to Asian American scholars, students and communities so that society at large can have a deeper understanding of our experiences and perspectives,” said Karen Umemoto, Ph.D., Director of Asian American Studies Center. “Partnering with the UCLA Film & Television Archive to present this festival is an opportunity for all of us to be immersed in the lives of Asian Americans and Pacific Islanders through moving images.”
The virtual festival is a continuation of the 2020 in-person UCLA Asian American Studies Center 50th Anniversary Film Festival, cut short after opening weekend due to stay-at-home measures implemented in Los Angeles County due to Covid-19.
UCLA Asian American Studies Center Film Festival
 
February 19, 2021, 4 p.m. PT – Complexities of Race
Short films: Liquor Store Babies (2018), Thank You, Come Again (2020), The Dope Years: The Story of Latasha Harlins (2021)
Down a Dark Stairwell (2021) Special sneak preview screening; space is limited and restricted to viewers within the United States. This film will premiere on PBS’ Independent Lens on April 12, 2021. In Cantonese, Mandarin and English with English subtitles.
Pre-recorded conversation to follow with filmmaker Ursula Liang and filmmaker Allison A. Waite. Moderated by filmmaker, UCLA Asian American Studies Department professor and UCLA Center for EthnoCommunications director Renee Tajima-Peña.
 
February 20, 2021, 3 p.m. PT – Anna May Wong: Asian American Icon “Anna May Wong: The First Asian American Movie Star” (4/8/2020)
The episode of Unladylike2020 (a series that premiered as part of PBS’ American Masters series).
The Toll of the Sea (1922), silent, musical accompaniment provided by Cliff Retallick. Preserved by the UCLA Film & Television Archive.
Conversation to follow with Anna Wong, niece of Anna May Wong and actor, writer, director Michelle Krusiec. Moderated by UCLA School of Theater, Film and Television associate dean and professor Sean Metzger. The conversation will include the following clips:
“Anna May Wong Visits Shanghai, China” (5/1/1936)
Stock footage shot for, but never used in, Hearst Metrotone News of Anna May Wong arriving on a Dollar Line boat, surrounded by a group of cameramen and newspapermen.
 
Hollywood: Season 1, Part 2 (5/1/2020)
Clips from Ryan Murphy and Ian Brennan’s Hollywood courtesy of Netflix.
 
February 21, 2021, 2 p.m. PT – Environmental Justice and Spirit of Aloha, Part 1
Short films: Back to the Source (2020), Standing Above the Clouds (2019), This is the Way We Rise (2020)
Conversation to follow with filmmaker Jalena Keane-Lee, director of photography Chapin Hall and filmmaker Sandra Carbonell-Kiamtia. Moderated by Alika Bourgette, University of Washington Ph.D. student.
 
February 21, 2021, 5 p.m. PT – Environmental Justice and Spirit of Aloha, Part 2
Moananuiākea: One Ocean, One People, One Canoe (2018)
Available to view between February 19 and 22 on the Archive’s Vimeo page.
Conversation with filmmaker Nāʻālehu Anthony and moderator Noah Patterson Hanohano Dolim, UC Irvine Ph.D. student.
 
February 26, 2021, 4 p.m. PT – Finding Home/Lands
Short films: The Price of Cheap Rent (2020), Gone (2019), Reopening (2020), Cambodia Town: Not For Sale (2019), Kamaʻāina (Child of The Land) (2019)
Chinatown Rising (2021)
Special sneak preview screening; space is limited. This screening is restricted to viewers within the United States.
Pre-recorded conversation to follow with filmmakers Harry and Josh Chuck. Moderated by UCLA professor in Urban Planning and Asian American Studies and UCLA Asian American Studies Center director Karen Umemoto.
 
February 27, 2021, 3 p.m. PT – Visions of Fire: LGBTQ+ Voices
Program will be introduced by UCLA Film & Television Archive Director May Hong HaDuong.
Short films: Shu Mai Online (2020), Razor Tongue: Episode 1 (2019), Unspoken (2019)
Fruit Fly (2009), 10th Anniversary Sing-Along Edition!
Post-screening conversation to follow with filmmaker H.P. Mendoza and actress, filmmaker, producer Rain Valdez. Moderated by UCLA School of Theater, Film and Television associate dean and professor Sean Metzger.
 
February 28, 2021, 5 p.m. PT – Food & Family
Short films: Spamfight (2020), Phoenix Bakery: Sweets for the Sweet (2020)
Final Recipe (2013)
Pre-recorded conversation to follow with director/producer and UCLA School of Theater, Film and Television professor Gina Kim, screenwriter and UCLA School of Theater, Film and Television professor George Huang and actor Chin Han.

#### 2021’s TCM Big Screen Classics Series Brings 12 Cinematic Masterworks to Cinemas Nationwide
The Ten Commandments
 
Next year, film aficionados can enjoy a yearlong journey spanning nine decades of cinema history, through a dozen of some of the movie industry’s greatest titles, as Fathom Events and Turner Classic Movies present the seventh annual TCM Big Screen Classics series. Featuring acclaimed films released from 1941 to 1996, and encompassing legendary dramas, iconic musicals, beloved comedies, a thrilling adventure, a stylish film noir, a stirring epic, a crackling mystery, and a suspenseful horror, the TCM Big Screen Classics series has something for everyone in 2021.
Each film is presented with pristine digital projection, movie-theater-quality sound, and in its original aspect ratio, as they were intended by the filmmakers. The TCM Big Screen Classics series is further enhanced with fascinating pre- and post-feature insights presented by popular TCM hosts, including TCM Primetime host Ben Mankiewicz.
The lineup for the 2021 TCM Big Screen Classics series is:
The Maltese Falcon 80th Anniversary
Boyz n the Hood 30th Anniversary
The Ten Commandments 65th Anniversary
La Bamba
Fried Green Tomatoes 30th Anniversary
The Birdcage 25th Anniversary
The African Queen 70th Anniversary
Willy Wonka & the Chocolate Factory 50th Anniversary
Citizen Kane 80th Anniversary
The Silence of the Lambs 30th Anniversary
West Side Story 60th Anniversary
On Golden Pond 40th Anniversary
Since its start in 2015, the TCM Big Screen Classics series has proved to be an annual fan favorite. Many events in the series achieved rave reviews and were top performers at the box office.
“Year after year, the TCM Big Screen Classics series proves to be among our most requested programming,” said Fathom Events Vice President of Studio Relations, Tom Lucas. “We are excited to bring another exciting line-up of films across a variety of genres – from comedies to musicals to award-winning dramas, there is something for everyone.”
“This year has shown us that watching movies on the big screen is not an experience to take for granted, and 2021’s lineup of films has something for every movie lover,” said Genevieve McGillicuddy, vice president of enterprises and strategic partnerships, TCM. “We are prouder than ever to continue this partnership with Fathom Events to bring the TCM Big Screen Classics series to audiences around the country.”
Tickets for The Maltese Falcon 80th Anniversary will be available beginning on Fri., Dec. 18 at www.FathomEvents.com or at participating theater box offices. For a complete list of events in the series, visit the Fathom Events website. Tickets for remaining titles will be available closer to the event dates. Please continue to check the Fathom Events website and sign up for alerts.
 
 

#### 2022 Harlem International Film Festival Announces Film Lineup
 
The 2022 Harlem International Film Festival (Hi) today announced official selections for its 17th edition – a hybrid event taking place May 5-15. The film festival will open with a gala presentation of three films making world premieres at the New York Public Library’s Schomburg Center for Research in Black Culture (515 Malcolm X Blvd.). The films include Jamal Joseph’s A Gorgeous Mosaic, Ano Okero’s An American Street Mural in Harlem, and Myra Lewis’ Love is in the Legend.
The red carpet in-person event is the first of three days of in-person screenings at the New York Public Library, followed by Columbia University’s Zuckerman Institute (3227 Broadway) on Friday, May 6, and the AMC Magic Johnson Harlem 9 Theaters (2309 Frederick Douglass Blvd) on Saturday, May 7. This year’s film lineup once again celebrates and showcases relatively undiscovered international cinematic gems and local New York filmmaking talent. Hi’s lineup features 59 films (32 features, 27 shorts and music videos), and 5 webisodes. Other feature films making their world premieres are Julianne Fox’s Never Better, and Elias Matar’s What is Buried Must Remain.
Harlem International Film Festival’s Program Director, Nasri Zacharia, said. “We are excited to once again have screenings at the New York Public Library and Columbia University, which both hold wonderful memories for this film festival. At the same time, we look forward to sharing so many wonderful films virtually to introduce our audiences throughout the state of New York to films from around the world. And, of course, we’ll continue our efforts to truly showcase the filmmakers and the setting of our beloved home neighborhoods of Harlem, Upper Manhattan and the Bronx, which we call the HUB.”
Opening on Thursday, May 5 at the New York Public Library, the Harlem International Film Festival will be a trio of films making their world premieres, including Jamal Joseph’s A Gorgeous Mosaic, which looks at former NYC mayor David Dinkins, the first African American to hold that post, and Ano Okera’s. An American Street Mural in Harlem, which focuses on a group of women from Harlem who organized the community to create a Black Lives Matter street mural. in Myra Lewis’ Love is in the Legend explores the communities of NYC’s Paradise Garage, the Harlem Ball scene, and the House of Patricia Field. The House of Field Ball in September 1988 stands as the historic event to bring together the worlds of Seventh Avenue fashion, downtown club culture, and the Harlem Houses. Known as “the Ball that changed it all,” the film highlights the artistry that introduced voguing and Harlem Ball culture to the world, paying homage to those who paved the way.
Friday, May 6 the film festival screens at Columbia University with three featured films. Philip Knowlton’s Clarisa tells the story of Clarisa Alayeto, a community activist from the Mott Haven section of the Bronx who set out on a personal mission to improve health care for people in the Bronx. Staying with the health and health care theme, Camille Bradshaw’s Let’s Talk Mental Health in Color is a compilation of episodes from a documentary series of the same name about the effects of socio-political and economic policies, unaddressed and misdiagnosed childhood mental health disruptions in young people of color. Then to end things on an uplifting note, Aminah Salaam’s Swimming Against the Current shines a light on the seniors of the “Harlem Honeys and Bears” Synchronized Swim Team.
For the third day of in-person screenings, the Harlem International Film Festival returns to the AMC Magic Johnson Harem 9 Theaters. Two features are highlighted, including Crystal Lee Kwok’s Blurring the Color Line: Chinese in the Segregated South, in which Kwok digs into her Grandmother’s past growing up Chinese in Augusta, Georgia’s Black neighborhood during Jim Crow. Cat Brewer’s Sign the Show brings together entertainers, the Deaf and Hard of Hearing (HOH) community, and American Sign Language (ASL) interpreters to discuss accessibility for all at live performances. The Saturday screenings will also include two select shorts programs.
Two films making their world premieres as part of Hi’s virtual offerings are Julianne Fox’s dramedy Never Better about a recent college grad with Cystic Fibrosis living through the pandemic summer of 2020, and Elias Matar’s supernatural drama What is Buried Must Remain. The film follows three young filmmakers who are confronted by angry spirits as they attempt to make a documentary about a French industrialist, accused of murdering his family.
For Film festival passes, tickets, and more information on the Harlem International Film Festival go to http://HarlemFilmFestival.org
2022 Harlem International Film Festival official selections
 
Opening Night Selections
A Gorgeous Mosaic                                                  World Premiere
Director: Jamal Joseph
Country: US, Running Time: 25 min
A portrait of David Dinkins, the first Black mayor of New York City.
 
An American Street Mural in Harlem                     World Premiere
Director: Ano Okera
Country: US, Running Time: 39 min
Against the backdrop of health disparities and systemic injustice during the COVID-19 pandemic, Harlem-based women rally a historically Black community to come together and create a contemporary Black Lives Matter street mural and public exhibition that no longer exists.
 
Love is in the Legend                                               World Premiere
Director: Myra Lewis
Country: US, Running Time: 110 min
Outsiders find belonging through music, fashion, and dance in the freedom of 1980s New York. An underground story about the confluence of the Paradise Garage, the Harlem Ball scene, and the formation of the House of Patricia Field, this immersive experience documents the House of Field Grand Street Ball of September 1988. This event brought together the worlds of Seventh Avenue Fashion, downtown club culture, and the Harlem Houses, paying homage to those who paved the way.
 
 
Friday Screenings at Columbia University
Clarisa
Director: Philip Knowlton
Country: US, Running Time: 17 min
In 2016, the Bronx was ranked “the county in New York with the worst health outcomes” or 62nd of all 62 counties in NY in terms of health. This documentary tells the story of Clarisa Alayeto, a community activist from the Mott Haven section of the Bronx who — inspired by her Grandmother — sets out on a mission to break that cycle.
 
Let’s Talk Mental Health in Color   
Director: Camille Bradshaw
Country: US, Running Time: 56 min
Let’s Talk Mental Health in Color is a docu-series that examines, with a focus on the effects of socio-political and economic policies, unaddressed and misdiagnosed childhood mental health disruptions in youths of color. It aims to serve as a dire call to action for a shift in normalizing mental health care as routine health care with efforts demanding direct confrontation with past and present systemic and social policies. From homelessness and gun violence to bullying and sexual abuse, each episode delves deeply into the ramifications of unaddressed childhood trauma and inaccessibility to effective mental health care. Episode 1 “Let’s Talk Mental Health in Color” is a compilation of upcoming episodes.
 
Swimming Against the Current
Director: Aminah Salaam
Country: US, Running Time: 55 min
As most of us dread the idea of getting “older” the seniors of the “Harlem Honeys and Bears” Synchronized Swim Team inspire us to live our best lives regardless of age.
 
Saturday Screenings at the AMC Magic Johnson Theatre Harlem 9
Blurring the Color Line: Chinese in the Segregated South         
Director: Crystal Lee Kwok
Country: US, Running Time: 77 min
Digging into her Grandmother’s past growing up Chinese in Augusta, Georgia’s Black neighborhood during Jim Crow, director Crystal Kwok complicates the black and white narrative while exposing uncomfortable truths behind today’s Afro-Asian tensions.
Preceded by
Shot in Italy                                                                                                   
Director: Mirko Bischofberger
Country: Switzerland, Running Time: 16 min
A filmmaker from Sierra Leone arrives in Southern Italy after fleeing from his country and enduring dangers in Libya. Once stranded, he teams up with an Italian filmmaker and other refugees to continue his dream of making movies. Will he make it?
 
Sign the Show
Director: Cat Brewer
Country: US, Running Time: 96 min
The film brings together entertainers, the Deaf and Hard of Hearing (HOH) community, and American Sign Language (ASL) interpreters to discuss accessibility at live performances in a humorous, heartfelt, and insightful way.
 
 
Saturday Short Cuts #1
Uptown Shorts From Harlem to the Bronx 
(TRT: 66 min)
 
B-Box
Director: Xavier Michael Griffiths
Country: US, Running Time: 10 min
Two roommates engaged in a bizarre high stakes game try to keep things under control when one of them invites a woman over to their apartment.
 
En Avant                                                                                           East Coast Premiere
Director: Sarah Jean Williams
Country: US, Running Time: 13 min
The internal struggle of a Black ballerina with self-acceptance as she faces racism in a white-dominated art form.
 
If My Voice Rang Louder Than My Skin                                         East Coast Premiere
Director: Kyra Peters
Country: US, Running Time: 4 min
The story of a teenage boy who craves a life where his skin no longer affects his daily life or how others perceive him. Using 2D animation, the film follows him through the streets of the Bronx, trying to unite his community’s voice through music to rally against the divisive hate against color.
 
Lowlife
Director: Alexandra Hinojosa
Country: US, Running Time: 9 min
Alina is being haunted by a presence she must confront in order to make a break from her former life.
 
The Other Talk                                                                                                                
Director: Sultan Ali, Jr.
Country: US, Running Time: 4 min
When a teenage girl plans to go to a protest, she must first confront her protective father.
 
Pécho                                                                                                      
Directors: Luis Villanueva, Pier Pacolo, Mason Coburn
Country: Philippines, Running Time: 2 min
A bilingual French-English music video inspired by classic French disco and world cinema from Hong Kong to Manila to New York— a non-linear narrative drives the film’s plot as it paints the artists within an imaginative, hallucinatory vignette of love and betrayal.
 
Silent Partner 
Director: Aristotle Torres
Country: US, Running Time: 16 min
Silas Jones is an accomplished, Black trial attorney on the cusp of making partner at a white-shoe law firm. Upon successfully defending a white woman charged with murdering a Black teen, Silas comes to a crossroads with his wife Kosi, an equally accomplished professor, as they prepare to attend the firm’s celebration. As the night progresses, Silas questions the legitimacy of his promotion. Will he make the ultimate sacrifice?
 
Sheila
Director: Gabri Christa
Country: US, Running Time: 8 min
A dancer blows out a candle and finds herself in a magical world of memory, dance, and presence. Featuring Sheila Rohan, one of the founding members of Dance Theater of Harlem.
 
 
Saturday Short Cuts #2
Black Love Matters
(TRT: 91 min)
 
An American Street Mural in Harlem                                             World Premiere
Director: Ano Okera
Country: US, Running Time: 39 min
Against the backdrop of health disparities and systemic injustice during the COVID-19 pandemic, Harlem-based women rally a historically Black community to come together and create a contemporary Black Lives Matter street mural and public exhibition that no longer exists.
 
Black.Eco       
Director: Shauna Davis
Country: US, Running Time: 12 min
Using movement as a force, Black.Eco is a dance film that dives into the many worlds that exist within a Black woman.
 
Black Love Manifesto           
Director: Liza Jessie Peterson
Country: US, Running Time: 20 min
Black Love Manifesto: A Suite in 5 movements uses photography, video, poetry and music to illuminate and celebrate the beauty and power of Blackness.
 
Black Rainbow                                                                                 International Premiere
Director: Zig Dulay
Country: Philippines, Running Time: 20 min
An aeta boy chases his dream of going to school in order to learn how to read the legal documents given to their community and to understand why they are being forced to give up their ancestral lands.
 
 
Virtual Screening Selections
 
NARRATIVE FEATURES
 
Broken Blooms                                                                                 East Coast Premiere
Director: Luisito Lagdameo Ignacio
Country: Philippines, Running Time: 103 min
Broken Blooms explores the travails of a young man dealing with the challenges of a blooming young marriage and his carefree and careless attitude towards morality & friendship, which is tested to the brink at the time the world cringes in the claws of a global pandemic.
 
Maya And Her Lover                                                                                   
Director: Nicole Sylvester
Country: US, Running Time: 106 min
Maya, stifled by complicated memories of her overbearing father and on the verge of becoming a recluse, begins a sexual relationship with a much younger man whose dark side impedes his journey as he navigates his way as a Black Man in America.
 
Never Better                                                                                     World Premiere
Director: Julianne Fox
Country: US, Running Time: 81 min
Terese is a recent college grad with Cystic Fibrosis living through the summer of 2020. She combats the time loop of quarantine with an unstoppable internal dialogue, a healthy dose of sarcasm, and lots of beer. When her self-interested roommate returns and fails to practice safe social distancing, Terese finds that boredom may be the least of her worries.
 
Person Woman Man Camera TV
Director: Niav Conty
Country: US, Running Time: 77 min
Barack Obama was starting his second term, hope was more than just a hashtag, and Sam met Samantha. Seven years later, 2020 happened. A tragicomedy about race, romance, and remembering.
 
Raise Your Hand
Director: Jessica Rae
Country: US, Running Time: 91 min
Gia and her best friend Lila survived a rough childhood in a neighborhood where every kid has a sad story to tell. Now, as teenagers, Gia struggles to use her gift of writing to reclaim what the world has brutally taken away.
 
Ranch Water  
Director: Sophie Miller
Country: US, Running Time: 80 min
The Sterling sisters and their once close-knit group of friends reunite for a weekend at the family ranch in small town Texas before it’s sold. Long simmering conflicts come to a head as they confront the uncertainty of their lives without the connection of home to bind each other.
 
The Ugly Truth
Director: Krishna Ashu Bhati
Country: Germany, Running Time: 96 min
Mona, her husband Theo, and daughter Hanna live in an idyllic villa on the outskirts of Berlin. When the attractive 18 years old daughter of a friend comes to visit, the profound problems and fragility of the small family reveal, as a tragic downward spiral takes its inevitable course.
 
The Walk
Director: Daniel Adams
Country: US, Running Time: 104 min
In 1974, a Boston Irish cop confronts fierce social pressure after being assigned to protect black high school students as they are bused into all-white South Boston High.
 
What is Buried Must Remain                                                           World Premiere
Director: Elias Matar
Country: Lebanon, Running Time: 95 min
Set in present-day Lebanon, What Is Buried Must Remain is a modern ghost story with ancient roots. When three young filmmakers set out to make a documentary about a French industrialist, accused of murdering his family, they are confronted by supernatural forces engaged in a war for the very soul of the land.
 
 
DOCUMENTARY FEATURES
 
Cinema and Sanctuary – Hans Richter & America’s First Documentary Film                               
Director: Dave Davidson
Country: US, Running Time: 60 min
Cinema and Sanctuary tells the astonishing and little-known story of the first documentary film school in America. The Institute of Film Techniques was founded in 1941 at The City College of New York to teach Americans to make films in response to the Nazi propaganda machine that produced such terrifying epics as Triumph of the Will. The Film Institute thrived under the watchful eye of filmmaker and DADAist, Hans Richter. Having just escaped from Nazi-controlled Europe himself, Richter assembled a team of iconic social documentary makers, including Robert Flaherty, John Grierson, Leo Hurwitz, Willard Van Dyke and Joris Ivens. Despite its enormous impact, short-sighted college administrators claimed that the film school belonged “in trade schools” and not at a senior college. When the president vowed to shut the Institute down, outraged students responded in protest, staging a ‘cinematic invasion’ of his house in the spirit of Hans Richter’s DADA political theatre.
 
City of a Million Dreams       
Director: Jason Berry
Country: US, Running Time: 89 min
Why do we dance for the dead? To most people, jazz funerals are a mystery. In 2005, writer and videographer Deb Cotton leaves “hard-hearted Hollywood” for New Orleans, and becomes a chronicler of the parading club culture spawned by the legacy of funerals with music. This tradition is carried by the prolific clarinetist Michael White, renowned for playing “the widow’s wail” in sorrowful dirges. When Hurricane Katrina hits, White loses everything in the catastrophic flooding. In his struggle to rebuild, White becomes an everyman, embodying the resurrection spirit of jazz funerals. Cotton follows the parading culture through the aching recovery, while White explores his ancestral roots in the dawn of jazz. With burial pageants as a mirror on the city’s history, the film hits a violent turning point at a parade shooting, plunging Deb Cotton and Michael White into a search for the city’s soul.
 
Dying for Gold           
Director: Catherine Meyburgh, Richard Pakleppa
Country: South Africa, Running Time: 99 min
South Africa’s wealth and white privilege has been funded by large-scale maiming and killing of people by the gold mining industry. Today gold miner communities across Southern Africa have nothing to show for the wealth they produced except extreme rural underdevelopment and the world’s worst epidemic of TB and silicosis. Through testimonies from communities in mining families throughout Southern Africa and extensive use of contrasting archive materials Dying for Gold tells the story of how we have arrived at this extraordinary situation.
 
Ela: Breaking Boundaries   
Director: Swapna Kurup
Country: US, Running Time: 53 min
New Jersey based artist Ela Shah migrated from India to the United States in the early 70s. Finding herself at the crossroads of social and cultural transition, Ela’s practice took new meaning and form. This documentary intimately looks at Ela’s body of work, spanning four decades, against the backdrop of personal stories that have shaped her practice.
 
Exclusion U
Director: Ginger Gentile
Country: US, Running Time: 85 min
Exclusion U asks if the USA is a meritocracy by examining the connection between admissions & endowment hoarding of Ivy League universities. We ask experts, college administrators and students if schools are welcoming applicants from all social strata or, in the words of Former Princeton President Shirley M. Tilghman, “Opportunities in education are not equal…And what this is going to create in America is a different kind of aristocracy.” As endowments grow, how can the Ivy League expand educational opportunities?
 
Girls for Future
Director: Irja von Bernstorff
Country: Germany, Running Time: 82 min
Girls for Future follows four girls, aged between 11 and 14 years, from Senegal, Indonesia, Australia and India who fight for a better future. All are directly affected by the consequences of environmental destruction: Senegal stands for the global water crisis, Indonesia for plastic waste pollution, India for the agricultural crisis and in Australia we witness the fatal destruction in the oceans and on land through climate change.
 
Hiroshima: City of Water
Director: Chris John Brooke
Country: UK, Running Time: 68 min
In Hiroshima water is the element that binds life and death. The seven rivers that flow through the city gave it the name City of Water. Scattered around this huge metropolitan city are monuments to the dead – those who perished both in the moment, and also the aftermath, of the detonation of a nuclear weapon by American forces on 6th August 1945. These monuments mark the places where schools, hospitals and municipal buildings once stood – remnants of the old city tucked away in the shadows of the towering steel and glass buildings of the new Hiroshima. At these monuments, visitors give offerings of water to those who perished; those who begged for water to sooth their scorched mouths and those who threw themselves into the rivers to relieve their burning skin and subsequently drowned. For Hiroshi Hara, these are the ‘Rivers of Souls’. Places where he makes tribute to the dead by painting with what he calls the ‘spirit water’ – water from the rivers he describes as being covered by a carpet floating corpses.
 
Landis, Just Watch Me
Director: Eric Cochran
Country: US, Running Time: 95 min
In partnership with Challenged Athletes Foundation, comes the inspiring true story of Landis Sims, a 15-year old baseball player born with quad-congenital limb deficiency, which means he is missing both hands and feet. Landis defies the odds on and off the baseball diamond every day. Witness the 8-year journey of Landis growing from a plucky little leaguer into a dedicated young man set on achieving his goal of motivating kids to live without limits. Along the way, he gains wisdom and inspiration from Major League Baseball’s best, including pitcher Joe Musgrove and Manager Joe Girardi.
 
Leveling Lincoln
Director: Arden Teresa Lewis
Country: US, Running Time: 79 min
Leveling Lincoln interviews the children who lived the history behind the landmark desegregation case of Taylor vs. Board of Education of New Rochelle, NY from1960-1964. This case branded the city the “Little Rock of the North” in the press, leveled an entire school, and brought the Civil Rights struggle to the “tolerant” North East. The Supreme Court made a covenant with the minority parents of our nation that they could seek a better education in every school district. With the best of intentions, they sent their small children into white schools. What were the intended and unintended consequences?
 
Manzanar, Diverted: When Water Becomes Dust
Director: Ann Kaneko
Country: US, Running Time: 84 min
From the majestic peaks of the snow-capped Sierras to the parched valley of Payahuunadü, “the land of flowing water,” Manzanar, Diverted: When Water Becomes Dust poetically weaves together memories of intergenerational women. Native Americans, Japanese-American WWII incarcerees, and environmentalists form an unexpected alliance to defend their land and water from Los Angeles.
 
My Mother’s Son
Director: Jose Batista-Ayala
Country: US, Running Time: 87 min
My Mother’s Son is a raw and deeply personal look at the rocky relationship between the filmmaker and his mother Josie, who in January 2021 celebrated 24 years of being heroin free.
What started out as an inspirational piece for those struggling with addiction, this emotional documentary turned into a form of healing for this family.
 
Samira’s Dream/Ndoto ya Samira
Director: Nino Tropiano
Country: Ireland, Running Time: 88 min
The story of a Zanzibari woman, Samira, who aspires to have a family like all of her friends, but is also determined to pursue higher education and a career. Throughout seven years of her life, social pressure and the respect of traditions constantly confront her to choose one over the other.
 
Stateless
Director: Michéle Stephenson
Country: Haiti, Running Time: 94 min
In 2013, the Dominican Republic’s Supreme Court stripped the citizenship of anyone with Haitian parents, retroactive to 1929. The ruling rendered more than 200,000 people stateless, without nationality, identity, or a homeland. Michèle Stephenson’s documentary, Stateless, traces the complex tributaries of history and present-day politics, as state-sanctioned racism seeps into mundane offices, living room meetings, and street protests. Anyone defending marginalized groups faces threats of violence. In this dangerous climate, a young attorney named Rosa Iris mounts a grassroots campaign, challenging electoral corruption and advocating for social justice. As Rosa balances her congressional run with her dedication to her family and community, the full scope of her fight is revealed.
 
The Rumba Kings
Director: Alan Brain
Country: Peru, Running Time: 95 min
The Rumba Kings celebrates the epic quest of the Democratic Republic of the Congo, an African nation that fought colonial oppression, found freedom, and forged a new identity through music. In the 1950s, when the Democratic Republic of the Congo was a Belgian colony, a generation of Congolese musicians fused traditional African rhythms with Afro-Cuban music to create the electrifying beat of Congolese Rumba.
 
Tonton Manu 
Director: Patrick Puzenat, Thierry Dechilly
Country: France, Running Time: 90 min
Composer, musician, journalist, an ambassador of the Francophone world, honored and distinguished around the world; Manu Dibango has remained himself wherever he may find himself. The film follows him during a five year span, traveling from Paris to Douala, from Kinshasa to Rio, from New York to Saint Calais, a small village in La Sarthe where he spent part of his childhood, a curious, open, joyful, honest and caring Manu Dibango crossed fellow brethren.
 
Truth Tellers 
Director: Richard Kane
Country: US, Running Time: 58 min
Truth Tellers is a film about political artist Robert Shetterly’s “Americans Who Tell the Truth”, a project that explores our country’s ongoing struggle to live up to our democratic ideals with those who are not afraid to speak the truth nor challenge the status quo.
 
Ushiku
Director: Thomas Ash
Country: Japan, Running Time: 87 min
Ushiku takes viewers deep into the psychological and physical environment inhabited by foreign detainees in one of the largest immigration detention facilities in Japan. On the eve of Japan’s recent–and highly contentious–immigration reform efforts, the filmmaker eludes press embargoes the government has imposed on its immigration facilities, bringing viewers into immediate contact with the detainees, many of whom are refugees seeking asylum.
 
Why We Walk            
Director: Eric Bishop
Country: US, Running Time: 55 min
Why We Walk follows the journey of three Black men, from across the globe, united to empower and de-stigmatize urban communities of color and their participation in the great outdoors. After years of city exploration, The Urban Hikers strive to introduce the power of walking to a community that has historically been underrepresented in this space. Inspired by the story of the revolutionary abolitionist John Brown, The Urban Hikers embark on a life-changing backpacking pilgrimage from Harpers Ferry, West Virginia- the birthplace of the Civil War- to the nation’s capital in Washington, DC.
 
 
WEBISODES
 
Bronx’ish
Director: Danielle Alonzo
Country: US, Running Time: 9 min
Two Ricans in a Bronx apartment during a pandemic…pray for us.
 
How Did That Happen?!
Director: Laurence Shanet
Country: US, Running Time: 27 min
Two mismatched New Yorkers become roommates and thru comic trials, tribulations, and hi-jinks, a makeshift family is formed. A series that seeks to expose and poke fun at the hidden biases we all share and live with every day.
 
How to Hack Birth Control
Director: Sassy Mohen
Country: US, Running Time: 27 min
Told through the sharp wit and perky charm of the narrator Ruth (Xanthe Paige), this webisode takes a run at ‘not supposed to talk about,’ scenarios and answers all of the questions women truly want to know, but are taught to be too afraid to ask.
 
Lost/Found                                                               
Director: Brian Christopher White
Country: US, Running Time: 24 min
After a storm wreaks havoc over a small town in Georgia, a writer on a deadline makes an ominous discovery in the backyard of his rural vacation rental.
 
QauranDream!
Director: Jeffrey Elizabeth Copeland
Struggling NYC comedy writer Jerri Cooper is broke AF and down on her luck, so when corona rots the Big Apple, the SNL-wannabe flees to her hometown of Atlanta using the pandemic as a cover, and dreams up her own reality! Can Jerr get back to the Big City before her quaran-dream becomes a quaran-nightmare?!
 
SHORTS
 
American Justice on Trial                                                                           
Directors: Andrew Abrahams, Herb Ferrette
Country: US, Running Time: 40 min
The film looks at the sensational 1968 murder trial of Black Panther Party co-founder Huey Newton. If the Newton jury came back with the widely expected death penalty verdict, national riots were anticipated. Instead, a system-changing defense revolutionized the rules of a fair trial, and an unusually diverse jury delivered a shocking verdict that reverberates today.
 
Birdie                                                                                                 East Coast Premiere
Director: Andrew Edison
Country: US, Running Time: 13 min
A troubled teen takes his childhood babysitter hostage after she uncovers his deadly plan.
 
Just a Moment                                                                                              
Director: Djigul Diarra
Country: France, Running Time: 28 min
Fousseini, a young painter, struggles to make a living from his passion. Suffering from not being supported by his family, his only moments of breathing come when he reunites with Assata, a young Mauritanian student finishing her studies in France, but Assata hides a heavy secret.
 
Last Laugh                                                                                                     
Director: Paul Lewis Anderson
Country: US, Running Time: 25 min
Last Laugh is a noir mystery-comedy about a young man who moves into a slummy New York City apartment with an unexpected occupant, the intolerable ghost of Maury Zuckerman, a legendarily bad stand-up comedian.
 
Out of Tune    
Director: Portlynn Tagavi
Country: US, Running Time: 15 min
Stigmatized since childhood by her love of the rock band Journey, Maya finds her voice in a world where she doesn’t feel “Black enough.”
 
Pat! A Revolutionary Black Molecule                                                                       
Director: Lupe Tofaceit
Country: US, Running Time: 9 min
Utilizing the life of a Black woman born into segregation in 1926 we learn through her dynamic way of being many things.  Radical therapy has a perspective that shows you how to put your problems into the world of capitalism and why knowing this can save your life.
 
Resurrection! Airto Moreira & the Preservation Hall Jazz Band               
Director: Dale Djerassi
Country: US, Running Time: 21 min
Two powerful forces in the world of jazz come together in this lively film. Airto Moreira, a world-renowned percussionist from Brazil meets the legendary Preservation Hall Jazz Band on Mardi Gras morning in New Orleans.
 
The Mason Ring                                                                                                        
Director: Terry Dawson
Country: US, Running Time: 15 min
It’s a late summer night in South Los Angeles, and teenage brothers Earl and Antoine are making a rather unusual late-night drop. On the eve of their Grandfather’s funeral, they’re tasked with delivering his mason ring to the funeral home in a last-ditch effort to get it on his finger before the service the following morning.
 
Think Like a Filmmaker
Director: Eli Berliner
Country: US, Running Time: 5 min
Eli Berliner turns the camera on his father, Alan, a personal documentary filmmaker, whose new body of work approaches sculpture through the eyes of a filmmaker.
 
When I Get Grown – Reflections of a Freedom Rider                                      
Director: Chris Preitauer
Country: US, Running Time: 32 min
Trauma experienced by a seven-year-old sets him on a course to become a civil rights legend and change the course of a nation.
 
Wildcat                                                                                                                  
Director: Cat Dale
Country: US, Running Time: 15 min
Mary Todd Lincoln, who is committed to an insane asylum by her last living relative, tries to prove her sanity with the help of a medium and her dead son. Based on true events.
 
 

#### 2022 Indian Film Festival of Los Angeles (IFFLA) Announces Closing Gala Details
Anurag Kashyap
 
The 2022 Indian Film Festival of Los Angeles (IFFLA) announced details of its Closing Gala presentation, the addition of a Master Class with celebrated filmmaker and IFFLA alum, Anurag Kashyap, and the film festival’s annual One-on-One program to connect its filmmakers to industry executives and encourage further career development. This year’s jury members were also revealed.
The 20th annual edition of the internationally acclaimed film festival will wrap up with a first look at IFFLA alum Kahlil Maskati’s feature screenplay, Alim Uncle, presented as a live table read featuring a dozen of top Los Angeles-based talent, and a preview of Nimisha Mukerji’s Warner Bros. Discovery 150 supported project, New Country. The evening, taking place at Regal LA Live (1000 W. Olympic Blvd.), will also include the Awards Ceremony and will be bookended by red carpet entrances and one of IFFLA’s signature afterparties at The Continental Club (116 W 4th Street).
IFFLA Executive Director Christina Marouda, said, “This year’s Closing celebration will be focused on the future of our filmmakers. Emphasizing a commitment to the next generation of filmmakers and the films and television projects they create is essential to what we do – and have always done at this film festival. Ending this year’s edition of IFFLA with a flourish of readings, previews, and performances is exciting and beyond appropriate for where our heart is this year. And to be able to add a master class from a beloved alum, Anurag Kashyap, whose filmmaking journey has been in many ways parallel to IFFLA’s growth could not be more fitting for this year’s landmark celebration.”
IFFLA will close its 20th Anniversary edition with a first look at two exciting projects from diaspora filmmakers. Previously announced, more details are now available regarding the live table read of IFFLA alum Kahlil Maskati’s feature screenplay in development, Alim Uncle. The film will tell the story of Haris, a struggling young Indian American man, who reunites with his cousins on a road trip across New Jersey after the sudden passing of his Alim Uncle. Directed by Fawzia Mirza, the reading will be brought to life by top Los Angeles-based talent, including Rizwan Manji, Kausar Mohammed, Nabeel Muscatwalla, Pia Shah, Anna Khaja, and Rupak Ginn, among others.
Following the Alim Uncle table read will be a special sneak preview of Warner Bros. Discovery 150 supported project, New Country, by Nimisha Mukerji and Mark Ratzlaff. In this episodic dramedy in development, Mukerji, drawing from her own life, tells the story of an Indian American medical student in 1989 who decides to become a country singer. The preview will feature actor Melinda Shankar and a live performance by rising musical artist Shirsha.
The evening will conclude with the presentation of the Awards Ceremony, presented in-person by this year’s jury members. The Feature Films Jury; Lakshmi Iyengar (Executive Vice President, Minor Realm); Smriti Mundhra (Academy Award nominee, Director, St. Louis Superman); and Jonathan Wysocki (Director, Dramarama). The Short Films Jury; Geetika Lizardi (Writer, Bridgerton, Mira, Royal Detective); Sid Mehra (Manager of Development and Production, Endeavor Content); and Carey Williams (Director, Emergency, R#J).
A recent addition highlighting IFFLA’s commitment to the development of new talent and future projects by emerging talent of South Asian descent, is a Master Class with Anurag Kashyap, one of India’s leading auteurs of independent, cutting-edge cinema and television, and someone whose films have frequently been presented at the film festival through the years. During the session, Kashyap will discuss lessons learned during his storied career, its peaks and valleys, his transition to the episodic medium, thoughts on the festival circuit, and offer advice to the next generation of storytellers. The Master Class will take place on Saturday, April 30 at Regal LA Live.
Kashyap is an Indian director, writer, producer, editor and actor known for his work in Hindi cinema. He has won several accolades including a National Film Award and 4 Filmfare Awards. For his contribution to cinema, the Government of France awarded him with Chevalier dans l’ordre des Arts et des Lettres (Knight of the Order of Arts and Letters) in 2013. Kashyap burst into the scene with Black Friday (IFFLA 2005) and rose to prominence with the two-part crime drama, Gangs of Wasseypur (IFFLA 2013). The film made it to the Guardian’s 100 Best Films list. In 2016, he co-directed India’s first Netflix Original series, the critically acclaimed crime thriller Sacred Games. He has recently co-founded a new production house, Good Bad Films, with Dhruv Jagasia and Akshay Thakkar. The prolific Kashyap has recently produced a series of features and shorts, including IFFLA selections Trapped, Moothon (The Elder One), Bebaak, and IFFLA 2022 film, Paka (River of Blood).
IFFLA’s annual One-on-One Program will include a slate of 20 film executives who will meet with several of this year’s filmmakers to offer advice and help them take the next steps to develop new projects and hone their filmmaking careers. Companies and organizations expected to be represented include; Anonymous Content, Awedacious Originals, Family Owned, Film Independent, Global Media Makers at Film Independent, HBO, Lionsgate, Marginal, SK Global Entertainment, Sikhya Entertainment, Sony, Sundance, and Tulsea.
In addition to the impressive list of directors, actors and performers presenting new works, IFFLA has confirmed attendance at the film festival by a number of filmmakers and actors representing this year’s films. They include; Muneeza Ayaz, Jeena Ayaz (1978); Akanksha Cruczynski (Close Ties to Home Country); Deepak Sethi, Valerie Steinberg (Coffee Shop Names); Terrie Sumandra (Kunjo); Pan Nalin, Cyril Morin (Last Film Show); Arindam Ghosh (Once Upon a Time in Calcutta); Fawzia Mirza, Ryan Logan (The Queen of My Dreams); Hena Ashraf (The Return); Nita Kumar (Shankar’s Fairies); Faraz Ali, Noopur Sinha (Shoebox); and Amrita Bagchi (Succulent).
 
Tickets and Passes are now on sale. For more information please visit www.indianfilmfestival.org or follow us on Facebook (/indianfilmfestival), Instagram (@indianfilmfestival) and Twitter (@iffla).
 

#### 2022 Israel Independence Day Film Festival Announces Full Lineup
David Ben-Gurion – 1968
 
In association with over 200 synagogues and Jewish film festivals across North America, the first annual Israel Independence Day Film Festival will be held beginning May 4th and continuing for a total of six nights, streaming virtually to enjoy from the comfort of home. This important event brings together the potential of every community, no matter how big or small, to celebrate Israel’s past, present and future.
The festival presents 11 films (including both World and US premieres) all for one low price of $50 (with a 20% discount to $40 when using a promo code provided by a local organization).
We are thrilled to partner with organizations across North America to share the history and importance of Israel and as a way to share the celebration of Israel Independence Day with their community. The additional purpose is to keep the benefit within each sponsoring community.
Following the model of the recent Hanukkah Film Festival, the festival revenue is shared with each of the participating festivals and synagogues . Cantor Paula Baruch of Temple Anshe Sholom (Hamilton, Ontario), a sponsoring member of the festival, highlights the benefits to each community as follows:
“What a fabulous program you have put together. It’s a great concept and so needed by the many smaller congregations who cannot afford to run film festivals in the traditional way. You’ve made it affordable and fun and accessible. You have partnered with us in the most life giving way. I hope this becomes a yearly event.”
Menemsha Films has worked for 20 years with a singular mission: “To preserve and share our Jewish stories collected from around the world. “ Menemsha has built the largest library of its kind anywhere outside of Israel.
Israel’s Go2Films specializes in distribution, marketing and co-production of top Israeli docs, fiction films and TV series as well as international films with Jewish related content. We have a soft spot for movies which help us understand who we are, where we come from and where we want to go.
ChaiFlicks is the extension into the digital age that now boasts the greatest number of Jewish themed films anywhere in digital distribution.
 
Complete Schedule:

Night One | May 4th, 2022
–  Ben Gurion, Epilogue

Night Two | May 5th, 2022
–  Shoelaces
–  The Museum

Night Three | May 6th, 2022
–  Rabin In His Own Words
–  A Lullaby for the Valley

Night Four | May 7th, 2022
–  Born in Jerusalem and Still Alive
–  Across the Line

Night Five | May 8th, 2022
–  Our Natural Right
–  An Average Story
–  Renewal

Night Six | May 9th, 2022
–  Golda

#### 2022 Lake Travis Film Festival Announces Lineup
Firestorm ’77 The True Story of the Honda Canyon Fire
 
The Lake Travis Film Festival’s 3rd edition returns next month (September 15-18) in beautiful Hill Country, just west of Austin. The film festival, whose independent personality and approach to the celebration of independent filmmaking is accentuated by its location in Lakeway and Bee Cave, just outside of the city known for independent film and music. LTFF’s Opening Night selection is Laura Lehmus’ dramedy Sweet Disaster. The Closing Night will offer two selections for filmgoers, including Jordan O’Neal’s fantasy Fabletown and Sophie Miler’s drama Ranch Water.
The four-day in-person film festival will once again present a film lineup showcasing films featuring a wide assortment of genres, styles, and topics from the indie film community, both stateside and international. The festival will screen 92 films (8 Narrative Features, 11 Documentary Features, 45 narrative short films, 6 short documentaries, 9 music videos, and 13 student shorts).
LTFF also will feature a pre-festival masterclass with screenwriter Owen Egerton (Mercy Black, Blood Fest), which requires a separate registration. Special events include a pitch party, live script readings, afterparties and an awards brunch. Additional opportunities for film enthusiasts to meet and interact with the filmmakers will be announced daily. Screenings and events occur at various pop-up locations throughout the cities of Bee Cave and Lakeway, Texas. Some of the venues include Hill Country Galleria, High5, ContraCommon, La Quinta Inn & Suites by Wyndham Lakeway, Star Hill Ranch, Goga Yoga, and Bee Cave City Hall.
Lake Travis Film Festival Founder and Executive Director, Kat Albert, shares, “The third year brings an opportunity to hone into what we best…curating an overall cinematic experience. We do not sell individual tickets. The suburbs don’t have a traditional downtown, so we’ve worked to make our pop-up style festival work with three walkable hubs. Thursday and Friday are in the Oaks at Lakeway. Saturday is in the Hill Country Galleria and Sunday is Texas Film Industry Day at Star Hill Ranch. The festival is young but garnering a reputation as a unique experience for filmmakers, screenwriters, and the local community.”
The Lake Travis Film Festival will open on Thursday, September 15 with an afternoon screening of Michael Stephen Schwarz’s documentary Forever Majestic. The film looks at the complicated story surrounding a treasured Arkansas tourist destination and all the controversy that it sparks after it was struck by a mysterious fire. Following red carpet enrances for the attending filmmakers and talent, LTFF will present Laura Lehmus’ German dramedy Sweet Disaster. The film follows a woman who upon getting unexpectedly pregnant is promptly left by the father of her child as he re-unites with his ex. While she deals with serious health problems caused by the late pregnancy, she tries to get him back with the help of absurd, exaggerated and sometimes absurdly comic actions.
Two films will be featured as the Lake Travis Film Festival’s Closing Night choices. Austin-based co-writer/director Jordan O’Neal’s Fabletown is inspired by the DC Comics series of “Fables” graphic novels and Telltale Games’ The Wolf Among Us.  Set in a New York City that serves as the home for a secret community of exiled folklore and literary characters. O’Neal stars as Sheriff Bigby Wolf, aka the Big Bad Wolf, who teams up with Fabletown Deputy Mayor Snow White on a case involving an exile being victimized by a dark magic that temporarily strips them of the human guise that allows them to move freely around the city. Wolf and Snow White quickly realize they must apprehend the practitioner of this dark magic before they can expose Fabletown to the human world.
Sophie Miller’s Ranch Water follows three sisters in small town Texas as they return to their family’s ranch for one last weekend. The sisters-only weekend quickly expands to a family and friends gathering while each sister tries to make their version of this last hurrah happen. The sisters and their friends flirt with their ideas of adulthood, as well as each other. Just when everyone thinks they’ve outgrown the fights, the gossiping, and the drinking games, they’re all back in the same house they were in as children and revert to their younger, chaotic selves.
Additional highlights among the narrative films, include Austin-based filmmaker Eric Alan Rousseau’s comedy Lucky Doug about a man who decides to turn his moribund life around and come up with a genius moneymaking idea with a new catfood recipe when he finds out his long-time partner is pregnant. However, he finds out the road to success is littered by more than just cat food alone. William F. Reed’s Austin-set comedy The Good Hearts Club has some semi-autobiographical elements interweaved in its story of a group of co-workers and friends who must team up and work together in order to save Escape Room Austin from going under.
Among the impressive slate of documentaries is Jordan Orsak’s Delivering Hope which chronicles the audacious attempt by ultra-runner Kevin Kline to become the first person in history to run the northernmost 300 miles of Alaska’s dangerous Dalton Highway to raise money for children suffering from cancer, However, Kline’s body shuts down with 100 miles to go, and everything – his life included, is thrown into jeopardy. Chris Hite and Dennis Ford’s award-winning Firestorm ’77 The True Story of the Honda Canyon Fire recounts the fire fought by a thousand people consisting of professional firemen and military personnel which resulted in four fatalities, sixty-five injuries close to ten thousand acres burned and significant damage to the military installation located there. The Air Force declared it a victory, a battle won by its brave Airmen. However, those who were there will tell you a different story. As part of the screening presentation, Travis County Fire Chief Robert Abbott will lead the post screening conversation about the film. Jim Bernfield’s festival hit, Me To Play takes us backstage and onstage as two professional actors with Parkinson’s disease put up an Off-Broadway production of Samuel Beckett’s “Endgame.” Mike Markwardt’s The Birth & History of Western Swing offers a comprehensive and entertaining look at Western Swing’s origins in Ft. Worth and legacy in the music landscape.
To purchase festival passes or to find more information about the Lake Travis Film Festival, please go to: www.laketravisfilmfestival.com.
 
2022 Lake Travis Film Festival Official Selections
 
OPENING NIGHT FEATURE SELECTION
Sweet Disaster
Director: Laura Lehmus
Country: Germany; Running Time: 90 min
When a 40-year-old art therapist finds herself unexpectedly pregnant, the father of her child, breaks up with her to reunite with his ex.
CLOSING NIGHT SELECTIONS
Fabletown
Director: Jordan O’Neal
Country: United States; Running Time: 82 min
A community of fairy tale characters live in hiding from the mundane, human world in New York City. But when one Fable’s true identity is exposed, a long-lost ally must return to face the community’s greatest threat, or their way of life will be forever lost.
Ranch Water
Director: Sophie Miller
Country: United States; Running Time: 80 min
Before their family ranch in Texas is sold, the Sterling sisters reunite with their once close-knit group of friends for a weekend where long simmering conflicts come to a head.
ADDITIONAL NARRATIVE FEATURES
Lucky Doug
Director: Eric Alan Rousseau
Country: United States; Running Time: 82 min
Doug finds out his long-time partner is pregnant, so he sets out to get rich, but quickly learns it’s not so easy to come up with a million-dollar idea.
Never Alone
Director: Paul Francis Bunch, Albert Soratorio
Country: United States; Running Time: 83 min
A high school romance is cut short by COVID and a new teacher uses music to lift their spirits.
Route One North
Director: Isabelle R Farrell
Country: United States; Running Time: 72 min
After their mother refuses to give 16-year-old Bee permission to marry, Bee and her sister set off to track down their long-absent father.
The Good Hearts Club
Director: William F. Reed
Country: United States; Running Time: 101 min
A tight-knit group of misfits, weirdos, and gamers, unite to hatch a plan to save Escape Room Austin from a corporate demise.
The Ugly Truth
Director: Krishna Ashu Bhati
Country: Germany; Running Time: 96 min
When an attractive 18-year-old comes to visit a seemingly idyllic family, profound problems are revealed, ultimately resulting in the tragic unraveling of this small family.
DOCUMENTARY FEATURES
Delivering Hope
Director: Jordan Orsak
Country: United States; Running Time: 89 min
Eight days before his 50th birthday, ultra-runner Kevin Kline sets out to become the first person in history to run the northernmost 300 miles of Alaska’s dangerous Dalton Highway, in winter, to raise awareness for children battling pediatric cancer. When Kline’s body shuts down after 200 miles, the crew is faced with a life-changing dilemma.
Exit
Director: Alison Jayne Wilson
Country: Spain; Running Time: 67 min
In pursuit of a life above the poverty line, three women find themselves in the depths of human trafficking networks. EXIT examines what it takes to regain one’s dignity in the face of unthinkable trauma.
Firestorm ’77 The True Story of the Honda Canyon Fire
Director: Chris Hite, Dennis Ford
Country: United States; Running Time: 54 min
Military commanders, fearful of the Base’s cold war secrets being compromised, attempted to control the protocols and procedures of the civilian fire fighters called upon to battle the1977 Honda Canyon Fire on Vandenberg Air Force Base. They intead offered up their own untrained personnel to fight a conflagration that, for all intents and purposes, should have never been fought and couldn’t be beaten.
Forever Majestic
Director: Michael Stephen Schwarz
Country: United States; Running Time: 86 min
Two activists race to save a once-bustling historic landmark struck by a mysterious fire.
Katia and Rimma
Director: Gulya Mirzoeva
Country: France; Running Time: 90 min
Rimma and her granddaughter Katia of Dushanbe, Tajikistan, are waiting for the scheduled demolition of their home and their subsequent rehousing. French-Tajik filmmaker Gulya Mirzoeva follows their intimate journey towards a new life.
Me To Play
Director: Jim Bernfield
Country: United States; Running Time: 72 min
Two professional actors with Parkinson’s disease put up an Off-Broadway production of Samuel Beckett’s “Endgame,” a play he wrote after his mother succumbed to Parkinson’s as a metaphor for living with the disease.
Never Had a Bad Day
Director: Matt Richmond
Country: United States; Running Time: 66 min
Inventor, entrepreneur and engineer Bernie Karl runs Chena Hot Springs Resort in Alaska year-round on 100% geothermal power. The film follows him as he prepares for his annual energy fair.
The Birth & History of Western Swing
Director: Mike Markwardt
Country: United States; Running Time: 74 min
This landmark film traces Western Swing’s origins, development, and legacy utilizing original and contemporary voices.
The Graduates
Director: Dusan Gajic
Country: Serbia; Running Time: 86 min
Thirty years after graduating, a group of Serbians embark on an introspective journey to examine their lives and the history of Serbia.
The Innocents
Director: Wojciech Lorenc
Country: United States; Running Time: 80 min
Using a variety of found objects composers, Allen Otte and John Late explore the issues surrounding wrongful imprisonment and exoneration in the American criminal justice system.
NARRATIVE SHORTS
A Day Will Come
Director: Nicolas Cazalé
Country: France; Running Time: 29 min
A Feast That Never Comes
Director: Maria Juranic
Country: United States; Running Time: 16 min
Amaranth
Director: Robert Lloyd Moore
Country: United States; Running Time: 13 min
Ang Motel
Director: Jon Matthews
Country: United States; Running Time: 10 min
Au79
Director: Rafael Hovhannisyan
Country: Armenia; Running Time: 7 min
Valery, a retiree working as a night watchman in a newly built building, inherited gold from his
Between The Trees
Director: Kelli Horan
Country: United States; Running Time: 16 min
Between Two Worlds
Director: Jax
Country: Not Specified; Running Time: 8 min
Brother Troll
Director: Gudmund Helmsdal
Country: Faroe Islands; Running Time: 30 min
Collision
Director: Ann Marie Martin
Country: United States, Running Time: 5 min
Composure
Director: Eric DePriester
Counytry: United States, Running Time: 11:40 min
Cookaphony
Director: Joe Chvala
Country: United States; Running Time: 9 min
Crude Massacre
Director: Ven Scott
Country: United States; Running Time: 16 min
Curiosity
Director: James Sunshine
Country: United States; Running Time: 15 min
Cutter
Director: Dan Repp, Lindsay Young
Country: United States; Running Time: 16 min
Divertimento
Director: Keyvan Sheikhalishahi
Country: France; Running Time: 30 min
Dog Gone
Director: Ronald Short
Country: United States; Running Time: 14 min
El Rey
Director: Jonathan D London
Country: United States; Running Time: 9 min
Enjoy Your Stay
Director: Tara Dickerson
Country: United States; Running Time: 6 min
Fig Jam (Film)
Director: Frank J. Avella
Country: United States; Running Time: 22 min
First Day
Director: Suzanne Weinert, Julia Barnett
Country: United States; Running Time: 5 min
Full Tilt
Director: Isaac Jeffrey Scego
Country: United States; Running Time: 40 min
Good Neighbors
Director: Lennon Sullivan
Country: United States; Running Time: 14 min
I Hate You
Director: Taylor Olson, Koumbie
Country: Canada; Running Time: 9 min
Jimmy Arcurio Presents: Rebel Without A Beer
Director: Mattias Marasigan
Country: United States; Running Time: 18 min
Karate Belt
Director: Stephen Huff
Country: United States; Running Time: 12 min
Lifecell
Director: Tyler Mann
Country: United States; Running Time: 13 min
Loose Ends
Director: Shrader Thomas
Country: United States; Running Time: 12 min
Man Seeking Man
Director: Travis White
Country: United States; Running Time: 12 min
Millennial Tiny House USA!
Director: Joshua Koszewski
Country: United States; Running Time: 13 min
Neon
Director: Ehson Rad
Country: United States; Running Time: 10 min
Oh Deer
Director: Richard C. Jones
Country: United States; Running Time: 6 min
Saving Salvador
Director: Luisa Maria González
Country: United States; Running Time: 12 min
Scout
Director: Allen Robertson, Damon Brown
Country: United States; Running Time: 45 min
Second Wedding
Director: Taylor Olson
Country: Canada; Running Time: 9 min
Sons of Toledo
Director: Monty Cole
Country: United States; Running Time: 20 min
Terminator: Bad Judgment Day
Director: Lisa Belcher
Country: United States; Running Time: 6 min
The Perfect Fit
Director: Anya Swanson
Country: United States; Running Time: 16 min
The Puppeteer
Director: Paul Greenamyer
Country: Not Specified; Running Time: 8 min
The Terrible Old Woman
Director: Troy Wayne Fortenberry
Country: United States; Running Time: 19 min
The West Virginian Starfish
Director: Katherine Davidson, Hyten Davidson
Country: United States; Running Time: 15 min
The Witch’s Bargain
Director: Corey J. Trahan
Country: United States; Running Time: 30 min
Wasted Seed
Director: Nino Mancuso
Country: United States; Running Time: 18 min
Yester-Year
Director: Andrew Kallimani
Country: United States; Running Time: 7 min
Zabut
Director: Giuseppe Schillaci
Country: Italy; Running Time: 21 min
DOCUMENTARY SHORTS
Jedi Training – Equality Begins at the First Bolt
Director: Drew J Hayes
Country: United States; Running Time: 28 min
Rector
Director: Lester Platt
Country: United States; Running Time: 22 min
Sunset at Dry Creek
Director: Budro Partida
Country: United States; Running Time: 30 min
The Art of The Headshot
Director: Keaton Davis
Country: United States; Running Time: 11 min
Three Seconds Later
Director: Justin Sweidel, Christopher Shepherd
Country: United States; Running Time: 12 min
Waterproof
Director: Ross Kauffman
Country: United States; Running Time: 31 min
MUSIC VIDEOS
AZXO – Idle Mind
Director: Joey Martinez, Zhipeng Xing
Country: United States; Running Time: 3 min
Baker Hotel
Director: Billy Cano
Country: United States; Running Time: 8 min
Brandon Callies Band “Gone Cold”
Director: Brandon Norman Callies, Paco Estrada
Country: United States; Running Time: 5 min
Kady Rain – Got Away
Director: Jackie Pardue Scripps
Country: United States; Running Time: 3 min
Reverie
Director: Caitlin Gray
Country: United States; Running Time: 5 min
Shining Light
Director: Taylor Fredricks
Country: United States; Running Time: 5 min
Small One
Director: Micah Nelson, Alexandra Dascalu
Country: United States; Running Time: 4 min
Smoky Cold Pint Glass
Director: Taylor Fredricks, ImaGene Loop
Country: United States; Running Time: 4 min
Super Penguin
Director: Matthew Gilchrest
Country: United States; Running Time: 3 min
STUDENT SHORTS
Dead Keys
Director: Allegra Pizzolatto
Country: United States; Running Time: 2 min
Earthbound
Director: Hendrix Crockard
Country: United States; Running Time: 3 min
First Days
Director: Parker Benningfield
Country: United States; Running Time: 2 min
Gone
Director: Kyle Ward
Country: United States; Running Time: 5 min
I’m Here
Director: Grace Eitrheim
Country: United States; Running Time: 3 min
It’s Getting Bad Again
Director: Sarah Reyes
Country: United States; Running Time: 4 min
Saving Santino
Director: Jonathan Campos, Hans Sellers
Country: United States; Running Time: 9 min
Summer Days
Director: Ava Nicole Wilson
Country: United States; Running Time: 3 min
Sunny Side Up
Director: Lucy Kimber
Country: USA; Running Time: 2 min
The Face Off
Director: Jose Miguel Martinez-McIntosh
Country: United States; Running Time: 5 min
The Final Thought
Director: Tadji Ulrich
Country: Australia; Running Time: 10 min
The Suit
Director: Cassy Steuerwald
Country: USA; Running Time: 3 min

#### 2022 Oxford Film Festival Announces Film Lineup for 19th Edition
THE AUTOMAT
 
The 2022 Oxford Film Festival (In-Person on March 23-27, Virtual on March 27-April 3)) announced the lineup of official selections for the 19th annual edition of the popular film festival which will bring back a hybrid presentation including screenings, parties, and special events. Hugo Sobelman’s Memphis-based documentary Soul Kids is the Opening Night selection, and Max Walker-Silverman’s Sundance and Berlin favorite A Love Song, featuring Oxford FF’s Breakthrough Acting Award honoree Dale Dickey, is the Closing Night Selection.
The dynamic schedule will showcase 118 films, representing 18 countries, including 38 features (16 narrative and 22 documentary), 67 short films (narrative, documentary, LGBTQIA+, ambition and experimental, student, and Mississippi-based productions), and 13 music videos. Special events include a Secret Screening of a work-in-progress film, and a tribute to the late Bill Luckett, a beloved Mississippi film industry stalwart and a familiar presence at the Oxford Film Festival.
On March 23-27, all screenings will be held at Malco Oxford Commons Cinema (206 Commonwealth Blvd.). From March 27-April 3, Virtual Cinema screenings will be offered via Eventive.
Interim Executive Director Jim Brunzell, said, “We are excited to present this year’s films and special events to our local film fans here in Oxford, the state of Mississippi, and nearby in Memphis, as well. We have diligently built a program that include discovery titles, award winners, festival favorites from Venice, Toronto, Sundance, Berlin and SXSW film festivals, enlightening, innovative, and entertaining features and shorts that should inspire everyone to immerse themselves in the Oxford Film Festival world once again.”
Opening the Oxford Film Festival will be Hugo Sobelman’s documentary Soul Kids. The film focuses on Memphis’ Stax Music Academy For two decades, the academy has continued the legacy of the legendary Stax Records, a soul label which was a refuge during the Civil Rights movement in the 60s. By learning and understanding soul music in after-school programs, the next generation of teenagers build a solid foundation on Black Americans’ legacy and create hope for their future. Closing the film festival will be Max Walker-Silverman’s romantic drama, A Love Song. The film stars Native American film legend Wes Studi and Oxford FF’s Breakthrough Acting Award honoree Dale Dickey as a couple, childhood sweethearts several years ago, who are now both widowed. They meet up at a campsite and reconnect, sharing stories, memories, and emotions during a night by a lake in the mountains.
One of Hollywood’s most coveted character actors, Dale Dickey forged a reputation for illuminating gritty, dark, and oftentimes damaged characters. Following inspired performances onstage, including the Broadway production of “The Merchant of Venice” (1989) and the 2009 stage adaptation of “A Streetcar Named Desire,” Dickey has put together an enviable list of performances together in films like Sordid Lives (2000), Winter’s Bone (2010), Super 8 (2011), Iron Man 3 (2013), Hell or High Water (2016), and Palm Springs (2020), and on countless television shows like The X-Files, True Blood, Breaking Bad, and My Name is Earl. Her role in A Love Song is a well-deserved lead in a feature that has been critically acclaimed since its debut at Sundance earlier this year.
Additional highlights among the narrative features include; Dan Mirvash’s festival favorite 18½ is a crazy ride involving a White House transcriber trying to overcome hippies, swingers, and nefarious forces in order to leak the 18½-minute gap in Nixon’s Watergate tapes; Iman Zawahry’s charming comedy Americanish set in Queens, where career-driven sisters Maryam and Sam and their newly-immigrated cousin Ameera must navigate the consistent and sometimes conflicting demands of romance, culture, work, and family; and the world premiere of Tara Thorne’s Canadian thriller Compulsus, about a woman whose taste for violent revenge might
become short-circuited when she falls for a woman who abides by the law. Anna Baumgarten’s Disfluency won Best Film at the Austin Film Festival. The film follows a promising language student who returns home without graduating due to a devastatingly emotional trauma that derailed her senior year. Jean Luc Herbulot’s horror-thriller Saloum follows three mercenaries who run into deadly threats they never imagined while attempting to extract a drug lord out of a mysterious region in Senegal. Carl Andress and Charles Busch’s The Sixth Reel stars the latter as a down-on-his-luck movie collector whose discovery of a legendary lost film sends him hurtling into an outrageous adventure. The film also stars Margaret Cho and Tim Daly.
Among the documentary selections are; Lisa Hurwitz’s The Automat, which premiered at the 2021 Telluride Film Festival, tells the 100-year story of the iconic restaurant chain Horn & Hardart, the inspiration for Starbucks, where generations of Americans ate and drank coffee together at communal tables – from the perspective of former customers like Mel Brooks, Starbucks founder Howard Schultz, Supreme Court Justice Ruth Bader Ginsburg, and Secretary of State Colin Powell; T.J. Parsell’s Invisible: Gay Women in Southern Music explores the unsung story of the queer women behind some of country music’s greatest hits; and Alysa Nahmias’ Krimes from MTV Documentary Films, about artist Jesse Krimes, who secretly created monumental works of art—including an astonishing 40-foot mural made with prison bed sheets, hair gel, and newspaper, then smuggled out each panel piece-by-piece with the help of fellow artists. Clay Haskell and Dylan Nelson’s Mississippi Messiah looks at the surprising life and accomplishments of Civil Rights legend James Meredith, and Abby Berendt Lavoi and Jeremey Lavoi’s Roots of Fire will make its world premiere at the Oxford Film Festival, looking at five award-winning musicians as they push against stereotypes of the American South and move the music of their ancestors forward.
Highlights among the creatively themed and musically-infused parties and special events include; a “Pop Up Partnership” with Thacker Mountain Radio featuring Michael Farris Smith, as well as an “Opening Night Stax Records Party” following the Soul Kids screening on Thursday, March 24 at The Atrium at Mike Overstreet Properties (265 North Lamar Ave.) with a Live Performance from 926, Stax Music Academy Alumni Band; and a “Roaring 20’s Celebration” on Friday, March 25 at the same location, featuring a live performance from The Skid Rouges. On Saturday, March 26, Oxford Film Festival will host a Filmmaker Roundtable and Songwriters in the Round, both at the Malco Pavilion Auditorium (206 Commonwealth Blvd.), Later that evening, will be the “Casino Royale Party” at The Isom Place Oxford (1003 Jefferson Ave) with a Live Performance from The Bill Perry Trio. The always popular OXFF Awards will be celebrated as a brunch this year at The Lyric (1006 Van Buren Ave.) on Sunday, March 27.
The Oxford Film Festival would not be possible without the generous support from the following grants: Mississippi Arts Commission (MAC), the National Endowment for the Arts (NEA), South Arts, Visit Mississippi and Visit Oxford.
The Oxford Film Festival/OxFilm (OXFF) will require all ticket and badge holders to show proof of a completed COVID-19 vaccination regimen to enter any indoor screening or event held by OXFF. A negative COVID-19 test result will not be accepted. Mask-wearing is mandatory for all OXFF attendees indoors. The Oxford Film festival will continue to share updates as health guidelines evolve. For additional questions or assistance, please email info@oxfordfilmfest.com or call 877.560.3456 (FILM).
To buy passes or tickets or find more information, please go to: https://www.oxfordfilmfest.com/.
2022 Oxford Film Festival’s Official Selections
 
OPENING NIGHT SELECTION
Soul Kids       
Director: Hugo Sobelman
Country: USA; Running Time: 75 min
In Memphis, one of the USA’s most distressed cities, the Stax Music Academy is an oasis. Founded in 2000, the academy continues the legacy of Stax Records, the legendary 60s soul label which was a refuge and an active space for dialog during the Civil Rights movement. By learning and understanding soul music in after-school programs, teenagers embark on Black Americans’ legacy and open themselves to new future prospects. Soul Kids is a musical odyssey through history and the concerns of a new generation.
 
CLOSING NIGHT SELECTION
A Love Song  
Director: Max Walker-Silverman
Country: USA; Running Time: 81 min
Two childhood sweethearts, now both widowed, share a night by a lake in the mountains.
 
SPOTLIGHT FILMS AND SPECIAL PRESENTATIONS
Bill Luckett Tribute   
Ox-Film Tribute to Bill Luckett  Join fellow actors and filmmakers who worked with the incomparable William O. “Bill” Luckett, a friend of the Oxford Film Festival who passed away in late 2021. Select clips of Bill’s work on the screen will be exhibited along with video messages from colleagues across the nation. Guest speakers and a Q&A moderated by Ward Emling will follow the tribute reel. Join us to share your memories of Bill with the Mississippi film community who loved him.
 
Secret Screening      
A work-in-progress film from an award-winning indie filmmaker will be screened. The title of the film and the director will be revealed just before lights go down and the film begins.
 
ADDITIONAL NARRATIVE FEATURES
18½     
Director: Dan Mirvish
Country: USA; Running Time: 87 min
A White House transcriber tries to leak the 18½-minute gap in Nixon’s Watergate tapes but runs afoul of hippies, swingers, and nefarious forces.
 
A Place Called Home            
Director: Kiel Thorlton
Country: USA; Running Time: 102 min
After losing his wife during the birth of his second child, Levi is found raising two young girls. However, when forced to borrow money from a ruthless loan shark, he must fight to save his family and the home his family was made in.
 
Americanish  
Director: Iman Zawahry
Country: USA; Running Time: 91 min
Welcome to America: Where dreams come true…ish. A break from the traditional romantic comedy, Americanish highlights different layers of womanhood as it intersects with cultural and societal expectations.In Jackson Heights, Queens, career-driven sisters Maryam and Sam and their newly-immigrated cousin Ameera must navigate the consistent and sometimes conflicting demands of romance, culture, work, and family. Serving both as a lighthearted reimagination of and critical divergence from the classic romantic comedy, Americanish tackles and celebrates the complex intersectionalities of womanhood by welcoming us into the world—with all its joys and tribulations—of these three marriage-aged women.
 
Compulsus                                                                            World Premiere
Director: Tara Thorne
Country: Canada; Running Time: 81 min
When Wally gets the taste for organised violent revenge she keeps her compulsion secret, until she falls for law-abiding Lou who challenges everything she knows.
 
Dealing With Dad      
Director: Tom Huang
Country: USA; Running Time: 105 min
Margaret Chang is rocked from her perfect alpha-mom-corporate-manager life when she has to go back to her hometown to deal with her overbearing dad, Jialuo. Her dad is kind of an outspoken jerk but is now despondent and won’t leave the house. Since she can’t deal with her parents by herself, she drags along her older sad sack brother, Roy to help her. When they arrive to their childhood home, they discover that their mom, Sophie (equally overbearing) and youngest angry comic book nerd brother, Larry (still living with parents) are happy with this situation… as it turns out, their dad is much more pleasant depressed than well. The siblings struggle to deal with his depression, and wonder if it’s even worth getting him better.  In the meantime, they reconnect as a family by bickering and reminiscing about the bad times with Dad, discovering that their familial bond is stronger than they ever realized.
 
Disfluency      
Director: Anna Baumgarten
Country: USA; Running Time: 100 min
After failing her final college class, Jane returns home to her family’s lake house and–with the help of her friends and family–she comes to terms with the confusing trauma that derailed her senior year.
 
The Falconer
Directors: Seanne Winslow, Adam Sjoberg
Country: Oman, USA; Running Time: 100 min
The friendship of two teenage boys from very different worlds is put to the test by a daring plan to steal animals from the zoo and sell them on the black market.
 
Heart of the Gun       
Director: Travis Mills
Country: USA; Running Time: 94 min
One of 12 Westerns made in 12 months, this film tells the story of Travers, a doctor who deserted his military post, searching the frontier for the wife who left him. His quest is thrown off course when he saves Sarah, a woman left for dead after a wagon raid. With the cavalry, the law, and deranged outlaws on their trail, Sarah and Travers set off together to find this missing woman. Heart of the Gun is a psychological thriller and a romance drama wrapped in a gritty Western setting.
 
 
Homebody     
Director: Joseph Sackett
Country: USA; Running Time: 75 min
Nothing is quite as special as a child’s relationship with their babysitter, and nine-year-old, gender-queer Johnny is obsessed with theirs – so much so that they’ve meditated their spirit right into her body! Part Freaky Friday and part Being John Malkovitch, Homebody is a charming, crowd-pleasing, cringe comedy for the gender-fluid era.
 
Lover, Beloved          
Director: Michael Tully
Country: USA; Running Time: 78 min
In this experimental blend of film, theater, and music, Suzanne Vega reinterprets two talks Carson McCullers gave at the 92nd St. Y in NYC.
 
Poser  
Directors: Ori Segev, Noah Dixon
Country: USA; Running Time: 87 min
As Lennon fuels her desire for entrée into a podcast featuring live music and conversations with the artists she so fervently admires, Lennon finds inspiration for her own musical ambitions…and a growing sense of misdirected identity.
 
Saloum           
Director: Jean Luc Herbulot
Country: Senegal; Running Time: 84 min
2003, three mercenaries extracting a druglord out of Guinea-Bissau are forced to hide in the mystical region of Saloum, Senegal.
 
The Sixth Reel           
Directors: Carl Andress, Charles Busch
Country: USA; Running Time: 100 min
A down-on-his-luck movie collector (Charles Busch) discovers a legendary lost film and becomes entangled in an outrageous adventure to deliver it to the right hands before it’s lost forever.
 
 
ADDITIONAL DOCUMENTARY FEATURES
The Automat  
Director: Lisa Hurwitz
Country: USA; Running Time: 79 min
Featuring an original new song written and performed by Mel Brooks, The Automat which premiered at the 2021 Telluride Film Festival, tells the 100-year story of the iconic restaurant chain Horn & Hardart, the inspiration for Starbucks, where generations of Americans ate and drank coffee together at communal tables. From the perspective of former customers like Mel Brooks, Starbucks founder Howard Schultz, Supreme Court Justice Ruth Bader Ginsburg, Secretary of State Colin Powell, the Horns, the Hardarts, and key employees – we watch a business climb to its peak success and then grapple with fast food in a forever changed America.
 
Being BeBe   
Director: Emily Branham
Country: USA; Running Time: 93 min
Being BeBe intimately charts 15 years for drag performer Marshall Ngwa (aka BeBe Zahara Benet): An immigrant to America from homophobic Cameroon, first champion on now-iconic LGBTQ+ reality show phenomenon RuPaul’s Drag Race, and a leading artist celebrating Black Queer Excellence today.
 
Calendar Girls           
Directors: Love Martinsen, Maria Loohufvud
Country: USA; Running Time: 83 min
Florida’s most dedicated dance team for women over 60, shaking up the outdated image of “the little old lady,” and calling for everyone to dance their hearts out, while they still can.
 
Cat Daddies   
Director: Mye Hoang
Country: USA; Running Time: 89 min
David Giovanni is living on the streets of New York, determined to stay together with his beloved cat, Lucky. When he’s finally granted a spot in a transitional housing facility that accepts cats, the COVID-19 pandemic and a devastating medical diagnosis put his future together with Lucky in doubt. David’s journey is interspersed with portraits of other “cat dads” from all over the country and some who struggle to navigate the unprecedented events of 2020 with their little furry friends. They include a group of firefighters, a stuntman, a truck driver, a Bay Area tech worker, a schoolteacher whose cat becomes a viral sensation, and an actor/Instagram influencer. These men couldn’t be more different, but they share an unconditional love for their beloved pets.
 
Conducting Life        
Director: Diane Moore
Country: USA; Running Time: 31 min
In the rarified world of classical music, the road to success is a daunting one. Especially for young conductors. Conducting Life follows the remarkable journey of Roderick Cox as he tirelessly pursues his dream — to secure a top position with a major orchestra. Poignant and revealing, this is a story about the passion, sacrifice, and courage it takes to succeed in an elusive profession with limited opportunities. Cox’s path to the podium is an unlikely one. Born into a gospel choir home, this Georgia native showed musical promise before the age of three. In high school, Cox’s musicianship took a leap forward, thanks to a foresighted gift from Zelma Redding, Otis Redding’s widow. But it wasn’t until he entered Columbus State University Schwob School of Music that the largely self-taught musician began his formal classical training in earnest.
 
The Fearless 11         
Director: Ashley E. Gibson
Country: USA; Running Time: 63 min
In the fall of 1965, Eleven Black students volunteered to integrate John W. Provine High School in Jackson, Mississippi. Over 50 years later they come together to reflect and recount their experiences during that turbulent year.
 
The First Step            
Director: Brandon Kramer
Country: USA; Running Time: 89 min
In a divided America, Van Jones controversially works across party lines on landmark criminal justice reform and a more humane response to the addiction crisis. Attempting to be a bridge builder in a time of extreme polarization takes him deep into the inner workings of a divisive administration, internal debates within both parties, and the lives of frontline activists fighting for their communities.
 
Invisible: Gay Women in Southern Music
Director: T.J. Parsell
Country: USA; Running Time: 106 min
The unsung story of the queer women behind some of country music’s greatest hits. Deeply moving and triumphant, Invisible: Gay Women in Southern Music gives center stage to the lesbian women who have long been hidden behind the curtain of the country music industry, all while working with big-name artists and making major contributions to the scene.  Filling in the gaps of this untold history, director T.J. Parsell spotlights the stories of these talented and persevering women — singers, songwriters, and producers — in heartfelt interviews and through their music.
 
The King of North Sudan     
Director: Daniel Abel
Country: Thailand, USA, Egypt, China; Running Time: 94 min
Jeremiah Heaton: Farmer. Father. Monarch?
 
Krimes            
Director: Alysa Nahmias
Country: USA; Running Time: 94 min
Krimes is a story of confinement and freedom, of loss and creation. While locked-up for six years in federal prison, artist Jesse Krimes secretly creates monumental works of art—including an astonishing 40-foot mural made with prison bed sheets, hair gel, and newspaper. He smuggles out each panel piece-by-piece with the help of fellow artists, only seeing the mural in totality upon coming home. As Jesse’s work captures the art world’s attention, he struggles to adjust to life outside, living with the threat that any misstep will trigger a life sentence. Leaning into his own identity as a convicted felon and celebrated artist, Jesse turns the spotlight on people still in prison, asking us to question surface representations, recognize overlooked beauty, and celebrate the transcendent power of art to connect us and elevate the human spirit.
 
Mama Bears  
Director: Daresha Kyi
Country: USA; Running Time: 90 min
Mama Bears is an intimate exploration of two “mama bears” – conservative, Christian mothers who have become fierce advocates for LGBTQ+ people – and a young lesbian whose struggle for self-acceptance exemplifies why the mama bears movement is so vital.
 
Mississippi Messiah
Directors: Clay Haskell, Dylan Nelson
Country: USA; Running Time: 77 min
Civil rights legend James Meredith never fit in – not as the first Black person to attend the University of Mississippi, not surrounded by fellow activists on the Meredith March, not working for ultraconservative Jesse Helms or stumping for ex-Klansman David Duke. By exploring Meredith’s tumultuous history, Mississippi Messiah showcases both the power and the limitations of an individual to inspire dramatic social change.
 
Roots of Fire                                                                          World Premiere
Directors: Abby Berendt Lavoi, Jeremey Lavoi
Country: USA; Running Time: 84 min
Amidst shuttered rural dance clubs and encroaching globalization, five award-winning musicians push against stereotypes of the American South and move the music of their ancestors forward. But their fans are getting older and the language is fading away. Will their efforts be enough to save a dying community?
 
Short Life of Trouble: The Legend of G.B. Grayson        
Director: Kelley St. Germain
Country: USA; Running Time: 39 min
Meet one of the most influential musicians in the history of bluegrass and country music that nobody has ever heard of.
 
Stay Here Awhile      
Directors: Carlo Engel Nasisse, Andrew Kornylak
Country: USA; Running Time: 75 min
Salmon, sea turtles, and Atlantic Puffin all return to the exact place of their birth, traveling thousands of miles in order to lay their eggs in a place called home. Stay Here Awhile investigates the human parallel of this natural practice. It is a film about the places we call home, the landscapes that draw us in, that hurt us, and that heal us.
 
Tanagokoro: A Culinary Portrait    
Directors: Victoria Fistes, Masashi Nozaki
Countries: UK/Japan; Running Time: 32 min
The inspiring tale of a Japanese chef whose dedication and compassion revolutionized the art of catching, preserving and serving fish in the United Kingdom.
 
That Thing That Sound        
Directors: Kelsey Hammer-Parks, Nathan M. Emerson
Country: USA; Running Time: 70 min
That Thing That Sound explores the uncertain future of the steel guitar, an instrument primarily played by older, white men. Because it’s an expensive and challenging instrument, most young and diverse musicians do not have access to steel guitars or instructors. The film follows a man’s journey to pass on his knowledge and keep the steel guitar alive. His inspirational story is a model for anyone looking to make a difference in the world.
 
The Quest for Justice: NMRLS Oral History Project        
Director: Morgan Spencer Cutturini
Country: USA; Running Time: 43 min
The film chronicles the storied history of North Mississippi Rural Legal Services in fighting for Civil Rights and providing free legal aid for people in need.
 
This is [Not] Who We Are    
Directors: Beret E. Strong, Katrina Miller
Country: USA; Running Time: 77 min
“The happiest place in America is Boulder, Colorado” — said no Black person ever. This is [Not] Who We Are is a documentary film exploring the gap between Boulder, Colorado’s progressive self-image and the lived experiences of its small but resilient Black community. Its throughline is the story of Zayd Atkinson, a university student who was performing his work study job cleaning up the grounds of his dorm when he was threatened by a police officer and, soon, by eight officers with guns drawn. He lived to tell the story many Black men don’t survive to tell. While it has a unique history, Boulder is emblematic of liberal, white, university-based communities that profess an inclusive ethic but live a segregated reality. The film explores the interconnected issues of land use, affordability, racial and class-based segregation, educational equity, and policing.
 
Three Minutes: A Lengthening       
Director: Bianca Stigter
Countries: Netherlands/UK; Running Time:  69 min
A snippet of 16mm film offers an emotionally charged, meditative glimpse into the lives of the unsuspecting Jewish citizens of a small Polish village at the precipice of World War II.
 
With This Breath I Fly           
Directors: Sam French, Clementine Malpas
Countries: Afghanistan/USA/UK; Running Time: 78 min
At the height of the international occupation of Afghanistan, two women – Gulnaz, raped and impregnated by her uncle, and Farida, on the run from an abusive husband – are imprisoned on charges of “moral crimes” by an Afghan justice system that is supported by billions of dollars of aid money from the European Union.
 
 
SHORT FILMS
 
NARRATIVE SHORTS
Air                                                                                            World Premiere
Director: Brian Wilcox
Countries: USA/Philippines; Running Time: 10 min
 
Bainne
Director: Jack Reynor
Country: Ireland; Running Time: 18 min
 
Be Kind Please            
Director: Ace McColl
Country: USA; Running Time: 4 min
 
Beauty and the Beasts
Director: Aggie Pak Yee Lee
Countries: Hong Kong/Estonia; Running Time: 4 min
 
Big Hill Big Dream       
Directors: Tony King, Taliya Harman
Country: USA; Running Time: 9 min
 
Blueberries      
Director: West Givens
Country: USA; Running Time: 12 min
 
Carried away                                                                            US Premiere
Director:
Country: Israel; Running Time: 4 min
 
Clover                                                                                      World Premiere
Director: Jonathan D’Rozario
Country: USA; Running Time: 12 min
 
 
Cremeschnitte                                                                          US Premiere
Director: Yan Jin
Country: USA; Running Time: 15 min
 
Death Valley    
Director: Grace Sloan
Country: USA; Running Time: 11 min
 
Eden                                                                                        US Premiere
Director: Charlie Bush
Country: UK; Running Time: 11 min
 
The Event         
Directors: Frank Mosley, Hugo De Sousa
Country: USA; Running Time: 11 min
 
The Flaw In The Crystal           
Director: Ryan Betschart
Country: USA; Running Time: 3 min
 
F^¢k ‘€m R!ght B@¢k  
Director: Harris Doran
Country: USA; Running Time: 8 min
 
God’s Daughter Dances           
Director: Sungbin BYUN
Country: South Korea; Running Time: 24 min
 
Gruf and Me     
Director: Dovi Keich
Country: Israel; Running Time: 9 min
 
I Am Mackenzie            
Director: Artemis Anastasiadou
Country: USA; Running Time:  20 min
 
In the Mountains                                                                      World Premiere
Director: Wally Chung
Country: USA; Running Time: 5 min
 
Inventory                                                                                  US  Premiere
Director: Bailey Plumley
Country: USA; Running Time: 3 min
 
Invite List         
Director: Tony King
Country: USA; Running Time: 5 min
 
It’s Very Common        
Director: Megan Hessenthaler
Country: USA; Running Time: 10 min
 
Jelly     
Director: Jack Barr
Country: USA; Running Time: 8 min
 
Jesus is Lord   
Director: Mark Goshorn Jones
Country: USA; Running Time: 14 min
 
Judy’s Thoughts          
Director: Melody Gilbert
Country: USA; Running Time: 16 min
 
Jung & Restless           
Director: Joanna Priestley
Country: USA; Running Time: 6 min
 
The Leaf           
Director: William J. Zang
Country: USA; Running Time: 4 min
 
Lessons from a Moonwalk       
Director: Brad Ellis
Country: USA; Running Time: 11 min
 
Man or Tree      
Directors: Varun Raman, Tom Hancock
Country: UK; Running Time: 4 min
 
Miles & Kilometres       
Director: Sonali Gulati
Countries: USA/India; Running Time: 2 min
 
Money Cat        
Directors: Connor Kurth, Thomas Ireton
Country: USA; Running Time: 14 min
 
My Parent Neal
Director: Hannah Saidiner
Country: USA; Running Time: 8 min
 
Nighthawks      
Director: Nolan Dean
Country: USA; Running Time: 7 min
 
Noor & Layla    
Director: Fawzia Mirza
Country: Canada; Running Time: 13 min
 
Nuevo Rico      
Director: Kristian Mercado
Country: USA; Running Time: 16 min
 
OTIS    
Director: Anquanizia Hall
Country: USA; Running Time: 10 min
 
The Park Bench           
Director: Rob Edwards
Country: USA; Running Time: 5 min
 
Pinky’s Dream                                                              US  Premiere
Director: Chanel Williams
Country: USA; Running Time: 10 min
 
Rekonstruktio   
Director: Pia Andell
Country: Finland; Running Time: 18 min
 
Richard Dick Detective Series: Chapter 1 – Good       
Director: Chris Tyrell
Country: USA; Running Time: 3 min
 
Richard Dick Detective Series: Chapter 2 – Merry       
Director: Chris Tyrell
Country: USA; Running Time: 3 min
 
Richard Dick Detective Series: Chapter 3 – Morning   
Director: Chris Tyrell
Country: USA; Running Time: 5 min
 
Rough River Lake        
Director: Mary Tilden
Country: USA; Running Time: 15 min
 
Rudeneja          
Director: Autumn Payne
Country: USA; Running Time: 7 min
 
S.O.S.  
Director: Lucinda Roberts
Country: USA; Running Time: 5 min
 
She Dreams At Sunrise           
Director: Camrus Johnson
Country: USA; Running Time: 11 min
 
Still Life                                                                                   US Premiere
Director: Diana Ali Chire
Country: USA; Running Time: 4 min
 
Untitled            
Director: Ashlyn Black
Country: USA; Running Time:  1 min
 
Vanderwaal’s Journey  
Directors: Jahman Ariel Hill, Victoria Hurst
Country: USA; Running Time: 19 min
 
We Two            
Director: Grace Whitfield
Country: UK; Running Time: 3 min
 
Where Are You Really From?  
Director: Steven Lee
Country: USA; Running Time: 5 min
 
 
DOCUMENTARY SHORTS
A Homecoming I’ll Remember
Director: Jasmine Rene’ McCaskill
Country: USA; Running Time: 17 min
 
Along the Blues Highway                                                         World Premiere
Director: Jimmy Thomas
Country: USA; Running Time: 7 min
 
Divine Intervention: The D-Vine Spirituals Story                     
Director: Jonathan Thomason
Country: USA; Running Time: 25 min
 
Every Night is Saturday Night              
Director: Nolan Dean
Country: USA; Running Time: 20 min
 
Finding My Roots: Tale of Two Carries                        
Director: Carrie Bernans
Country: USA; Running Time: 16 min
 
Last Days of August                
Directors: Rodrigo Ojeda-Beck, Robert Machoian
Country: USA; Running Time: 13 min
 
Mississippi Creates: Schaefer Llana               
Director: Annemarie Anderson
Country: USA; Running Time: 14 min
 
Mississippi Creates: Tyler Keith                      
Director: Kelly Spivey
Country: USA; Running Time: 15 min
 
One Drift and We All Go Home                                                World Premiere
Director: Thom Hilton
Country: USA; Running Time: 14 min
 
The Other Border                     
Director: Justin Zimmerman
Country: USA; Running Time: 8 min
 
Oxford: A Place for Art                        
Director: Jackson Strickland
Country: USA; Running Time: 6 min
 
The Pratt in the Hat                  
Director: Susan Hillary
Country: USA; Running Time: 15 min
 
Sam Wang: Centripetal Persistence                 
Director: John Rash
Country: USA; Running Time: 25 min
 
 
 
Slade Kyle                    
Director: Christina Alison Huff
Country: USA; Running Time: 9 min
 
That’s None of My Business                                        US Premiere
Director: Charles Kaufmann
Country: USA; Running Time: 5 min
 
Wangechi Mutu: Between the Earth and the Sky                     
Directors: Ian Forster, Jackie Lebo
Countries: Kenya/USA; Running Time: 15 min
 
We Dance                     
Directors: Ethan Payne, Brian Foster
Country: USA; Running Time: 11 min
 
 
MUSIC VIDEOS
Big Blue and the Shepard                    
Director: Don Smith
Country: USA; Running Time: 3 min
 
Catacombs                   
Director: Drew McKercher
Country: USA; Running Time: 4 min
 
 
Dance a Hole in the Floor        
Director: Saturn Velvet Club                   
Country: USA; Running Time: 5 min
 
Dance Till Dawn                       
Director: Austin Nunes
Country: USA; Running Time: 10 min
 
Enough                        
Director: Caleb Slain
Country: USA; Running Time: 14 min
 
Every Breath                
Director: Hunter Heath
Country: USA; Running Time: 4 min
 
Freedom                      
Directors: Michael Joseph McDonald, Joe Bluhm
Country: Canada; Running Time: 5 min
 
Hollywood Dreams                   
Directors: Anquanizia Hall, Randy Ferino
Country: USA; Running Time: 6 min
 
Nemestry                      
Director: Saturn Velvet Club
Country: USA; Running Time: 4 min
 
 
The Night I Lost You                
Director: Drew McKercher
Country: USA; Running Time: 4 min
 
Panixiya                       
Director: Swaraj Priyo
Country: India; Running Time: 4 min
 
Sky and Sea     
Director; Damein Wash
Country: USA; Running Time: 2 min
 
Sweetheart                   
Director: Drew McKercher
Country: USA; Running Time: 3 min
 
 

#### 2022 Oxford Film Festival Gets Arts Grants from the NEA and MAC
 
In the process of preparing for the 19th edition of the Oxford Film Festival, taking place in Oxford, Mississippi, March 23-27, 2022, OxFilm has announced that the film festival has been awarded a $20,000 grant from the National Endowment of the Arts as part of its Grants for Arts Projects (GAP) – Media Arts for this year, a $16,000 Operating Grant for 2022 from the Mississippi Arts Commission (MAC), and an additional $11,500 Mississippi Arts Commission (MAC) Grant via the National Endowment of the Arts.
Oxford Film Festival Interim Executive Director Jim Brunzell, said, “OxFilm and the Oxford Film Festival could not express how thrilled and appreciative we are to receive these grants from the National Endowment for the Arts and the Mississippi Arts Commission. This organization and film festival have managed to weather incredibly difficult challenges and hurdles planning our events since the pandemic – and prior, thanks to the incredible support of grants like these.”  Brunzell added, “It’s also important to note what a wonderful validation it is from the NEA and MAC as to the cultural importance of the Oxford Film Festival/OxFilm both here locally, as well as throughout the state of Mississippi. There are good reasons we are at the national forefront in regional film festivals in North America and as we continue our preparations for this year’s edition, it’s wonderful to know the hard work by our board and staff and the enthusiasm of our film fans has been recognized in this way.”
The National Endowment for the Arts’ Grants for Arts Projects (GAP) awards reach communities in all parts of the country, large and small, and with diverse cultural and economic backgrounds. There are 1,248 organizations recommended to receive cost share/matching grants ranging from $10,000 to $100,000 for a total of $28,840,000. These awards represent 15 artistic disciplines/fields: Artist Communities, Arts Education, Dance, Design, Folk & Traditional Arts, Literary Arts, Local Arts Agencies, Media Arts, Museums, Music, Musical Theater, Opera, Presenting & Multidisciplinary Works, Theater, and Visual Arts. Applications were received in February 2021 from 1,879 eligible organizations requesting more than $92 million in support.
“These National Endowment for the Arts (NEA) grants underscore the resilience of our nation’s artists and arts organizations, will support efforts to provide access to the arts, and rebuild the creative economy,” said NEA Acting Chair Ann Eilers. “The supported projects demonstrate how the arts are a source of strength and well-being for communities and individuals, and can open doors to conversations that address complex issues of our time.”
The Mississippi Arts Commission (MAC) Grant is provided through special funding from the National Endowment for the Arts, via the American Rescue Plan, also known as ARP.

#### 2022 San Luis Obispo International Film Festival Announces Film Lineup
THE AUTOMAT
 
The 28th Annual San Luis Obispo International Film Festival (April 26-May 1) announced this year’s robust film lineup bookended by critically-acclaimed documentaries —the Opening Night selection of Sara Dosa’s Fire of Love and the Closing Night selection of Isabel Castro’s Mija. The festival will celebrate its return to in-theater screenings and in-person events, including its famous Surf Nite, a tribute to Philip Glass, Cal Poly Shortcuts, and entrants in this year’s Reel Challenge debut.
This year’s film lineup will feature 121 presentations, including 32 feature films (10 narrative, 22 documentary), 77 short films and 12 music videos.
San Luis Obispo Film Festival Director Skye McLennan said, “Returning to the theater is something all of us at the film festival have looked forward to for some time now, so we can hardly believe that moment is almost here. Because we knew there would be such anticipation by San Luis Obispo film lovers, we took special care to not simply program the best films available to us, but to also make sure we brought back the signature events like Surf Nite that SLO Film Fest built its reputation on. Now, we cannot wait to welcome everyone back and start screening our movies!”
SLO Film Fest’s Opening Night selection, Sara Dosa’s documentary Fire of Love, is a rare look at a volcanic love story – literally. Using amazing footage of and by volcanologist couple Katia and Maurice Krafft, and narrated by art film fixture Miranda July, Fire of Love tells a story of primordial creation and destruction, following two bold explorers as they venture into the unknown, all for the sake of love. On Closing Night, Isabel Castro’s documentary Mija showcases a dynamic pair of young Latina women who forged careers in music management and the music scene. They overcame a never-ending stream of hurdles to succeed despite the heightened pressure of being the family’s hope for green cards and reunification.
Additional highlights among the narrative selections include Max Walker-Silverman’s A Love Song, a romantic drama starring Dale Dickey and Wes Studi as two childhood sweethearts, both widowed, who share a night by a lake reminiscing about their lives, losses, and loneliness; and Jessica Hester and Derek Schweickart’s Coast, which follows 16-year-old Abby, desperate to escape the trappings of her small-town life, who finds that everything changes when she meets the lead singer of a traveling rock band and must decide whether or not to leave her family and friends behind. To open and close the screening SLO Film Fest will present concert performances from DOG PARTY and local legends PANCHO & THE WIZARDS, all featured in the film.
Bretten Hannam’s drama, Wildhood, is about an impulsive and closeted First Nations youth who escapes his abusive father with his little brother and sets on a journey to reclaim his heritage while finding love along the way; and Dina Amer’s blend of psychological thriller, social drama and investigative documentary, You Resemble Me, follows the struggles of an older sister to find her identity after she is separated from her younger sister in Paris. The film was Executive Produced by Spike Lee.
On the documentary front, highlights include Danielle Kummer and Lucy Harvey’s Alien On Stage, which documents the attempt by an amateur drama group to create a serious stage adaptation of the sci-fi horror film, Alien; Rob Coe and Warwick Davis’ Blind Ambition about a group of Zimbabwean sommeliers living in South Africa who form the first team from Zimbabwe to compete in The World Wine Blind Tasting Championships — the Olympics of the wine world; Corey McLean’s Havana Libre about a group of diehard Cuban surfers who rise up against their government to legitimize the sport; and Camilla and James Becket’s The Seeds of Vandana Shiva, which focuses on Gandhian eco-activist Dr. Vandana Shiva and how she stood up to Monsanto and rose to prominence in the ecological food movement.
SLO Film Fest’s Surf Nite, a one-of-a-kind surfing film event, will be presented on Thursday, April 28, at the Sunset Drive-In for the second straight year. Surf Nite will include the traditional appearance of some classic 1960s surfing autos to add to the atmosphere of what could be called the “Rocky Horror Picture Show” for the surfing film lover.
Additional special events and presentations include the Coastal Awakening salute to avant-garde “classicist” composer and pianist Philip Glass, the Cal Poly Short Cuts films created by Cal Poly students under the mentorship of Screenwriter and Editor, Professor Randi Barros, and a presentation of the films that resulted from SLO Film Fests’ first The Reel Challenge – a weekend-long film competition where filmmakers of widely varying experience had just 48 hours to write, shoot, edit and submit a 90-second short film.
The San Luis Obispo International Film Festival will also once again put local filmmakers on a pedestal via its always-popular Central Coast Showcase and encourage the filmmaking ambitions of elementary, middle school and high school students with its Filmmakers of Tomorrow Showcase.
Passes are now on sale and information on the film festival can be found at https://slofilmfest.org.
 
The 2022 San Luis Obispo International Film Festival official selections:
 
OPENING NIGHT SELECTION
Fire Of Love                                                                                                   
Director: Sara Dosa
Country: USA; Running Time: 93 min
Katia and Maurice Krafft loved two things — each other and volcanoes. For two decades, the daring French volcanologist couple roamed the planet, chasing eruptions, documenting their discoveries. Ultimately, they lost their lives in a 1991 volcanic explosion, leaving a legacy that forever enriched our knowledge of the natural world. Director Sara Dosa and the filmmaking team fashion a lyrical celebration of the intrepid scientists’ spirit of adventure, drawing from the Kraffts’ spectacular archive. Fire of Love tells a story of primordial creation and destruction, following two bold explorers as they venture into the unknown, all for the sake of love.
 
 
CLOSING NIGHT SELECTION
Mija                                                                                                     
Director: Isabel Castro
Country: USA; Running Time: 88 min
Desperately longing for better representation within the indie music scene, at 23 Doris Muñoz took matters into her own hands and began a career in music talent management, passionately advocating for rising Latinx artists. Her swift success transformed her into the breadwinner for her undocumented family and a pillar for first and second-generation Americans seeking community. In a moment of crisis when Doris abruptly receives news that forces her to reconsider working in music, she finds Jacks Haupt, a promising Chicana singer desperate to break out of her parents’ home in Dallas, Texas. Through shared moments of hope and joy, Doris and Jacks bond over the ever-present guilt of being the first American-born members of their undocumented families, the financial risks of pursuing their dreams, and the heightened pressure of their success being the family’s hope for green cards and reunification.
 
 
TRIBUTE TO PHILIP GLASS
PRESENTED BY THE COASTAL AWAKENING
Glass: A Portrait of Philip in Twelve Parts            
Director: Scott Hicks
Country: USA; Running Time: 119 min
Academy Award-nominated director Scott Hicks documents an eventful year in the career and personal life of distinguished Western classical composer Philip Glass as he interacts with several friends and collaborators, including Chuck Close, Ravi Shankar and Martin Scorsese.
                                                
Koyaanisqatsi           
Director: Godfrey Reggio
Country: USA; Running Time: 87 min
Koyaanisqatsi, Godfrey Reggio’s debut as a film director and producer, is the first film of the QATSI trilogy. The title is a Hopi Indian word meaning “life out of balance.” Created between 1975 and 1982, the film is an apocalyptic vision of the collision of two different worlds — urban life and technology versus the environment. The musical score was composed by Philip Glass.
                                                
The Truman Show    
Director: Peter Weir
Country: USA; Running Time: 107 min
He doesn’t know it, but everything in Truman Burbank’s (Jim Carrey) life is part of a massive TV set. Executive producer Christof (Ed Harris) orchestrates “The Truman Show,” a live broadcast of Truman’s every move captured by hidden cameras. Cristof tries to control Truman’s mind, even removing his true love, Sylvia (Natascha McElhone), from the show and replacing her with Meryl (Laura Linney). As Truman gradually discovers the truth, however, he must decide whether to act on it.
 
 
SPECIAL PRESENTATIONS
Blind Ambition                                                                                                          
Directors: Rob Coe, Warwick Davis
Country: Australia; Running Time: 96 min
A group of Zimbabwean sommeliers living in South Africa form the first team from Zimbabwe to compete in The World Wine Blind Tasting Championships — the Olympics of the wine world. Blind Ambition follows their ambitious path where they must sample 12 different wines and correctly name the country, winery and vintage — a challenge for any oenologist. Their sampling skills take them a long way. But it is their connection to their country, underscored by the comments and encouragement of parents, grandparents and children they left back home, that provide their motivation and backbone.
 
Coast                                                                                                  
Directors: Jessica Hester, Derek Schweickart
Country: USA; Running Time: 96 min
16-year-old Abby is desperate to escape the trappings of her small-town life, but everything changes when she meets the lead singer of a traveling rock band and must decide whether or not to leave her family and friends behind. Filmed entirely in Santa Maria, Guadalupe and Oceano, with appearances by Central Coast bands Pancho and the Wizards, Dog Party, Hayley & The Crushers, and Black Match.
 
La Perla                                                                                                          
Country: USA/Mexico; Running Time: 77 min
La Perla is a Mexican-American film based on the classic novel The Pearl by John Steinbeck, who also co-wrote the play alongside director Emilio Fernández. Pedro Armendáriz (a Cal Poly graduate), plays a poor fisherman who discovers the perfect pearl — forever changing his life. Just like the treasure he found, this is a rare opportunity to see a true classic of Mexican cinema.
 
Playing In Unison (Pac Doc)                                                                                                           
Country: USA; Running Time: 56 min
An improbable gem in our small town, the Performing Arts Center at Cal Poly has a story to tell. The story of a university, city hall and a group of dedicated supporters working for years, collaborating and gathering funds. The story of a pre-opening celebration that lasted until the early morning hours. The story of concerts, graduations and youth programs that raised the level of the arts throughout the county. And the story of a global pandemic that forced it to close its doors only to reopen as a COVID testing center. Playing in Unison illustrates the power of a community that promises to carry on and find a way, together.
 
Sirens                                                                                                 
Director: Rita Baghdadi
Countries: Lebanon/USA; Running Time: 78 min
Fresh from Sundance 2022. On the outskirts of Beirut, co-founders and guitarists of the Middle East’s first all-female metal band wrestle with friendship, sexuality, and destruction in their quest to become thrash metal rock stars.  A beautifully wrought and surprising portrait.
 
They/Them: One Climber’s Story                                                                                                   
Directors: Blake McCord, Justin Clifton
Country: USA; Running Time: 72 min
They/Them follows Lor, a trans climber embarking on a journey to piece together one of the hardest and most inspiring routes of their life. By embracing the strength in vulnerability, Lor has found the space to thrive and build a climbing community that others like themself can call home.
 
Through Their Eyes
Director: Ben Proudfoot
Country: USA; Running Time: 70 min
A collection of four wonderful short films produced and directed by SLO Film Fest alum and Oscar Nominee Ben Proudfoot with Breakwater Studios, chronicling the lives and fascinating stories of four individuals who were almost a household name! THE FIRST REPORT, THE UNCHOSEN ONE, THE SILENT PULSE OF THE UNIVERSE, and 2022 Oscar Nominee THE QUEEN OF BASKETBALL all come together in a heartfelt and memorable collection showing us all how to keep pushing forward even when you feel unseen.
            
 
CAL POLY SHORT CUTS
Cal Poly Short Cuts
Running Time: 85 min
 
Solecita
When a new family moves into the neighborhood, an unlikely friendship forms between two young friends, but not everyone is happy about it.
 
Poetic Projection
Two young adults go on a date and have wildly different interpretations of how it’s going.
 
August
When a troubled teenage girl with dreams of travel plots to leave her home and cross state lines for the first time, a young boy in the house across the street threatens to hold her back.
 
On That Note
A twenty-something loner finds an uncommon bond with his noisy, curmudgeonly neighbor.
 
All I Want for Christmas Is The Truth
A determined young boy tries to find out the truth about Santa Claus, despite his mother’s attempts to stop him.
 
Two Things
A middle school boy explores the awkwardness of puberty, sexuality, anger, sadness, and love.
 
 
MAKE YOUR MOVE PROGRAM
Camp Yoshi                                                                                                   
Directors: Faith E. Briggs, Tyler Wilkinson Ray
Country: USA; Running Time: 11 min
After moving to Oregon and falling in love with the ability to explore the outdoors with ease alongside his wife and two kids, Rashad Frazier knew he had to extend the invitation to others. Driven by the magic of his experiences, his background as a chef, and his love of good food and connecting people to incredible places that open up to conversation, he created Camp Yoshi.
 
Egúngún (Masquerade)                                                                                                        
Director: Olive Nwosu
Country: Nigeria/UK; Running Time: 15 min
Exploring home, memory, identity, and the many versions of ourselves that haunt us, Egúngún follows Salewa as she returns home to Lagos for her mother’s funeral. Being in a place where she once had to hide herself, she runs into an important person from her past and is prompted to go in search of her own peace.
 
The Fourth                                                                             World Premiere
Director: Johnny Kirk
Country: USA; Running Time: 12 min
Fun and games on the Fourth of July take a serious turn for Rey and his friends when they are stopped by police at a local gas station. Based on real-life incidents, the story examines the trauma of being in the shoes of the young men stopped.
 
Moving Meditation                                                                                                    
Directors: Eric Johnson, Joseph Fletcher
Country: USA; Running Time: 10 min
In a story of adversity, resilience, and ultimately, self-love, Eric Johnson, a youth growing up in Washington D.C., finds a place of belonging within the skateboarding community. But his identity as a black skateboarder puts him into a circumstance that almost costs him his life.
 
Not Just a Name                                                                                                       
Director: De’Onna “Tree” Young-Stephens
Country: USA; Running Time: 23 min
Following the stories of Shiquita, Fulani, Naauh’Mocquaii, and De’Onna, Not Just A Name explores and highlights the trials and tribulations of African Americans with cultural and unique sounding names as they deal with microaggressions and the painful and triumphant origin of their identity.
 
 
ADDITIONAL NARRATIVE FEATURES
A Love Song                                                                                                  
Director: Max Walker-Silverman
Country: USA; Running Time: 81 min
This whimsical romance from Sundance 2022 stars Dale Dickey and Wes Studi as two childhood sweethearts, both widowed, sharing a night by a lake reminiscing about their lives, losses, and loneliness. Shot on 16mm film, it’s both naturalistic and vaguely surreal, blurring our sense of time and beauty, loss and vivacity, the grandiose natural world and intimate humanism.
 
The Falconer                                                                                                 
Directors: Seanne Winslow, Adam Sjoberg
Countries: USA/Oman; Running Time: 100 min
Inspired by true events, two best friends — Tariq and Cai — from different backgrounds conspire to steal animals from the zoo and sell them on the black market to raise money for Tariq’s sister’s divorce because of an abusive marriage. They are forced to wrestle with morally complex choices that reveal the vast distance between their worlds. One of the first feature films shot entirely in Oman.
 
Hard Shell, Soft Shell                                                                                                           
Director: Emma Benestan
Country: France; Running Time: 100 min
It’s Dirty Dancing Algerian-style! Oyster farmer Az thinks he’s made it, but when an elaborate proposal goes awry and his girlfriend Jess breaks his heart, Az is forced to confront his understanding of what happiness really looks like – both hers and his own.
 
Homebody                                                                                                     
Director: Joseph Sackett
Country: USA; Running Time: 75 min
9-year-old, gender-queer Johnny loves their babysitter – so much so that they’ve meditated their spirit into her body! Part Freaky Friday, part Being John Malkovitch, this charming comedy will take you on a journey that begins in excitement and quickly turns chaotic when the pressures of pretending to be someone else stack up fast!
 
My Dead Dad                                                                                                 
Director: Fabio Frey
Country: USA; Running Time: 93 min
In this charming coming-of-age film, Pedro Correa stars as a young skateboarder who discovers his estranged father has died, leaving him the responsibility of managing an apartment complex in Los Angeles. Forced to grow up quickly, he learns about the dad he never knew through the building’s eclectic tenants and a brief trip to San Luis Obispo (Booboo Stewart, Chris Pontius, Simon Rex, Raymond Cruz).
 
Princess                                                                                                         
Director: Peter Luisi
Country: Switzerland/Ukraine; Running Time: 101 min
When the younger sister of Josef, an alcoholic who has given up on life, moves into his house, an unexpected friendship develops between him and her 4-year old daughter, Nina. Thirty-five years later, the two meet again and with Nina in trouble, Josef embarks on an opportunity to repay her for the kindness she gave him when he was in need.
 
Sweet Disaster                                                                                                          
Director: Laura Lehmus
Country: Germany; Running Time: 90 min
Uniquely whimsical, imaginative and enchanting, Sweet Disaster follows as Frida unexpectedly becomes pregnant and tries to reunite with the baby’s father who broke up with her for another woman. Though health problems force Frida to rest, she’s determined to get him back using absurd, exaggerated and hilarious methods.
 
Wildhood                                                                                                       
Director: Bretten Hannam
Country: Canada; Running Time: 100 min
Set against the wilds of the Canadian Nova Scotia landscape, Wildhood is the beautiful and captivating odyssey of a closeted First Nations youth in search of identity and belonging. Impulsive two-spirit Mi’kmaw teen Link and his little brother Travis escape their abusive father and set on a journey to reclaim his heritage while finding love along the way.
 
You Resemble Me                                                                                                     
Director: Dina Amer
Countries: Egypt/France/USA; Running Time: 91 min
After two sisters are torn apart on the outskirts of Paris, the eldest, Hasna, struggles to find her identity, leading to a choice that shocks the world. This film masterfully deconstructs one of the darkest issues of our time through a blend of psychological thriller, social drama and investigative documentary to tell an intense story about cultural and intergenerational trauma, family, love, sisterhood, and belonging. Executive Produced by Spike Lee.
 
 
ADDITIONAL DOCUMENTARY FEATURES
A Crack in The Mountain                                                                                                     
Director: Alastair Evans
Country: Hong Kong; Running Time: 115 min
Shown through stunning cinematography, Hang Son Doong in Vietnam is the largest cave in the world and full of extraordinary natural beauty. When plans are announced to construct a cable car within the cave to promote tourism, environmental activists worry it will destroy its delicate ecosystem, while the local community, crippled by decades of war and flooding, is unsure how to proceed. Will big development bring profit or loss?
 
Alien On Stage                                                                                                          
Directors: Danielle Kummer, Lucy Harvey
Country: UK; Running Time: 86 min
Why do pantomime when you can do Alien? An extremely amateur drama group of UK bus drivers spent a year creating a serious stage adaptation of the sci-fi horror film, Alien. With wobbly sets, awkward acting and special effects requiring more luck than judgment, will their homemade homage wind up all right?
 
The Automat                                                                                                  
Director: Lisa Hurwitz
Country: USA; Running Time: 79 min
Fresh from the 2021 Telluride Film Festival, and featuring interviews from Mel Brooks, Ruth Bader Ginsburg and Colin Powell, The Automat tells the 100-year story of the iconic Horn & Hardart restaurant chain where generations of Americans communally sat together to eat and drink coffee. Famous for its fresh-cooked meals out of a vending machine and now the inspiration for Starbucks, we watch a business climb to its peak and then grapple in forever-changing America.
 
Cat Daddies                                                                                                   
Director: Mye Hoang
Country: USA; Running Time: 89 min
A tender portrait of men and their furry friends. Following a group of firefighters, a stuntman, truck driver, disabled homeless man, tech worker and schoolteacher, Cat Daddies is a refreshing and timely exploration of modern masculinity and the unlikely bond between man and cat.
 
Daughter of a Lost Bird                                                                                                       
Director: Brooke Pepion Swaney
Country: USA; Running Time: 66 min
Named after the term for Native children adopted out of their tribal communities, Daughter Of A Lost Bird follows Kendra Mylnechuk Potter, who was adopted into a white family and raised with no knowledge of her Native parentage after the Indian Child Welfare Act of 1978 became law. This beautiful and intimate film follows Kendra on her journey to find her birth mother April, also a Native adoptee, and return to her Lummi homelands in Washington State.
 
Fireboys                                                                                                         
Directors: Drew Dickler, Jake Hochendoner
Country: USA; Running Time: 88 min
For these young men incarcerated in California, fighting fires as volunteers is another chance at life. Immersive and personal, this coming-of-age story follows young men from prison who fight wildfires and eventually find their way back to their homes on the outside while examining a correctional path that is both hopeful and destructive.
 
Free Renty: Lanier v. Harvard                                                                                                         
Director: David Grubin
Country: USA; Running Time: 94 min
This documentary chronicles Tamara Lanier’s lawsuit to force Harvard University to relinquish specialized photographic prints of her great-great-great grandfather, an enslaved man named Renty; the prints were commissioned by a Harvard biologist to “prove” his racist theory that Africans are an inferior species. The lawsuit makes the explosive issues of white supremacy, institutional racism, and reparations vividly personal.
 
Havana Libre                                                                                                 
Director: Corey McLean
Country: USA; Running Time: 82 min
After years of surfing being illegal in Cuba, a group of diehard Cuban surfers rise up against their government to legitimize the sport. This spirited and powerful journey chronicles their fight in the face of political oppression while confronting outdated ideologies along the way.
 
Holy Frit
Director: Justin Monroe
Country: USA; Running Time: 120 min
In this fast-paced race against time, a talented, yet unknown artist bluffs his way into winning a commission to make the largest stained-glass window of its kind. The problem is, he doesn’t know how to make it. His only hope is to find and persuade a famous glass maestro to teach him his secrets.
 
Lady Buds                                                                                                     
Director: Chris J. Russo
Country: USA; Running Time: 96 min
After the widely praised decision to legalize cannabis in California, six courageous women come out of the shadows of the cannabis underground to forge a path to legalization and risk everything for a piece of the American Dream in the very market they helped create.
 
My Childhood, My Country – Twenty Years in Afghanistan                                                        
Directors: Phil Grabsky, Shoaib Sharifi
Countries: UK/Afghanistan; Running Time: 90 min
Filmed across 20 years in one of the most embattled corners of the globe, My Childhood, My Country is a real-life epic of boyhood and manhood as we follow the journey of an Afghan youth growing up in a land ravaged by war. Resilience, humor, poverty and adventure honor this universal story of youth alongside an inspiring insight into just who the Afghan people are.
 
One Pint at A Time                                                                                                    
Director: Aaron Hosé
Country: USA; Running Time: 89 min
Generating tens of billions of dollars annually for the US economy, and despite beer’s Egyptian and African heritage, today Black-owned breweries make up less than 1% of the nearly 9,000 breweries in operation. Eager to shift the historical perception of who makes and drinks beer, brewers, brand owners and influencers across the country are reshaping the craft beer industry and the future of America’s favorite adult beverage.
 
The Seeds of Vandana Shiva                                                                                                          
Directors: Camilla Becket, James Becket
Country: Australia/USA; Running Time: 82 min
When you control seeds you control life on earth.” The Seeds of Vandana Shiva tells the remarkable life story of Gandhian eco-activist Dr. Vandana Shiva, how she stood up to Monsanto and became its worst nightmare, rose to prominence in the ecological food movement, and is inspiring an international crusade for change.
 
 
NARRATIVE SHORTS
Al-Sit                                                                                                  
Director: Suzannah Mirghani
Country: Sudan/Qatar; Running Time: 20 min
 
At Last                                                                                                            
Director: Lorena Gordon
Country: USA; Running Time: 13 min
 
BJ’s Mobile Gift Shop                                                                                                          
Director: Jason Park
Country: USA; Running Time: 16 min
 
Break Any Spell                                                                                                        
Director: Anton Jøsef
Countries: Canada/USA; Running Time: 13 min
 
Coming Out                                                                                                   
Director: Cressa Maeve Beer
Country: USA; Running Time: 2 min
 
Georgia                                                                                                          
Director: Jayil Pak
Countries: South Korea/USA; Running Time: 30 min
 
Little Sky                                                                                                        
Director: Jess X. Snow
Countries: USA/Canada; Running Time: 14 min
 
No Spectators Allowed                                                                                                        
Director: Kanani Koster
Country: US; Running Time: 16 min
 
North Star                                                                              World Premiere
Director: P.J. Palmer
Country: USA; Running Time: 30 min
 
On / Off                                                                                                          
Director: Nicolas P. Villarreal
Country: Argentina; Running Time: 7 min
 
 
She Dreams at Sunrise                                                                                                        
Director: Camrus Johnson
Country: USA; Running Time: 11 min
 
Snorrie                                                                                                           
Director: Victoria Warmerdam
Country: Netherlands; Running Time: 12 min
 
Synthetic Love                                                                                                          
Director: Sarah Heitz De Chabaneix
Country: France; Running Time: 24 min
 
The Night I Left America                                                                                                      
Director: Laki Karavias
Country: USA; Running Time: 14 min
 
The Test                                                                                                         
Director: Jessica Smith
Country: Australia; Running Time: 8 min
 
Training Wheels                                                                                                        
Director: Alison Rich
Country: USA; Running Time: 15 min
 
 
DOCUMENTARY SHORTS
Águilas                                                                                                           
Directors: Kristy Guevara-Flanagan, Maite Zubiaurre
Country: USA; Running Time: 14 min
 
Bring Them Home                                                                                                     
Directors: Rike Boomgaarden, Tamara Jay
Countries: USA/Mexico; Running Time: 29 min
 
Échale Ganas: The Villa’s Tacos Story                              
Director: Shirley Yumeng He
Country: USA; Running Time: 29 min
 
Inside the Beauty Bubble                                                    World Premiere
Directors: Cheryl Bookout, Cheri Gaulke
Country: USA; Running Time: 32 min
 
Neurodivergent                     
Director: Afton Quast Saler
Country: USA; Running Time: 25 min
 
One All the Way                    
Director: David Baram
Country: USA; Running Time: 24 min
 
 
The Beauty President                       
Director: Whitney Skauge
 
The Yellow Panther: The Life of Richard Aoki                  
Director: Orion Huang
Country: USA; Running Time: 24 min
 
 
CENTRAL COAST FILMMAKERS SHOWCASE
Winter’s Ball                                                                          World Premiere
Director: Gardner Grady Hall
Countries: Dominican Republic/USA; Running Time: 102 min
An American minor league baseball player thinking he’s about to get his first promotion to the big leagues is instead sent to the Dominican Republic to play Winter Ball and find his baseball heart. This coming-of-age story acts as a love letter to the Dominican Republic and a culture that celebrates life in a way that has helped shape some of the greatest baseball talent in the world.
 
The Accessible Outdoors                
Directors: Mitchka Saberi, Francisco Lopez
Country: USA; Running Time: 15 min
 
The Candle and the Curse               
Director: Anuja Ganpule-Sheorey
Country: USA; Running Time: 99 min
 
Freedom of Flow       
Director: Jo Anna Edmison
Country: USA; Running Time: 9 min
 
Into Flight Once More                       
Director: Adrienne Hall
Country: USA; Running Time: 69 min
 
The Journey                                                                          World Premiere
Director: Pauahi Alfaro Kinimaka
Country: USA; Running Time: 11 min
 
Next in Line                                                                           US Premiere
Director: Alex Raban
Country: USA; Running Time: 3 min
 
Not One More                        
Director: Cameron Leingang
Country: USA; Running Time: 32 min
 
Painter of Dreams                 
Directors: Gabriel J Medina, Marcus Cisneros
Country: USA; Running Time: 17 min
 
 
Someone Will Assist You Shortly              
Director: Jon Levenson
Country: USA; Running Time: 14 min
 
Tom Myers: Made in Paso                                                   World Premiere
Directors: Libbie Agran, Tim Clott
Country: USA; Running Time: 22 min
 
Underdogs                 
Director: Alex Astrella
Country: USA; Running Time: 16 min
 
 
MUSIC VIDEOS
Attention                                                                                
Director: Juan Leon
Country: USA; Running Time: 4 min
 
Decoration                                                                             
Director: Julien Chavaillaz
Country: USA; Running Time: 5 min
 
Hey Zoe                                                                                  World Premiere
Director: Xander Bissell
Country: USA; Running Time: 5 min
 
Omen              
Director: DRUST
Country: UK; Running Time: 5 min
 
Prittyboi                     
Director: Nicolas Collins
Country: USA; Running Time: 4 min
 
Quiet Nights              
Director: Paola Ossa
Country: USA; Running Time: 4 min
 
Tatehuari                                                                                World Premiere
Director: Sarah Whelden
Country: USA; Running Time: 5 min
 
Tell Me a Story                      
Director: Sasha Solodukhina
Country: USA; Running Time: 4 min
 
Ten Degrees of Strange
Director: Lynn Tomlinson
Countries: USA/UK; Running Time: 4 min
 
 
The Sky Belongs to No-One                        
Director: Manuel Del Valle
Country: Mexico; Running Time: 7 min
 
Thirsty                        
Director: Josh Peterson
Country: USA; Running Time: 4 min
 
Wildones        
Directors: Michael Rodrigues, Tarryn Hatchett”
Country: South Africa; Running Time: 3 min
 
 
FILMMAKERS OF TOMORROW
 
HIGH SCHOOL
 
Apple Crumble
Filmmaker: Kate Saltel
4 Min. | Austin, TX
 
The Bridge
Filmmaker: Calvin Clizer, Shreya Mehta
7 Min. | Richland, WA
 
Cloudy Dream
Filmmakers: Rayhaneh Einollahi, Bahareh Einollahi
5 Min. | Iran
 
Flat Line
Filmmakers: Abby Estrada, Elijah Sylvester-Johnson
4 Min. |Roanoke, VA
 
A Letter to You
Filmmakers: Estrella Barcenas, Ana Marroquin Tercero, Debra Sani, Skarlet Barba
7 Min. | Los Angeles, CA
 
The Letter
Filmmaker: Cameran Grace Ford
3 Min. | Mill Valley, CA
 
Limitless
Filmmakers: Brissa Campos-Silva, Alique Tufenkjian, Alyssa Ho
9 Min. | Los Angeles, CA
 
Ruth And Nick: A Confectionery Tale
Filmmaker: Carter Rostron
7 Min. | Kansas City, MO
 
 
 
Take Heart!
Filmmaker: Lilith Jörg
8 Min. | Germany
 
 
MIDDLE SCHOOL
 
A Midnight Snack
Filmmaker: Liam W. Lui Martin
6 Min. | New York, NY
 
The Unknown
Filmmaker: Luca Pierce
8 Min. | Del Mar, CA
 
 
ELEMENTARY SCHOOL
 
Bad Bugs
Filmmaker: Bryn Wright
2 Min. | Carlsbad, CA
 
Clumsy Cops
Filmmaker: João Paulo Khoder Dolher
2 Min. | Brazil
 
The Legend of The Gold Ruby
Filmmaker: Benny Barnett Eldridge
8 Min. | San Luis Obispo, CA
                                                            
 
THE REEL CHALLENGE
 
The Balloon Chase
Filmmaker: Benny Barnett Eldridge
 
Birthday Boy
Filmmaker: Cary De Grosa
 
Bubbalicious Day – A Story of Friendship
Filmmaker: Tina Green
 
Cake Smash
Filmmaker: Alex Raban
 
Claire
Filmmakers: Ryan Grau, Janelle Christa
 
Closure
Filmmakers: Maryann Talino (Ninjam.A.E), Eric Scott
 
Deflated
Filmmaker: Alex Farrington
 
The Distraction
Filmmaker: Victoria Christine Marchetti
 
Do You Mind?
Filmmakers: Aleksandr Milovidov, Britta Berg-Johansen, Jonathan Leventhal
 
Eternal Eyes of The Soul In Dreary Light
Filmmaker: John Silva
 
Mylar
Filmmakers: Mason Ritterbuck, Aidan Callarman
 
Now Trending
Filmmakers: Dylan Ferrara, William Ferrara
 
PKS Pancake
Filmmaker: John Gange
 
Stuffie Race
Filmmaker: John Gange
 
Whiplash
Filmmakers: Maximilian Joshua Martin, Robert Oliver
 
A Wizard’s Ruff Morning
Filmmakers: Xander Wynne Bissell, Wesley Fidencio Price, Eric Santana Mattson
 
Writer’s Block
Filmmaker: Mark Santos
 
 

#### 2022 San Luis Obispo International Film Festival Announces Honorees and Surf Nite Details
Michael Showalter
 
The 28th Annual San Luis Obispo International Film Festival (April 26-May 1) announced that Dale Dickey (A Love Song) will receive the King Vidor Award at next week’s film festival and Michael Showalter (The Eyes of Tammy Faye) will be this year’s Spotlight Award honoree. Stacy Peralta’s The Yin and Yang of Gerry Lopez was also announced as the featured film for this year’s Surf Nite at the Drive-in.
San Luis Obispo Film Festival Director Skye McLennan said, “We have been thrilled to return to the SLO Film Fest we have all known and loved for so long and bring back traditions, beloved favorites within our programming and events that this film festival is known for. The King Vidor Award, the Spotlight Award, Surf Nite, moderated talks with Ben Mankiewicz, Jenelle Riley, and more are the things lovers of cinema on the Central Coast have sorely missed. I can speak for everyone here when I say we are counting each day until SLO Film Fest opens next week!”
In addition to the film festival’s return to in-person screenings at movie theaters for the first time in two years, this edition of SLO Film Fest will also include the first live presentations of the film festival’s celebrated King Vidor and Spotlight Awards during the Filmmaker Awards Night on Saturday, April 30 at the Fremont Theater (1035 Monterey Street). A popular highlight of the film festival, the presentations will also feature the always entertaining moderated “Conversations on Film” with Turner Classic Movies’ Ben Mankiewicz and Variety’s Jenelle Riley.
Receiving this year’s King Vidor Award, will be veteran character actor, Dale Dickey, who has received much attention as one of the stars of Max Walker-Silverman’s romantic drama, A Love Song. Dickey, who has long been regarded as one of film and television’s most prolific and critically esteemed supporting players, stars opposite Wes Studi, as a couple, childhood sweethearts several years ago, who are now both widowed. They meet up at a campsite and reconnect, sharing stories, memories, and emotions during a night by a lake in the mountains.
One of Hollywood’s most coveted character actors, Dale Dickey forged a reputation for illuminating gritty, dark, and oftentimes damaged characters. Following inspired performances onstage, including the Broadway production of “The Merchant of Venice” (1989) and the 2009 stage adaptation of “A Streetcar Named Desire,” Dickey has put together an enviable list of performances together in films like Sordid Lives (2000), Winter’s Bone (2010), Super 8 (2011), Iron Man 3 (2013), Hell or High Water (2016), and Palm Springs (2020), and on countless television shows like The X-Files, True Blood, Breaking Bad, and My Name is Earl. Her role in A Love Song is a well-deserved lead in a feature that has been critically acclaimed since its debut at Sundance earlier this year.
Receiving the film festival’s Spotlight Award will be Michael Showalter, the prolific director, writer, and producer who skillfully blends drama and comedy, telling unique and heartfelt stories with unconventional lead characters. Showalter most recently directed The Eyes of Tammy Faye, which earned two Academy Awards including Best Actress for Jessica Chastain and Best Makeup and Hairstyling. On the television side, Showalter also recently directed, and executive produced the critically acclaimed miniseries The Dropout, starring Amanda Seyfried. Showalter’s other feature credits include The Lovebirds, which he directed and produced, starring Kumail Nanjiani and Issa Rae, and the critically acclaimed and Oscar-nominated film The Big Sick, which he directed, and Hello My Name Is Doris, for which he also wrote and directed. He is also the co-creator of the cult-comedy favorite Wet Hot American Summer and the hit HBO Max original series, Search Party, which just premiered its fifth and final season. Upcoming films include directing and producing Spoiler Alert, starring Sally Field and Jim Parsons, and executive producing I Love That for You, an upcoming series for Showtime, starring Molly Shannon and Vanessa Bayer.
SLO Film Fest’s Surf Nite, its signature one-of-a-kind surfing film event, will feature Stacy Peralta’s The Yin and Yang of Gerry Lopez. The documentary looks at one of surfing’s most enigmatic heroes. Famously known as “Mr. Pipeline” for his calm demeanor in the tube, Lopez built his career with aggressive surfing that left behind a trail of blood and tears. As radical as he is Zen, Lopez transcends categorization. His influence on modern surfing is immeasurable and for the first time, his story has been told in full. Presented on Thursday, April 28, at the Sunset Drive-In for the second straight year. Surf Nite will include the traditional appearance of some classic 1960s surfing autos to add to the atmosphere of what could be called the “Rocky Horror Picture Show” for the surfing film lover. The evening will include the iconic cars and live music from the Boomer Surf Band before the feature presentation and the first 100 people to arrive early will receive a custom t-shirt from Cayucos Collective.
Along with the aforementioned honorees, this year’s San Luis Obispo International Film Festival will have many filmmakers descending on the Central Coast from outside the state and other parts of California to represent their films and participate in post screening Q&As and more. Among them are; Alastair Evans (DIR/PROD) A Crack in the Mountains; Kristy Guevara-Flanagan (DIR/PROD), Josh Beddingfield (Sound); Aguilas; Lorena Gordon (DIR) At Last; Sandra Chandler (DP) The Automat; Elaine Carmody (PROD), Jason Park (DIR/SCR) BJ’s Mobile Gift Shop; Robert Walker (PROD) Bring Them Home; Mye Hoang (DIR), Dave Boyle (PROD/ED), Jeff Judkins (Subject) Cat Daddies; Ulysses Salcido (PROD/DP), Victor Villa (Subject) Échale Ganas: The Villa’s Tacos Story; Seanne Winslow (DIR/SCR/PROD) The Falconer; Geoff Pingree (PROD) Fireboys; Nicholas Weisman (PROD) Havana Libre; Justin Monroe (DIR/PROD) Holy Frit; Cheryl Bookout (DIR/SCR/PROD), Cheri Gaulke (DIR/SCR/PROD), Stacy Sweeting (PROD), Jeff Hafler (Subject) Inside the Beauty Bubble; CJ Russo (DIR/SCR/PROD), Chiah Rodriques (CAST) Lady Buds; Isabel Castro (DIR), Doris Munoz (Subject), Ruth Munoz (Subject) Mija; Afton Quast Saler (DIR), Jesse Saler (DP) Neurodivergent; PJ Palmer (DIR/SCR/PROD), Ryan Haffey (PROD), Emily Palmer (PROD), Caroline Metz (EXEC PROD), Zelda Hallman (EXEC PROD), Ernesto Lomeli (DP) North Star; Kanani Koster (DIR), Jasmine Karcey (DP), Janie Faison (Art Director) No Spectators Allowed; David Baram (DIR/SCR/PROD), Harry Baram (CAST) One All the Way; Nicholas P. Vilarreal (DIR), Alessandro Squitti (PROD) On/Off; James Becket (DIR) The Seeds of Vandana Shiva; Alison Rich (DIR/SCR/CAST) Training Wheels; Orion Huang (DIR) The Yellow Panther: The Life of Richard Aoki.
Passes and tickets are now on sale and information on the film festival can be found at https://slofilmfest.org.

#### 2023 Dallas International Film Festival Releases Full Film Line Up
 
DIFF 2023 has released the full schedule and list of films for the 17th Dallas International Film Festival, April 28 – May 5, 2023, at Violet Crown Cinema in West Village Uptown at dallasfilm.org. This year’s Festival includes powerful films from both established and emerging artists in a wide range of styles with screenings of more than 100 films submitted from more than 60 countries, as well as Q&A sessions with filmmakers and actors, nightly DIFF Red Carpets, a Festival Lounge, and special events.
“Festivalgoers can start making their movie plans, including the opportunity to see several films that will be world premiering with us here in Dallas,” said James Faust, DIFF Artistic Director. “DIFF gives some of the earliest and rarest opportunities to see several films on the big screen that amplify important stories and unheard voices – films that, in many cases, will be personally introduced by and discussed with the filmmakers in attendance.”
The line-up of feature films for DIFF 2023 includes:
AFGHAN DREAMERS (Documentary) Members of an all-girl robotics team from Afghanistan struggle to succeed in international competitions while combating their male-dominated culture and the threat of Taliban rule.
BAD CITY (Action) Kensuke Sonomura directs the legendary Hitoshi Ozawa in this ultimate V-Cinema actioner from Well Go USA Entertainment. Kaiko City is plagued with poverty and crime when a corrupt businessman decides to run for mayor and starts eliminating opponents from the rival mafia. A former police captain serving time for murder is secretly released and put in charge of a special task force to arrest him.
BAD PRESS (Documentary) Angel Ellis, a citizen of the Muscogee (Creek) Nation, fights alongside her free press Myskoke Media reporters for government transparency and access to information. Highlighting Ellis’ advocacy for ethical coverage of Indigenous topics and communities, it highlights how her fight to expose government corruption has ramifications across her tribal boundaries in Oklahoma and beyond.
BIRTH/REBIRTH (Horror/Drama) A single mother and a childless morgue technician are bound together by their relationship to a little girl they have reanimated from the dead.
BLACKBERRY (Drama) The story of the meteoric rise and catastrophic demise of the world’s first smartphone. Two mismatched entrepreneurs – egghead innovator Mike Lazaridis and cut-throat businessman Jim Balsillie – joined forces in an endeavor that was to become a worldwide hit in little more than a decade. The device that one of them invented and the other sold was the BlackBerry, an addictive mobile phone that changed the way the world worked, played and communicated. But just as BlackBerry was rising to new peaks, it also started losing its way through the fog of Smartphone wars, management indecision and outside distractions, eventually leading to the breakdown of one of the most successful ventures in the history of the tech and business worlds.
BLUE JEAN (Drama) In Newcastle, England, in 1988, a time when the conservative government is on the brink of passing legislation that stigmatizes the gay and lesbian population, Jean is a closeted gym teacher who faces a crisis after a new student threatens to reveal her double life. Written by Georgia Oakley, it is also her directorial debut.
BREAKING THE CODE (World Premiere) (Documentary) Legendary Fort Worth artist Vernon Fisher was born to rural Texas farmers in 1943 with a childhood exposure to painting that was only “something you did to houses.” By the 1980s, he was exhibiting alongside Andy Warhol and Jean-Michel Basquiat, establishing himself as one of the most significant artists of the 20th century. The film follows Fisher as he continues to create art that challenges social norms and asks important questions about reality.
CHOCOLATE LIZARDS (World Premiere) (Comedy/Adventure) World premiering at DIFF 2023, this is the tale of Erwin Vandeveer, played by Rudy Pankow, who finds himself stranded in Buffalo Gap, Texas, with Merle Luskey, played by Thomas Haden Church. The ensuing adventure pits the pair against the bank, the sheriff, and a corrupt oil company, and also stars Carrie-Anne Moss and Bruce Dern. It is based on the 1999 novel of the same name by Cole Thompson.
DEEP RISING (Documentary) The fate of the planet’s last untouched wilderness, the deep ocean, is explored alongside a threat from a secretive organization that is about to allow massive extraction of seabed metals to address the world’s energy crisis.
A DISTURBANCE IN THE FORCE: HOW THE STAR WARS HOLIDAY SPECIAL HAPPENED (Documentary) Directed by Jeremy Coon and Steve Kozak,  this film is the tale of the ill-fated The Star Wars Holiday Special that aired on CBS the week of Thanksgiving 1978, and was never re-aired, going on to become the franchise’s dark secret. Featuring behind-the-scenes archival footage from Mark Hamill, Carrie Fisher, Harrison Ford, and Anthony Daniels, it also incorporates the voices of “Weird Al” Yankovic, Kevin Smith, Seth Green, and the late Gilbert Gottfried. The screening is scheduled for May the Fourth and May the Fourth Eve (May 3). Director Jeremy Coon is a graduate of Berkner High School in Richardson.
THE DOLDRUMS (World Premiere) (Comedy/Drama) A not-coming-of-age and anti-musical filmed in Dallas, the film centers around three characters and how their friendship shifts when the oldest goes off to college. It is a comedy/drama structured in six vignettes marking his biannual visits from college to his hometown and how their lives change, or don’t, despite all three friends growing older.
EISMAYER (Historical Drama) Based on real events, Vice Lieutenant Eismayer is the most feared trainer and model macho in the Austrian Military living as a gay man in secret. When he falls in love with a young, openly gay soldier, his world gets turned upside down.
THE ELDERLY (Horror) An octogenarian named Manuel falls into a state of dementia after the sudden suicide of his wife, sparking a series of paranormal events that will put his family’s lives at risk. Starting as a grounded drama exploring the indignities of old age, THE ELDERLY gradually snaps off one guardrail after another, building to a crescendo of sheer terror with imagery that can never be unseen.
THE ETERNAL MEMORY (Spanish Documentary) Directed by Maite Alberdi, this Chilean film follows the relationship of prominent Chilean journalist Augusto Góngora and actress Paulina “Pauli” Urrutia. It won the Grand Jury Prize at the 2023 Sundance Film Festival. A couple for 23 years, Augusto was diagnosed with Alzheimer’s disease eight years ago, and Paulina cares for him, helping maintain his identity despite the challenges of his illness.
THE FISHBOWL (Drama) As her cancer spreads, Noelia’s ultimate decision is to return to her native Vieques, Puerto Rico, and claim her freedom to decide her own fate. She reunites with her friends and family who are still dealing with contamination caused by the U.S. Navy after 60 years of military practices.
GIBSON ICONS: REX BROWN OF PANTERA (Documentary) Renowned worldwide, Rex Brown and his Texas brethren forged a blueprint with the DFW-based band Pantera that’s been studied by nearly every hard rock and heavy metal band that has followed. Throughout this intimate look into his musical journey, Rex shares personal stories surrounding his childhood, the bonds built between his band members, and the enduring legacy of Pantera.
GO ON, BE BRAVE (Documentary) The story of Andrea Lytle Peet’s race against time – a diagnosis of ALS and an attempt at the impossible. Peet aims to be the first person with ALS to complete a marathon in all 50 states, the film follows her journey as she inspires others to go on, be brave.
INTO THE SPOTLIGHT (World Premiere) (Documentary) A heartfelt story of how a script, a stage, and a theater program composed of adults with disabilities celebrate their creativity, explore life’s complexities, and empower a community, in their own words and their own way. INTO THE SPOTLIGHT is a documentary feature film that follows a Dallas-based theatre troupe, composed of people with intellectual and developmental disabilities, who are determined to write, rehearse, and perform their 11th annual original musical during the 2021-22 season. Only disabled people are interviewed and the only people who answer the questions are the disabled people themselves.
ISRAELISM (Documentary) The role of Israel in American Jewish identity is challenged when two young American Jews join an awakening within the community after they witness Israel’s brutal treatment of the Palestinian people first-hand. Heartbroken and enraged at the older generation of American Jews who raised them to defend the State of Israel at all costs, they join a struggle not just for Palestinian rights but also within the Jewish community.
IT AIN’T OVER (Documentary) The film gives Yogi Berra his due in following the life of the bad-ball hitting catcher and D-Day veteran, loving husband and father, product endorser and originator (mostly) of his own brand of proverbs now ingrained into everyday life.
IT’S ONLY LIFE AFTER ALL (Documentary) Directed, produced, and edited by Alexandria Bombach, this is an intimate look into the lives of the Indigo Girls, one of the most iconic American folk-rock bands. Featuring never-before-seen archival and intimate Cinéma verité, the film dives into the songwriting and storytelling of bandmembers Amy Ray and Emily Saliers that helped transform a generation.
JUNE ZERO (Historical Drama) Following the infamous trial of Adolf Eichmann, the architect of the mass extermination of Jews during the Second World War, it depicts the events preceding Eichmann’s execution, and approaches the important and much publicized Nazi criminal through the eyes of three participants in the events. It was both written and directed by Jake Paltrow.
KAREN CARPENTER: STARVING FOR PERFECTION (Documentary) A captivating and unvarnished documentary about Karen Carpenter’s personal struggles as told through never-before-released recordings as well as legendary voices who knew her and were inspired by her music. Highly relevant to today’s audiences, Carpenter’s quest for perfection resulted in low self-esteem, a disheartening love life, and a public battle with anorexia nervosa. Dallas-based AMS Pictures produced the film.
L’IMMENSITÁ (Drama) Clara (Penélope Cruz) and her emotionally distant husband Felice (Vincenzo Amato) relocate to Rome to raise a family. Even though the paint is fresh, and the appliances are new, the crushing expectations around marriage, desire, and gender in the early 1970s remain as traditional as ever. Their children Andrew (played by newcomer Luana Giuliani), Gino, and Diana are likewise poised at a precipice, on the verge of adolescence, with nothing but their imaginations to defuse family tensions. The eldest child, Andrew (nicknamed Adri by his parents), yearns for another life – an outsized, vibrantly-realized vision of a world where he gets to live as the boy he knows himself to be. Without an accepted vocabulary for talking about his transgender identity, Andrew tells adults that he’s an alien from another galaxy and makes a habit of running away to pursue a local Roma girl who accepts his boyhood at face value. As an outsider ostracized for her own eccentricities, Clara instinctively strives to protect her son despite not fully understanding him. An effortlessly moving film about growing up, fitting in, and breaking the mold, L’IMMENSITÁ is as freewheeling and creative as its central characters, mixing genres and staging musical numbers out of thin air.
MATCH ME IF YOU CAN (World Premiere) (Comedy/Romance) When an online matchmaking service rejects her as “unmatchable,” a quick-witted programmer’s rant makes her an internet sensation…and puts her on a romantic collision course with the equally-nerdy man who runs the company that rejected her.
MAX ROACH: THE DRUM ALSO WALTZES (Documentary) The story of an American jazz musician whose far-reaching ambitions were inspired and challenged by the inequities of the society around him, this film follows Roach’s seven-decade career through deep personal struggle, showing the price he paid for his outspoken views.
MEDUSA DELUXE (Drama) In this film from A24, a murder mystery is set in a competitive hairdressing competition where extravagance and excess collide, as the death of one of their own sows seeds of division in a community whose passion for hair verges on obsession.
THE MENTAL STATE (World Premiere) (Drama) In the heart of rural Kentucky, a high school senior and his family struggle to cope with the true identity and intentions of a dangerous town shooter.
THE NEW AMERICANS: GAMING A REVOLUTION (Documentary) Directed by Ondi Timoner, the film is a meme-driven journey into the intersection of finance, media, and extremism with the founders of Reddit and WallStreetBets, crypto fanatics, bored housewives, and TikTok-ers turned millionaire traders. The latest film by Timoner (whose LAST FLIGHT HOME, won the DIFF 2022 Grand Jury Prize for Best Documentary Feature) looks at the explosive and irreversible ramifications of our digital future.
ONE RANGER (Action) A Texas Ranger (played by Thomas Jane) is recruited by British Intelligence (led by John Malkovich) to track down a dangerous terrorist and stop him from attacking London.
THE ORIGIN OF EVIL (Thriller/Drama) This French and Canadian film directed by Sébastien Marnier focuses on a fish cannery worker on the verge of financial collapse who discovers she is the biological daughter of a wealthy businessman. Attempting to reconnect with his established family, she finds them unwilling to accept her.
PARACHUTE (Romance/Drama) Directed and written by Brittany Snow, the story looks at mental health issues through Ethan and Riley, who both got out of precarious situations on the exact same day – Ethan recently got out of jail for throwing a wine bottle off a balcony, and Riley just got out of rehab for an eating disorder, love addiction and suicide attempt. To Ethan, all of Riley’s flaws are beautiful, and he wants to help her see herself the way he does. Riley adores Ethan and is inspired by his talent and selflessness. The world makes sense when they only take it on together. Doesn’t it?
THE RATIONAL MIDDLE: NET ZERO (Documentary) Rational Middle and Shell partnered to explore the technologies, policies and partnerships required to achieve net zero greenhouse gas emissions by 2050 to catalyze a conversation that leads to awareness and action and address the global challenge of climate change. The series is directed and produced by Gregory Kallenberg.
REVIVAL69: THE CONCERT THAT ROCKED THE WORLD (Documentary) Young, scrappy concert promoter John Brower puts his life on the line (literally) to turn his failing Toronto Rock n Roll Revival into a one-day event, later coined in rock mythology as “the second most important event in rock n’ roll history.” And it almost didn’t happen. The festival united rock legends and the almost famous, but it was the 11th hour arrival of John Lennon and the Plastic Ono Band that ignited a truly seminal moment for the 20,000 fans, triggering Lennon’s final decision to leave the Beatles forever.
SAVAGE (World Premiere) (Documentary) World premiering at DIFF 2023 with an inspiring and intimate portal into the world’s most dangerous sport. This comeback story of bull rider Clayton Savage shares the journey of one man’s grit and rugged willpower to achieve the elusive dream of becoming a world champion in a game that is often life…or death.
SHANE (Western) A weary gunfighter in 1880s Wyoming begins to envision a quieter life after befriending a homestead family with a young son who idolizes him, but a smoldering range war forces him to act. This is a Stodghill Classic Movie Night special presentation of the 1953 George Stevens classic starring Alan Ladd, Jean Arthur and Van Heflin.
SIMÓN (Drama) (Latino Showcase) Barely escaping the clutches of the oppressive Venezuelan dictatorship, freedom fighter Simón must now combat his trauma and guilt as he builds his case for asylum in order to be able to stay in the USA.
SK8 GIRLZ (World Premiere) (Documentary) World premiering at DIFF 2023 with an underdog story, this film documents the rise of an all-female skateboarding team based out of Orange County as they tear down the barriers created by a male-centric sport. It is the second feature film from Sarah Ivy and the second film about women and skateboarding to screen at DIFF.
STEPHEN CURRY: UNDERRATED (Documentary) This coming-of-age story documents Stephen Curry, one of the most influential, dynamic, and unexpected players in basketball history, and his rise from an undersized college player to a four-time NBA champion.
STILL: A MICHAEL J. FOX MOVIE (Documentary) The film chronicles the personal and professional triumphs and travails of actor Michael J. Fox, exploring what happens when an incurable optimist confronts an incurable disease. With a mix of adventure and romance, comedy and drama, watching the film feels like … well, like a Michael J. Fox movie.
STORY AVE (Drama) South Bronx native Kadir Grayson is a teen artistic talent on the brink of finding and losing himself at once. Blinded by the grief of losing his younger brother, Kadir runs away from home and escapes via the beautifully dark and dangerous world of graffiti. His graf gang “Outside The Lines” consists of street kids with minds as criminal as they are artistic. Desperate to join, Kadir attempts to rob Luis, an older Puerto Rican MTA conductor, on the Story Ave subway platform. Luis offers him the cash he needs if Kadir agrees to have a meal with him, and for the first time in his life, Kadir entertains the possibility of his artistic talent being a conduit to a better life. The film was produced by Texas’ Jamie Foxx.
THE STRANGER (Thriller/Drama) (Panel) When a stranger takes a family hostage in their small-town feed store, the father’s only hope of saving them is to answer the stranger’s solitary demand: “Tell me who I am.” A special presentation of DIFF’s education series, INSIDE FILM, the screening of the short film will be followed by a panel with Om Films founder Niraj Bhatia and co-founder Dan Burks, “The Art of Film Financing: Insights from an Executive Producer”.
TO KILL A TIGER (Documentary) On the night of a family wedding in Jharkand, India, Ranjit fears the worst after waking up to find his daughter is not home. Dragged into the woods, she was gang-raped by three men, and the village solution is to marry her to one of them, which Ranjit refuses. Instead, he challenges the status quo, determined to get justice for his daughter.
WE WILL SPEAK (Documentary) The Cherokee language is deeply tied to Cherokee identity, yet generations of assimilation efforts by the U.S. government and anti-Indigenous stigmas have forced the Tri-Council of Cherokee tribes to declare a State of Emergency for the language in 2019. This feature-length documentary was shot on-location in Oklahoma and North Carolina throughout 2019-2022; and through intimate interviews, vérité footage of community gatherings, and extensive archival materials, explores the nuanced ways the Cherokee language is vital to maintaining a unique cultural identity and relationship with the world.
THE WILD MAN (Drama) Shot on locations in the Dallas-Fort Worth area, this film has Ryan Justice following a young journalist who travels to Ochopee, Florida, with friends to investigate young women that have been going missing. Their search follows the town’s notorious conspiracy theorist into the swamps on his quest to show them “The Wild Man” as their discoveries take a dark and sinister turn.
 
Films featured in the DIFF 2023 Shorts Competition include:
 
THE APPRAISAL
ATM
BABA
BABY PROOF
BELLYBUTTON
THE BUYERS
CAN’T LET YOU GO
THE COCOON
DEATH AND RAMEN
EID MUBARAK
FETCH!
FOREST OF HOPE
THE FOUNDRY
FUCK ME, RICHARD
FUNNY FACE
GREEN WATER
GREY HORSE
HANGMAN
HOW DO WE LEAVE
HOW TO MAKE A GHOST
HOW TO MEAL PREP DURING A FAMINE
I HAVE NO TEARS, AND I MUST CRY
JEROME
LA COSECHA
LǍO LAO LǍO LE
MEN OF SALT
META CARE
MOTHERLAND
THE OLD YOUNG CROW
OUR MALES AND FEMALES
PEACH BOTTOM
PICTURE DAY
PLANTA DE LOS DIOSES
RADIO TELESCOPE
REALLY GOOD FRIENDS
SHARE FOR ME
SLEEP STUDY
STARVING
THE STRANGER
SUPERMARKET AFFAIRS
THAT’S OUR TIME
TODAY, I WILL BE THE BREAD
TOMATO KITCHEN
THE WAKE
WHISPER
WILD ONES
THE WORD
WÜM
X TO X
 
Films featured in the DIFF 2023 High School Shorts Competition include:
 
2023
AFTER HOURS
ANIMATING AUTISM – THE DANE PARSONS STORY
ARENA CREW
THE BALLAND OF JIMP BIBBLER
BREAKING THE MIRROR
CHARMING LITTLE WOODEN CHAIR
ELEVATOR
IF NOT ME, THEN WHO?
IN RETURN
THE LIFE OF A CHILD STAR
ON REPEAT
REDO
THE SECRETS OF THE UNIVERSE
SHADOWED
SOLUM
TOUGH NAMES
 
DIFF 2023 will be held April 28-May 5, 2023. The 2023 Dallas International Film Festival was cited by Travel + Leisure magazine in naming Dallas among the “12 Best Places to Travel in April 2023”. The festival was also cited by MovieMaker magazine in naming Dallas among the “Best Places to Live and Work as a MovieMaker 2023”.
Host theater for DIFF 2023 is Violet Crown Cinema in West Village at 3699 McKinney Avenue. Located in the center of the dynamic Dallas neighborhood known as Uptown, West Village is a walkable shopping, dining, residential and entertainment district with direct access to the DART Rail, the Historic McKinney Avenue Trolley and the Katy Trail.

#### 2023 San Luis Obispo International Film Festival Announces Full Film Line Up
100 Foot Wave
 
The 29th Annual San Luis Obispo International Film Festival (April 25-30) announced this year’s robust film lineup, led by the Opening Night selection of Matt Johnson’s BlackBerry and the Closing Night selection of Marvin Samel’s IMordecai. Also on tap are the return of SLO Film Fest’s famous Surf Nite to the historic Fremont Theater, the always popular Central Coast films, Cal Poly Shortcuts, and more special presentations and top lining film events featuring MicroHorrors, Coastal Awakening: A Tribute to Hunter S. Thompson, R.A.C.E. Matters Textures of Love program, and the SLO Jewish Film & Learning series which will extend the film festival following its traditional closing night date.
Additional Special Presentations include retrospective screenings of Steven Spielberg’s E.T. The Extra Terrestrial (1982), Daisy von Scherler Mayer’s Party Girl (1995), which introduced Parker Posey into indie film fame, a 70th Anniversary screening of William Wyler’s classic Audrey Hepburn/Gregory Peck starrer Roman Holiday (1953), Oliver Stone’s latest, the documentary Nuclear Now, which looks at the use of Nuclear energy through new eyes disputing common held beliefs about its safety and viability, and Christopher Fitzpatrick’s festival hit music documentary Oklahoma Breakdown, complete with a live performance by the film’s subject, midwestern music legend Mike Hosty.
San Luis Obispo Film Festival Director Skye McLennan said, “This year, the San Luis Obispo International Film Festival is focused on programming films and creating fun and exciting film events that are not available to our film fans every weekend at the multiplex. Film festivals give us an opportunity to immerse ourselves in the love of cinema and filmmaking and to see something unique or rare or inspired that can’t easily be found on our television screens or laptops at home. Seeing great films, meeting, and rubbing elbows with the filmmakers and actors responsible for them, and going to fun events built around all of it is what we promise to bring to SLO this year.”
Matt Johnson’s BlackBerry comes to SLO Film Fest on Opening Night following its debut at SXSW. The film is a decidedly funny take on the true story of the whirlwind ride through Silicon Valley that led to the creation and development and ultimate crash and burn of the Blackberry smart phone. Along with Johnson, the film stars Jay Baruchel (How to Train Your Dragon), Glenn Howerton (It’s Always Sunny in Philadelphia), and Rich Sommer (Mad Men). On Closing Night, Marvin Samel’s comedic drama IMordecai stars Sean Astin stars an ambitious cigar maker trying to support his own family while still being there for his aging parents, played by Academy Award-nominee Judd Hirsch and the beloved film icon, Carol Kane. When Mordecai’s ancient flip phone breaks, he starts to take lessons on his new iPhone, opening him up to all kinds of novel experiences and adventures, making him feel like a kid again.
SLO Film Fest’s Surf Nite, the film festival’s signature one-of-a-kind surfing film event, will return this year to its traditional home at the historic Fremont Theater The event will be highlighted by a presentation of HBO’s 100 Foot Wave series directed by and featuring legendary Big Wave Surfer Garrett McNamara and Nicole McNanmara. Along with the traditional celebration of surfing, it will be a rare opportunity to see the show on the big screen and hear from Garrett himself and what’s upcoming in Season 2.
Coastal Awakening: A Tribute to Hunter S. Thompson will screen three films in celebration of writer Hunter S. Thompson, whose appreciation for countercultures and consciousness expansion exemplifies the mission and vision of the Coastal Awakening, a loose collective of local writers, artists, historians, chefs, surfers, and philanthropists committed to preserving and promoting the unique creative spirit of the Central Coast from Ojai to Esalen. Accompanying screenings of Wayne Ewing’s Animals, Whores & Dialogue: Breakfast with Hunter Vol. 2 (2010), Terry Gilliam’s Fear and Loathing In Las Vegas (1998), and Alex Gibney’s Gonzo (2008), will be audience talkbacks with David S. Wills, founder of the literary journal Beatdom and author of High White Noise.
Horror film lovers will enjoy a special treat at SLO Film Fest this year with the addition of MicroHorrors. Katie Neville and Jason Kaiser, founders of the killer annual October DIY Film Festival, will present a special evening of tricks and treats featuring some of the top films from the past two fests along with an exclusive retrospective slasher straight from the archives, Sam Spiegel’s influential 1989 underground classic, Intruder.
Cal Poly Short Cuts films created by Cal Poly students under the mentorship of Screenwriter and Editor, Professor Randi Barros returns, R.A.C.E. Matters will team with the film festival to present Textures of Love, a free program of five contemporary short films that will evoke the experience of feeling the different textures of love. Before the program, there will be a brunch mixer with appetizers, bubbles, and exciting updates. Another exciting addition to SLO Film Fest is the SLO Jewish Film & Learning series (April 30-May 7) that will follow Closing Night. The presentation of Jewish themed films will be led by Amanda Kinsey’s Jews of The Wild West. The documentary is a look at Western Jewish pioneers and the role they played shaping the expansion of the country.
More film highlights include Alexander Lasheras’s The Beehive, a Canadian sci-fi drama follows a family facing an unexplainable cosmic event and threat from an unusually large beehive growing on a branch of one of their trees. Justin Chon’s Jamojaya comes to SLO Film Fest following the film’s debut at Sundance. The film follows an aspiring Indonesian rapper, who must wrestle control of his career and life from his suffocating but loving stage dad, while trying to find his voice. Lola Quivoron’s Rodeo is an exciting French feature which debuted at the Venice Film Festival. The film focuses on a young woman in the high-octane world of urban ‘Rodeos’— illicit gatherings where riders show off their bikes and latest daring stunts.  On the documentary side, Ahsen Nadeem’s Crows Are White finds the filmmaker seeking guidance at a Japanese monastery. However, the only monk who will help him prefers ice cream and heavy metal over meditation. Jesse Rudoy’s Dusty and Stones looks at the film’s subjects struggle to sustain a country music career in their tiny African kingdom of Swaziland as they are unexpectedly invited to record their songs in Nashville and compete in a Texas battle of the bands.
The San Luis Obispo International Film Festival will also once again put local filmmakers on a pedestal via its always-popular Central Coast Showcase and encourage the filmmaking ambitions of elementary, middle school and high school students with its Filmmakers of Tomorrow Showcase.
Passes are now on sale and information on the film festival can be found at https://slofilmfest.org.
 
The 2023 San Luis Obispo International Film Festival official selections:
 
Opening Night Gala Selection
BlackBerry
Director: Matt Johnson
Country: USA; Running Time: 122 min
The story of the meteoric rise and catastrophic demise of the world’s first smartphone.
 
Closing Night Gala Selection
Imordecai 
Director: Marvin Samel
Country: USA; Running Time: 102 min
Based on a true story, IMordecai is a comedy about a Holocaust survivor whose life changes when his son buys him an iPhone. Mordecai (Judd Hirsch) likes to fix things. It’s why his phone is 20 years old and held together with duct tape and tinfoil. It’s why he worked his entire life as a plumber and a painter. But this is a story about the things he cannot fix: Getting older, the Alzheimer’s diagnosis of his wife Fela (Carol Kane), his relationship with his son Marvin (Sean Astin). Sometimes, something small and unexpected can change your whole world. For Mordecai, this moment happens when his son, Marvin, replaces his ancient phone with a brand-new iPhone. This act sets off a series of unexpected events and magically changes both Mordecai and the people closest to him. Mordecai becomes friends with the “Einsteins,” led by Nina, who teach him to use this strange device with no buttons. He becomes open to new experiences and new perspectives. Ultimately, through letting go, he begins to heal the things he cannot fix and turn the pain of his past into something beautiful.
 
 
SLO Film Fest’s Surf Nite
 
100 Foot Wave 
We’re excited to present the 100 Foot Wave Experience with legendary Big Wave Surfer Garrett & his partner Nicole McNamara in attendance. McNamara’s Emmy award winning show exploring big wave surfing and the pursuit conquering the 100-foot wave. This is a rare opportunity to see the show on the big screen and hear from Garrett himself and what’s upcoming in Season 2.
 
 
Coastal Awakening Presentations: A Tribute to Hunter S. Thompson

Animals, Whores & Dialogue: Breakfast with Hunter Vol. 2 (2010)
Director: Wayne Ewing
Country: USA, Running Time: 91 min
Documentary goes deeper into Gonzo journalism with intimate scenes of Dr. Hunter S. Thompson at work writing, editing, and recounting the creation of classics like Hells Angels and Fear and Loathing in Las Vegas.
 
Fear And Loathing In Las Vegas (1998)
Director: Terry Gilliam
Country: USA, Running Time: 118 min
An oddball journalist and his psychopathic lawyer travel to Las Vegas for a series of psychedelic escapades.
 
Gonzo (2008)
Director: Alex Gibney
Country: USA, Running Time: 120 min
A portrait of the late gonzo journalist Hunter S. Thompson.
 
 
Cal Poly Short Cuts
 
Cal Poly Short Cuts features 10 short films (TBA) created by Cal Poly students under the mentorship of Randi Barros, screenwriter, editor, and ISLA Lecturer, and James Werner, Associate Professor and Chair of Art & Design. These films depict stories reflecting the promising filmmaker’ shared sentiments and creative visions. Engage with emotionally charged stories exploring love, loss, discovery, and unexpected moments of connection. From writing the scripts to filming the scenes, students of different majors have come together to bring their stories to life. See tomorrow’s filmmakers at work today.
 
MicroHorrors
Intruder (1989)
Director: Scott Spiegel
Country: USA, Running time: 88 min
The overnight stock crew of a supermarket are stalked and slashed by a mysterious maniac.
 
MicroHorrors Shorts
Discernment (2021)
Director: Lakin Jacino
 
Massacre Of the Sorority Babes (2022)
Director: Matt McGill
 
Potty Mouth (2022)
Director: Ian Meyers
 
Silence Your Phones (2022)
Director: Jason Kaiser
 
Jewish Film Fest
 
Jews Of the Wild West
Director: Amanda Kinsey
Country: USA; Running time: 80 min
Western Jewish pioneers are a largely forgotten chapter in US History, yet they have played a definitive role shaping the expansion of the country. Nationally known names such as Levi Strauss, Samsonite founder Jesse Shwayder and the Guggenheim family built their great fortunes in California and Colorado, and by the end of the 19th Century nearly every notorious Wild West town had a Jewish mayor.
 
The Broken Candle
Director: Felix Kiner
Country: USA; Running time: 9 min
The heartwarming tale of Nira, a broken Hanukkah candle, who becomes the shamash (lead candle) on the last night of the Festival of Lights.
 
Omi
Director: Adam Lebowitz-Lockard
Country: USA; Running time: 15 min
A comedic nightmare about a young man about to take his next step with his shiksa girlfriend but gets possessed by the dybbuk of his Yiddish grandmother, who has plans of her own.
 
 
Additional Special Presentations
 
E.T. The Extra Terrestrial (1982)
Director: Steven Spielberg
Country: USA; Running Time: 115 min
After a gentle alien becomes stranded on Earth, it is discovered and befriended by a young boy named Elliott (Henry Thomas). Naming the extra-terrestrial E.T., he brings his new friend into his suburban home and introduces the alien to his brother and his little sister, Gertie (Drew Barrymore). Though the children decide to keep its existence a secret, E.T. soon falls ill, resulting in government intervention and a dire situation for both Elliott and the alien.
 
Mama Bears
Director: Daresha Kyi
Country: USA; Running Time: 91 min
Spread across the country but connected through private Facebook groups, over 30,000 mothers in America—many from conservative, Christian backgrounds—fully accept their LGBTQ+ children. And they call themselves “mama bears” because while their love is warm and fuzzy, they fight ferociously to make the world kinder and safer for all LGBTQ+ people. Mama Bears explores the journeys of two mama bears and a young lesbian whose struggle for self-acceptance exemplifies why the mama bears movement is vitally important.
 
Moon Garden
Director: Ryan Stevens Harris
Country: USA; Running Time: 93 min
When a little girl has a terrible accident and slips into a coma, she finds herself thrust into a darkly surreal industrial dreamworld. Haunted by a nightmarish spectre that feeds off her tears, she must follow her mother’s radio-static voice to find her way back to consciousness. Shot on expired 35mm film stock with vintage rehoused lenses, Moon Garden is a fantastical odyssey and a visionary, handcrafted, and fully practical work of art that shows how a child can shine light even in the darkest places.
 
Nuclear Now
Director: Oliver Stone
Country: USA, Running Time: 105 min
As fossil fuels cook the planet, the world is finally forced to confront a massive disinformation campaign about humanity’s cleanest, safest, and fastest energy source – nuclear energy. Beneath our feet, Uranium atoms in the Earth’s crust hold incredibly concentrated energy. Science unlocked this energy in the mid-20th century, first for bombs and then to power submarines, and the United States led the effort to generate electricity from this new source. Yet in the mid-20th century as societies began the transition to nuclear power and away from fossil fuels, a long-term PR campaign to scare the public began, funded in part by coal and oil interests. This campaign would sow fear about harmless low-level radiation and create confusion between nuclear weapons and nuclear power. With unprecedented access to the nuclear industry in France, Russia, and the United States, director Oliver Stone explores the possibility for the global community to overcome the challenges of climate change and energy poverty to reach a brighter future through the power of nuclear energy.
 
Oklahoma Breakdown 
Director: Christopher Fitzpatrick
Country: USA; Running Time: 92 min
Mike Hosty is a one-man band, freak of nature, comedian, and talented musician able to produce original pieces and performances on the fly. When Stoney LaRue turned Hosty’s “Oklahoma Breakdown” into the #1 hit of 2007, few knew anything about the creator. Oklahoma Breakdown dives into why an underground legend has his reservations about fame and limelight.
 
Party Girl (1995)
Director: Daisy von Scherler Mayer
Country: USA; Running Time: 94 min
A brand-new restored version of a cult classic that was the first film to ever premiere live on the internet in 1995! Parker Posey’s stars as a 20-something, irresponsible party girl who bailed out of jail by her librarian godmother. To repay the loan, she starts working at the library and gradually turns her life around. This is a rare opportunity to see this unique film oozing with fashion, one-of-a-kind characters, and a non-stop party!
 
Roman Holiday (1953)
Director: William Wyler
Country: USA; Running Time: 118 min
In celebration of its 70th anniversary, we bring back a cinematic classic in a beautiful, restored version. Audiences are invited to fall in love with Oscar®–winners Audrey Hepburn and Gregory Peck all over again in this romantic comedy classic. Roman Holiday features a legendary, Oscar®–winning performance from Hepburn (in her first starring role). Nominated for a total of 10 Academy Awards®, including Best Picture, it’s the story of a modern-day princess who, rebelling against the royal obligations, explores Rome on her own. She soon meets an American newspaperman (Gregory Peck) who pretends ignorance of her true identity, in the hopes of obtaining an exclusive story. Naturally, his plan falters as they inevitably fall in love.
 
Searching For Sugar Man (2012)
Director: Malik Bendjelloul
Countries: Sweden, United Kingdom, Finland; Running Time: 86 min
This music documentary still remains as a captivating tale about the best singer- songwriter you’ve never heard of. An Oscar®-winning documentary that tells the remarkable story about a man by the name of Sixto Rodriquez. Rodriquez, the child of a Mexican immigrant with working class parents in Detroit, Michigan, had the voice and songwriting skills of Bob Dylan but his albums failed to sell in the United States in the 1970s. Little did he know that he was in fact a cultural phenomenon, in South Africa. Two South African record store owners go on a quest to get to the bottom of what happened to their musical hero.
 
We Are Still Here
Directors: Beck Cole, Dena Curtis, Tracey Rigney, Danielle MacLean, Tim Worrall, Renae Maihi, Miki Magasiva, Mario Gaoa, Richard Curtis, Chantelle Burgoyne
Country: USA; Running Time: 90 min
We Are Still Here is a unique Indigenous film that weaves together eight powerful tales to tell a sweeping story of hope and survival. Through the eyes of these protagonists, the film traverses 1,000 years (past, present, and future) to explore kinship, loss, grief, and resilience. In a universal story, We Are Still Here ultimately showing the strength of love and hope in overcoming shared traumas that Indigenous people from Australia, New Zealand and the South Pacific continue to face.
 
Additional Narrative Features
 
The Beehive
Director: Alexander Lasheras
Country: Canada; Running Time: 86 min
A captivating science-fiction drama follows a family facing an unexplainable cosmic event on their farm. When the young, curious, and adventurous Rosemary discovers what she assumes to be a large beehive growing on a branch of one of their trees, she visits it each day to carefully document its unusual growth and soon discovers it’s not what she thought it was. Featuring up-and-coming Indigenous talent and a scenic Canadian landscape, as the hive and threat grows, so do tensions within the community and family.
 
Everybody Wants to Be Loved
Director: Katharina Woll
Country: Germany; Running Time: 80 min
On a blisteringly hot summer day, psychotherapist Ina notices something is wrong with her but doesn’t have time to worry about it. With patients waiting at her practice, her daughter threatening to move in with her father, her boyfriend pressuring to move them to another country, and her self-centered mother’s 70th birthday party closing in, Ina is desperate to please everyone without losing herself.
 
Home Owners
Directors: Pablo Aragues, Marta Cabrera
Country: Spain; Running Time: 72 min
In search of their forever home, Ana and Maxi are shown the house of their dreams for less than their budget. Everything is perfect until they realize that it is even better than they thought: the house gives them everything they ask for. This fast-paced, surrealist, and thrilling comedy leaves you on the edge of your seat as Ana and Max discover what happens when they stop asking the house for what they want.
 
I Like Movies
Director: Chandler Levack
Country: Canada; Running Time: 99 min
Teenage cinephile Lawrence dreams of attending film school in the Fall. To raise the hefty tuition fee, he gets his dream job at a local video store, Sequels. Wracked with anxiety about his future, he begins alienating the most important people in his life — his best friend Matt and his single mother Terri — all while developing a complicated friendship with his older female manager, Alana. As graduation looms, a series of painful realizations force Lawrence to realize that he has some growing up to do.
 
Jamojaya
Director: Justin Chon
Country: USA; Running Time: 90 min
Straight from Sundance, Jamojaya follows James, an aspiring Indonesian rapper, as
he records his debut album for a major U.S. record label. Accompanied in Hawaii by his father and former manager, who is still mourning the death of James’ brother and unwilling to surrender control of his career, James sinks deeper in debt to the label. Caught between the music industry’s commercial demands and a power struggle with his suffocating but loving stage dad, James is forced to find his voice.
 
Land Of Gold
Director: Nardeep Khurmi
Country: USA; Running Time: 105 min
First-generation Punjabi truck driver Kiran is a soon to be dad. When on the job he
hears pounding inside his shipping container and finds a young Mexican American girl inside, his already tumultuous life takes a drastic turn as he seeks to reunite her with her family. What begins as a road trip to Boston becomes much more as they form a friendship and teach each other unforgettable lessons.
 
Mediterranean Fever
Director: Maha Haj
Countries: Palestine/Germany/France/Cyprus/Qatar; Running Time: 108 min
Waleed, an aspiring writer suffering from chronic depression, develops a close relationship with his new neighbor, a small-time crook. Though having an ulterior plot in mind, the scheme turns into an unexpected friendship between the two men and leads them through a journey of dark encounters.
 
Our Father, The Devil
Director: Ellie Foumbi
Country: USA; Running Time: 108 min
An African refugee works as the head chef at a retirement home in small-town France, but her quiet existence is upended by the arrival of Father Patrick, a charismatic priest with whom she’s convinced she shares a traumatic past in her homeland. As Father Patrick charms all her co-workers, Marie must decide if she will exact her revenge or cling to the new life she’s built. Nominated for an Independent Spirit Award. Content Warning: Mature themes and sexual trauma.
 
Rodeo
Director: Lola Quivoron
Country: France; Running Time: 107 min
A unique and high-speed first-time feature from Venice Film Festival, Rodeo shares the story of a hot-tempered and fiercely independent Julia, who thrives in hostile environments and turns every situation to her advantage. Her obsession with the high- octane world of urban ‘Rodeos’— illicit gatherings where riders show off their bikes and latest daring stunts — sparks a chance meeting with a volatile clique. Striving to prove herself to the ultra-masculine gang, Julia performs cons and runs errands for their incarcerated ringleader.
 
Scrapper
Director: Charlotte Regan
Country: UK; Running Time: 84 min
Following her mother’s death, a resourceful 12-year-old girl, Georgie, continues to live alone in their London-outskirts flat. Making money stealing bikes and keeping the social workers off her back by pretending to live with an uncle, her plan works like a charm until Jason (Harris Dickinson, Triangle of Sadness), her long-estranged father, shows up. Sizing him up as a rubbish dad, Georgie wonders why he’s suddenly taking an interest. Straight from Sundance, this vibrant, joyful, imaginative father-daughter story beautifully brings together two emotionally tangled people: a grieving kid thrust into adulthood and a father in over his head.
 
Unidentified Objects
Director: Juan Felipe Zuleta
Country: USA; Running Time: 100 min
Peter is a misanthropic little person hiding from the world in his shabby New York City apartment. When an unexpected visit from his upbeat and unhinged neighbor Winona forces him out of his shell and onto an impromptu road trip to what she believes to be an upcoming alien visitation site, he reluctantly agrees. On their increasingly surreal odyssey, Peter and Winona encounter bickering lesbian cosplayers, shroom-addled survivalists, and even extraterrestrial highway cops. But the further they go and the more their trauma comes to light, it becomes clear that the only thing more nerve-wracking than being abducted is being alone in the universe.
 
 
Additional Documentary Features
 
Body Parts
Director: Kristy Guevera-Flanagan
Country: USA; Running Time: 86 min
In an industry historically dominated by the male gaze, Body Parts, featuring Jane Fonda and other prominent actresses in the industry, traces the evolution of intimacy on screen, uncovering the often invisible and uncomfortable realities behind some of the most iconic scenes in cinematic history. Exploring the toll, it takes on those directly involved and their impact on women in the real world, this insightful and revealing documentary celebrates the positive changes now rippling through the entertainment industry and the bold creators leading the way.
 
Butterfly In the Sky
Directors: Bradford Thomason, Brett Whitcomb
Country: USA; Running Time: 86 min
This nostalgic and feel-good documentary tells the story of the beloved PBS children’s series, Reading Rainbow, its iconic host LeVar Burton, and the challenges its creators faced in cultivating a love of reading through television. With the series focused on bringing books to life and finding fun in reading, Reading Rainbow and Burton became a conduit to learning for children of every background, delving behind the pages to the people, places, and things each story explored.
 
Crows Are White
Director: Ahsen Nadeem
Country: USA; Running Time: 100 min
After decades of living a secret life and struggling to reconcile his desires with his faith, a filmmaker travels to a strict Japanese monastery in search of guidance. But the only monk who will help him prefers ice cream and heavy metal over meditation. Together they forge an unlikely friendship that leads them to higher truths and occasionally a little trouble. Shot over five years on three continents, Crows Are White is an exploration of truth, faith, and love, from the top of a mountain to the bottom of a sundae.
 
Dusty And Stones
Director: Jesse Rudoy
Country: USA; Running Time: 83 min
Dusty and Stones struggle to sustain a country music career in their tiny African kingdom of Swaziland and yearn for greater recognition. When they are unexpectedly invited to record their songs in Nashville and compete in a Texas battle of the bands, the two cousins journey to the heart of American country music, determined to win big and turn their careers around.
 
The Grab
Director: Gabriela Cowperthwaite
Country: USA; Running Time: 104 min
In the newest documentary by the director of Blackfish (2013), an investigative journalist uncovers the truth behind the money, influence and rationale that goes into the covert efforts to control the most vital resources on the planet — food and water.
 
Hollywood’s Finest
Director: Claire Hannah Collins
Country: USA; Running Time: 78 min
An intimate portrait of motherhood on the streets of Los Angeles, Hollywood’s Finest follows Mckenzie through pregnancy in a Hollywood unhoused encampment to the fight to recover her child from the custody of the city’s Family Services.  By detailing the support Mckenzie received from her street family, nomadic mom, and social worker with her own history of addiction and housing insecurity, Hollywood’s Finest investigates the complex network of social workers and bureaucracy she encounters while struggling to find her footing in mainstream society.
 
In Pursuit of Flavor
Director: Gerod Bond
Country: USA; Running Time: 61 min
An apologetic sommelier returns to his once-home of Georgia, to explore the humble and hidden truth about wine and its inception. In touring the lush countryside and documenting the deceptively simple process of Georgian winemaking and the unique fruits of its labor — namely, orange wine — Ashwin rediscovers the original magic that saved his life and brought him to the world of flavor.
 
Lovely Jackson
Director: Matt Waldeck
Country: USA; Running Time: 104 min
Following the longest wrongfully incarcerated person in U.S. history, Lovely Jackson is the harrowing true story of Rickey Jackson, a man who spent 39 years on death row and in prison for a crime he was convicted of based solely on the eye-witness testimony of a 12-year-old neighborhood paper boy. In a retelling of his experience, Jackson returns to the prison he was sent to as an innocent man and guides his younger self from death row to freedom.
 
No Ordinary Campaign
Director: Christopher Burke
Country: USA; Running Time: 82 min
At just 37, Brian Wallach was diagnosed with ALS and quickly discovered that there is no system built to help patients like him deal with this new reality. Instead, he found a broken and failed system in which doctors told patients to “get their affairs in order and get ready to die.” From executive producer Katie Couric and featuring interviews with Barack Obama and Mark Zuckerberg, No Ordinary Campaign follows the formation of I AM ALS, Brian’s patient-led nonprofit dedicated to patients taking control of the fight for their lives, breaking down walls and finding new solutions.
 
Okay! The ASD Band Film
Director: Mark Bone
Country: Canada; Running Time: 87 min
Following the members of The ASD Band, four talented musicians with autism embark upon the challenging journey of writing their first original album and gearing up to perform in their first live show.
 
Pasang: In the Shadow of Everest
Director: Nancy Svendsen
Country: USA; Running Time: 71 min
Though Nepalis assist as sherpas for tourists daily, Pasang Lhamu Sherpa risked everything to become the first Nepali woman to summit Everest. As an uneducated, indigenous woman and a Buddhist in a Hindu kingdom, Pasang’s dream to scale the legendary mountain pitted her against family, foreign climbers, her own government, and nature itself. Her determined pursuit of Everest plays out within the context of her nation’s quest for democracy and the emergence of the commercial climbing industry.
 
Relentless Ride
Directors: Brian Hill, Adam Harbottle
Country: USA; Running Time: 106 min
Every year, cyclists brave the Arkansas High Country bike-packing race on some of the
best and worst gravel roads in the state, riding 1,000 miles and climbing 80,000 feet. With little to no sleep and having to carry, find, or buy everything needed to complete the course, some cyclists push their limits to achieve the fastest known time while others simply try to finish the race and find themselves along the way. As bodies fail and minds betray, these cyclists explore the depth of their own humanity.
 
Surf Nation
Directors: Jessica Chen, Jeremiah Bogert Jr.
Country: USA; Running Time: 88 min
As China trains its first generation of Olympic surfers, two promising young athletes navigate adolescence, freedom, and their love of the sport. Filmed over a two-year period, Surf Nation follows as hundreds of young recruits leave their families and are paid to live together in a communal hotel, take classes six days a week, and become elite surfers. Though the recruits face extreme pressure to avoid being kicked out of the program, their Australian coaches teach not only technique, but surfing’s central attribute: individuality, in a culture that demands conformity.
 
Vicuna Salvation 
Director: Luis Ara
Country: USA; Running Time: 65 min
At more than 5,000 meters above sea level, Vicuna Salvation tells the incredible story of the conservation of a species and the empowerment of a community that lives in the Peruvian mountains. With the vicuña producing the finest wool fiber in the world and its garments costing thousands of dollars, poachers and the black market led to the near extinction of the species. Alerting the Peruvian government to the situation, global brands and communities made a pact to only market garments that were made with certified fiber.
 
 
Narrative Shorts
 
Crooked Trees Gon Give Me Wings
Director: Cara Lauren Lawson
Country: USA; Running Time: 15 min
 
Hit Man: Secrets of Lies
Director: Elias Plagianos
Country: USA; Running Time: 19 min
 
I Have No Tears, And I Must Cry
Director: Luis Fernando Puente
Country: USA; Running Time: 13 min
 
Keep/Delete
Director: Kryzz Gautier
Country: USA; Running Time: 19 min
 
Laika And Nemo
Director: Jan Gadermann, Sebastian Gadow
Country: Germany; Running Time: 15 min
 
The Mattress
Director: Arash Hassanpour
Country: Iran; Running Time: 7 min
 
Miso
Director: Kelly Walker
Country: USA; Running Time: 10 min
 
My Dear Son
Director: Wing Yan Lilian Fu
Countries: Hong Kong/UK; Running Time: 9 min
 
My Eyes Are Up Here
Director: Nathan Morris
Country: UK; Running Time: 14 min
 
Mysore Magic
Director: Abijeet Achar
Country: USA; Running Time: 14 min
 
Other Half
Director: Lina Kalcheva
Country: UK; Running Time: 14 min
 
Out Of Tune
Director: Portlynn Tagavi
Country: USA; Running Time: 15 min
 
Rest Stop
Director: Noah Sellman
Country: USA; Running Time: 15 min
 
Rosemary A.D (After Dad)
Director: Ethan Barrett
Country: USA; Running Time: 10 min
 
Smoke Eater 
Director: Gloria Mercer
Country: Canada; Running Time: 12 min
 
The Sprayer
Director: Farnoosh Abedi
Country: Iran; Running Time: 9 min
 
They Grow Up So Fast
Director: John F Beach
Country: USA; Running Time: 10 min
 
The Van
Director: Bernard Badion
Country: USA; Running Time: 19 min
 
Wei-Lai
Director: Robin Wang
Country: USA; Running Time: 14 min
 
Wild Ones 
Director: Hanly Banks Callahan
Country: USA; Running Time: 8 min
 
 
Documentary Shorts
 
Below Surface
Director: Lukas Hauser
Country: USA; Running Time: 19 min
 
Dani’s Twins
Director: Brad Allgood, Steve Dorst
Country: USA; Running Time: 39 min
 
Decolonizing Dinner
Director: Alejandro Miranda Cruz
Country: USA; Running Time: 12 min
 
Good Boy
Director: Russell Chadwick
Country: USA; Running Time: 35 min
 
Imalirijit
Directors: Vincent L’Hérault, Tim Anaviapik Soucie
Country: Canada; Running Time: 27 min
 
Kylie
Director: Sterling Hampton
Country: USA; Running Time: 5 min
 
Outside Line
Director: Jack Gordon
Country: USA; Running Time: 17 min
 
Until The Rain Comes Back
Directors: Lauren Tyler Brimeyer, Jack Bushell
Country: USA; Running Time: 17 min
 
 
Central Coast Presentations
 
The Amphora Project: Past Forward
Director: Libbie Agran, Tim Clott
Country: USA; Running Time: 39 min
 
Ángulos De La Hora
Director: Kyle Novak
Country: USA; Running Time: 16 min
 
Bread Bike
Director: Beth Gage, George Gage
Country: USA; Running Time: 19 min
 
Epic Bill
Director: Quinnolyn Benson-Yates
Country: USA; Running Time: 92 min
A bankrupt self-made millionaire finds success again in extreme endurance athletics. Returning to a race that’s defeated him for years, Bill pushes beyond his limits and questions whether finishing these events defines his identity — or if he can discover a deeper reason for being in the arena.
 
Fresh To Frightening – The Sharon Green Story
Director: Gareth Kelly
Country: USA; Running Time: 20 min
 
Friends Call Us Unlucky
Director: Alyssa Toledo
Country: USA; Running Time: 30 min
 
The Greatest of All Tina
Director: Brody Gusar
Country: USA; Running Time: 94 min
A woman struggling with depression decides that life is too hard, and things will be better off if she becomes her spirit animal, a goat. Expertly balancing humor and heart, The Greatest of All Tina will take you on a wild and absurd journey filled with unexpected twists and turns.
 
Jack Has a Plan
Director: Bradley Berman
Country: USA; Running Time: 73 min
When Jack, a man with a terminal brain tumor for 25 years, decides to end his life, his family and friends struggle to accept his decision. Jack’s best friend documents his three-year quest to die a happy man in an inspiring story about self-determination, creativity, and transcendence.
 
Shoe Shine Caddie
Director: Leonard Manzella
Country: USA; Running Time: 63 min
Shoe Shine Caddy humanizes the homeless experience by capturing the irresistible spirit of 61-year-old Adrian Spears. After years of incarceration, he’s now homeless, surviving on the streets by shining shoes on a street corner, while fighting for custody of his 3-year-old daughter.
 
Something To Crow About
Director: Robin Smith
Country: USA; Running Time: 40 min
Every October, local artists stage hundreds of handmade scarecrows throughout Cambria for an acclaimed annual scarecrow festival. Something to Crow About follows the crow makers over the summer as they whip together unique works of art out of an array of random craft supplies.
 
Whale-Roads
Directors: Ethan Takekawa, Michael Lee, Meg Kievman, Emma Holm-Olsen
Country: USA; Running Time: 15 min
 
Woodsman
Director: Elliot Peters
Country: USA; Running Time: 25 min
 
 
Music Videos 
 
Better Now
Director: Eric Alt
 
Bones
Directors: Jill Sachs, Angeline Armstrong
 
Call It What You Will
Director: Deanna Wardin
 
Circle 12: Foam and Sand
Director: Shawn Knol
 
Clear
Director: Jedediah Roberson
 
Fade Into You
Director: David M. Helman
 
A Feast That Never Comes
Director: Maria Juranic
 
Good Day
Director: Angelo Deprater
 
Happy Song
Director: Sasha Solodukhina
 
Kje Med Are
Director: Anika Salvesen
 
Ramon
Director: Katie Neville
 
Wilderness
Director: Andrea Diaz
 
 
Texture Of Love Shorts

 
A Real One
Director: McKenzie Chinn
Country: USA; Running Time: 16 min
 
Dear Mama. . . 
Director: Winter Dunn
Country: USA; Running Time: 14 min
 
Jahleel & Star
Director: Monique Wilhoit
Country: USA; Running Time: 12 min
 
The Marigolds Listen
Director: Jacob Figueroa
Country: USA; Running Time: 6 min
 
We Were Meant To
Director: Tari Wariebi
Country: USA; Running Time: 28 min
 
 
Filmmakers Of Tomorrow

HIGH SCHOOL
Beth
Filmmaker: Ava Bounds
Country: UK; Running Time: 10 min
 
Hardcore
Filmmakers: Madeleine Case, Grace Rynerson
Country: USA; Running Time: 10 min
 
The Hole
Filmmakers: Piotr Kaźmierczak, Łukasz Kościelny, Jacek Łuczyński
Country: Poland; Running Time: 3 min
 
Lost: A Backyard Adventure
Filmmakers: Coleman Seamus, Freeman Howe
Country: USA; Running Time: 10 min
 
Maximus
Filmmakers: Brielle Lubin, Sarah Morton, Sophie Ramirez
Country: USA; Running Time: 7 min
 
Mona
Filmmakers: Lori Mae Hernandez, John Rourke, Cado Dhinsa
Country: USA; Running Time: 7 min
 
A Piece of Ranch
Filmmaker: Jiayang Liu
Country: USA; Running Time: 10 min
 
Pistachio Ice Cream
Filmmaker: Amira Kopeyeva
Country: USA; Running Time: 6 min
 
The Reflection on My Screen
Filmmakers: Abida Chowdhury, Leslie Gomez, Christell Pelico, Zaira OrtizCountry: USA; Running Time: 6 min
 
 
MIDDLE SCHOOL
Extra Cheese
Filmmakers: Benny Eldridge, Maggie Cross, Otto Nixon, Phoebe Cross
Country: USA; Running Time: 2 min
 
Magic Eraser: Delete!
Filmmakers: Zi-Jun Wang, Yun-Yen Li, Zi-Fei Wang, Yun-Hua Li, Chia-Chao Li
Country: Taiwan; Running Time: 9 min
 
Stop Pebble Mine
Filmmaker: Mason Mirabile
Country: USA; Running Time: 5 min
 
 
ELEMENTARY SCHOOL
Badminton Journey
Filmmakers: Sean Kang
Country: USA; Running Time: 1 min
 
Playground
Filmmakers: Walter Duncan, Marie-Pierre Bonniol
Country: Germany; Running Time: 2 min
 

#### 2024 KOVACS AWARD RECIPIENT – Gerald Casale
Devo’s Gerald V. Casale will be presented the 2024 Ernie Kovacs Award at the upcoming Dallas VideoFest.  Our Gadi Elkon talked with Gerald (Jerry) about Ernie Kovacs, Devo’s legacy, and even a wild Texas story.

Dallas VideoFest presents the Ernie Kovacs Award to the musician/director/artist extraordinaire to DEVO’s Gerald Casale at 7:30 p.m. Sunday, Sept. 29, at the Texas Theatre.
Gadi talked extensively with Gerald about the legacy of DEVO, where he see the band and his future, the great honor of being presented the Ernie Kovacs award, and so much more!
Here is our Interview with Musician and Director Gerald V. Casale:

A VIP meet-and-greet reception with Gerald Casale will take place upstairs at the Texas Theatre before the Award ceremony, while the event and film will be downstairs at the Texas. The brand new DEVO documentary (2024), which premiered at the Sundance Film Festival in January this year, will play the night before, Saturday, September 28.
For more info, 2024 KOVACS AWARD.

 

#### 2024 UCLA Festival of Preservation Announces Full Film Lineup for April 5th – 7th
A Midsummer Night’s Dream (Ein Sommernachtstraum, Germany, 1925)
The UCLA Film & Television Archive is proud to announce the 2024 UCLA Festival of Preservation, a highly anticipated biennial event that showcases the Archive’s latest preservation and restoration projects on the big screen at the Billy Wilder Theater at the Hammer Museum. From April 5th to 7th, now in its 21st edition, the diverse festival lineup from film and television history will feature beloved classics and seldom-seen titles ripe for rediscovery, along with special guests for introductions and Q&A conversations.
The festival’s 27 titles, including 10 features, four television programs and over a dozen shorts, showcase the breadth of moving image history in the Archive’s collections, which are second in size only to those held by the U.S. Library of Congress.
The opening night of the festival will celebrate the 80th birthday of renowned writer-director Charles Burnett. He will join film critic Elvis Mitchell, host of KCRW’s The Treatment radio show, in conversation before the screening of the West Coast restoration premiere of The Annihilation of Fish (1999). Following this unsung film will be the groundbreaking The Richard Pryor Special? (1977), featuring a dramatic soliloquy by poet and activist Maya Angelou.
“I am thrilled to present this year’s festival, highlighting treasures of the past that bring an exciting mix of documentary, animation, music, comedy, and drama to the Wilder, including The Lighter Side of Hearst Newsreels: Innovations and Inventions (1932-1967) collection, and the provocative horror-tinged dramas presented in the Atomic Television program,” said May Hong HaDuong, director of the Archive, a division of UCLA Library. “It’s a pleasure to host an event where audiences can come together to experience the enduring impact of film and television through the Archive’s dedication to preserving and making accessible the history of moving images.”
Among the festival’s highlights is the restoration world premiere of hilarious comedy duo Stan Laurel and Oliver Hardy’s Pack Up Your Troubles (1932) and the Los Angeles premiere with live musical accompaniment of the Archive’s restoration of A Midsummer Night’s Dream (Ein Sommernachtstraum, Germany, 1925). The latter is one of the last Shakespeare adaptations of the silent film era and was previously thought to be lost.
“One of the great loves of my professional life: UCLA Film & Television Archive’s Festival of Preservation…not only showcases the restoration of classic films to pristine condition, it delights in shining a light on hidden gems and unexpected corners of the cinematic universe, items you had no idea existed, let alone expected to ever see on a big screen.” Former Los Angeles Times film critic Kenneth Turan wrote of the flagship event in 2022.
The festival will also feature the Los Angeles restoration premiere of Man and Wife (1923), which has been inaccessible for most of a century. Following the screenings of UCLA student activist films, Chicana (1979) and Requiem-29 (1971), filmmaker Sylvia Morales and film producer Moctesuma Esparza will join for a Q&A conversation; TCM host and film noir champion Eddie Muller will introduce the restoration of the Film Noir Foundation’s latest discovery from Argentina, Never Open That Door (No abras nunca esa puerta, 1952), and filmmaker Marc Levin will join the Archive for a conversation following the Los Angeles restoration premiere of SLAM (1998). The festival will conclude with the Los Angeles restoration premiere of director Franco Rossi’s Smog (1962), featuring 12 minutes unseen in the United States until this recent restoration. After opening the Venice Film Festival in 1962, Smog nearly disappeared until the Archive and Cineteca di Bologna collaborated to restore it to its original Italian release.
Among our collaborators that have made this festival possible are the esteemed FIAF archives and funding partners, including Academy Film Archive, ASIFA-Hollywood, The Film Foundation, Film Noir Foundation, Golden Globe Foundation, GRAMMY Foundation, Hobson/Lucas Family Foundation, John H. Mitchell Preservation Endowment, Library of Congress, The Louis B Mayer Foundation, National Film Preservation Foundation, The Packard Humanities Institute, David Stenn, and Sundance Institute.
We are also grateful to Tony Thomas Productions for generously supporting the 2024 UCLA Festival of Preservation. All of the Archive’s public programs — including the UCLA Festival of Preservation — are free through June 2024, thanks to a gift from an anonymous donor.
Below are each program summaries with brief film or episode synopsis. April 5, 7:30 p.m.
In-person: filmmaker Charles Burnett, film critic and KCRW’s The Treatment radio show host, Elvis Mitchell, and Dennis Doros and Amy Heller of Milestone Films
The Annihilation of Fish (1999), West Coast restoration premiere
Previously unreleased and unavailable, The Annihilation of Fish lovingly tells the unlikely romance of Obadiah “Fish” Johnson (James Earl Jones) and Flower “Poinsettia” Cummings (Lynn Redgrave). Both tenants in a quiet Los Angeles boarding house, they begin a relationship despite their different backgrounds and mental health challenges. Ripe for rediscovery, this charming and poignant work in director Charles Burnett’s oeuvre was restored from the original camera negative allowing for the release it has always deserved. The restoration premieres on an auspicious occasion, the evening is also a celebration of Burnett’s 80th birthday.
Preceded by
The Lighter Side of Hearst Newsreels #1: “Air” (1932-1950)
Our first newsreel segment covers some peculiar inventions in aviation, including a mechanical bird, a plane without propellers and a midget airplane. These are some truly wacky and inventive aerial creations that have to be seen to be believed.
 
Hot Chocolate (1942)
Precursors to the modern-day music video, Soundies were produced throughout the 1940s to be played on coin-operated film jukeboxes found in bars, restaurants, bus terminals or anywhere people might gather. Thousands were made capturing rare performances by some of the decade’s biggest musical acts, making them extraordinary historical documents as well as toe-tapping entertainment. One of the jumpin’est is Hot Chocolate, featuring Duke Ellington and His Orchestra swinging “Cotton Tail” while the members of Whitey’s Lindy Hoppers jitterbug in gravity-defying style. Bright and bold, this one’s liable to have you dancing in the aisles, too!
 
April 5, 10:25 p.m.
The Richard Pryor Special? (1977)
In the 1960s, as a young comedian, Richard Pryor’s humor was always concerned with race and racism and his experience as a Black man in America. However, it was during the 1970s that his comedy sharpened its critique of white supremacy throughout American society and political life. On display in The Richard Pryor Special? is Pryor’s radical resistance that brings depth and contemplation to comedy with dramatic pause and joyous uplift — miraculously, within the confines of prime-time television.
 
April 6, 10 a.m.
Restored Animation Classics
 
French Fried (1930), restoration world premiere
Created in 1916 by animator Paul Terry (best known for Mighty Mouse), the character of Farmer Al Falfa was notable for Terry’s animation design that employed separate cels for different body parts to lower production costs. Terry featured his Al Falfa character in numerous shorts for various production companies and distributors before starting his own studio, Terrytoons, in 1929. Distributed by Educational Pictures, this delightful Terrytoon revival of Farmer Al Falfa finds the character on a wild adventure in Paris. Al Falfa continued to appear in animated shorts well into the 1950s (later christened as Farmer Gray).
 
Musical Memories (1935)
Familiar radio tunes such as “The Sidewalks of New York” and “Little Annie Rooney” inspire an older married couple to dust off their hand-held stereoscope device and bring the audience into a 3D reminiscence of their life. This is courtesy of producer/inventor Max Fleischer’s patent-pending “Stereoptical”/“Setback” process, which placed animation cels in front of a rotating miniature set. As the final two-color system short from Fleischer Studios (Disney’s exclusive rights to three-strip Technicolor expired that September), Musical Memories demonstrates an interest in formal exploration with color and beyond.
 
Japanese Lanterns (1935), restoration world premiere
In this whimsical cartoon, a family making Japanese lanterns is both helped and hindered by a friendly stork. When a storm comes up, in a moment of animation brilliance, the stork comes to the rescue, spearing runaway lanterns from an aviator’s point of view. Film Daily reported: “To insure accuracy and add a touch of … splendor, a special staff of Japanese artists has been engaged to work on [painted backgrounds for] ‘Japanese Lanterns.’” This Cinecolor cartoon was part of the Rainbow Parade series created between 1934 and 1936 by Van Beuren Studios, which ceased production when RKO decided to distribute Walt Disney offerings instead.
 
Hold It! (1938), restoration world premiere
Fleischer Studios had multiple “full color” projects under its belt (including a two-reel Popeye special) by the time work started on 1938’s Hold It!, which presents a cozy bouquet of teal, lavender and caramel across its cool nighttime palette. The plot follows a scratchy-voiced feline crooner’s performance of the title song for an audience of neighborhood cats. The accompanying action includes a full order of Fleischer-style surrealism and anarchy: hyper-fluid kitty choreography gives way to a neighborhood dog chase, while the song’s refrain (Hold it!) generates a series of memorable, gravity-defying gags.
 
Anything to Please and Red Riding Hood (1946), restoration world premiere
One of the Archive’s more curious donations came from chemist Lyne Trimble (1912-1992) and consisted of tests and prints in various obscure color processes. Trimble taught a class at UCLA about color film; previously, he had been instrumental in developing the short-lived 1940s subtractive three-color process Fullcolor. Among the few subjects released in Fullcolor were these animated theatrical advertisements for Coca-Cola produced for the Latin American market. The nitrate prints donated by Trimble are the sole copies known to be in existence; how many might have been made originally and by whom remain a mystery.
 
Superman Trailer (1941), restoration world premiere
Though studios rarely produced trailers for their short subjects, Paramount sold this teaser to exhibitors because — per an advertisement in the March 30, 1941, issue of Film Daily — their “new film star” already had “38,000,000 fans.” Superman’s regular appearance in Action Comics, widely syndicated newspaper strips and popular radio series meant that most audiences were already familiar with the Man of Steel. Still, the animation from Fleischer Studios would be audiences’ first glimpse of the hero in motion, and the first time he would take flight rather than merely “leap tall buildings in a single bound.”
 
A Kick in Time (1940), restoration world premiere
After their well-received debut in Hunky and Spunky (1938), the titular mother-son donkey duo joined Fleischer’s stable of regular characters, eventually starring in the final four Color Classics. The first of these is A Kick in Time, which departs from the studio’s usual song-centric, reality-bending, slapstick- laden bag of tricks for a more straightforward adventure plot about Spunky’s abduction and Hunky’s journey to rescue her son. Plenty of minor comedic gags soften the short’s melodrama and embellish its action sequences, but Kick’s overall earnestness is a valuable reminder of the studio’s broader artistic ambition.
 
April 6, 11:00 a.m.
Pack Up Your Troubles (1932), restoration world premiere
Stan and Ollie get drafted into the Great War! Boot camp brings both calamity and camaraderie to the duo. There they are befriended by a bloke named Eddie Smith. Eddie is tragically killed in the trenches in France, while our dynamic duo survive in spite of themselves. Once stateside, the Boys discover their true mission in the film: caring for the late Eddie’s three-year-old daughter, who will end up in an orphanage if they fail to locate the child’s grandparents. Like Eddie, they have the most common surname in the phonebook: Smith. Hijinks ensue.
 
Preceded by
The Lighter Side of Hearst Newsreels #2: “Land” (1932-1967)
We move from the sky to terra firma and take a look at some interesting creations in land transportation. From wind-driven cars to the bike of the future, sit back and enjoy these unique vehicular innovations.
 
Supper At Six (1933), Los Angeles restoration premiere
An alimony check provides cause for celebration in this musical short whose title plays off Dinner at Eight of the same year. Featuring stage actress Maude Odell as a stern but sympathetic landlady with a collection of colorful boarding house tenants, many of whom contribute to the evening’s entertainment — music, acrobatics and even magic — this was one in a series of 13 musical shorts produced by Mentone Productions for Universal Pictures. It showcases stars of radio fame including the Ponce Sisters, whose estate assisted with supporting the preservation of this film.
 
April 6, 1:30 p.m.
Live musical accompaniment by Cliff Retallick.
A Midsummer Night’s Dream (Ein Sommernachtstraum, Germany, 1925), Los Angeles restoration premiere
Long considered a lost film, A Midsummer Night’s Dream was discovered in 2010 buried under a cellar floor and coated in machine oil. As the Athenians prepare for the marriage between Duke Theseus of Athens and the Amazon queen, Hippolyta, mischievousness abounds in the nearby woods. A band of thespians rehearse their first play and lovers rendezvous while the elf king, Oberon, his queen, Titania, and the impish Puck wreak havoc. The skillful use of light, shadow and superimposition serves to confuse: what is real and what is imagined is the question being asked of the players and the audience.
 
April 6, 2:45 p.m.
In-person: Introduction by filmmaker Joe Dante
Atomic Television
As a sub-genre, “atomic television” dates back to the medium’s formative years, as the small screen attempted to reckon with the escalating existential dangers posed by the Cold War throughout the 1950s and ’60s. Outré anthology TV programs of the era, such as Lights Out (1951) and Way Out (1961), offered an unexpected platform for the meaningful exploration of questions wrought by life under the Bomb, dramatizing all-too-plausible doomsday scenarios within horror, science fiction and fantasy contexts.
 
Lights Out: “The House of Dust” (1951)
In this kinescope recording of a live episode, future Academy Award winner Anthony Quinn (Viva Zapata!) stars as one of the last survivors of a global nuclear war. While a chance encounter with another survivor (Nina Foch) points to a new tomorrow, the pair must first fight for their lives against a terrifying scourge created in the bomb’s aftermath. The low-budget production features expressionistic sets and innovative sound design that illuminate early television’s artistic and technical ingenuity while simultaneously adhering to stylistic elements of radio. Presented with original commercials.
 
Way Out: “Button, Button” (1961)
Produced on black-and-white videotape, the macabre series Way Out achieved cult status for its darkly off-kilter sensibilities and relative scarcity (it is only known to survive on 16mm kinescopes and was never released to home video). In this nightmarish episode, a military captain (Tim O’Connor) in command of a missile silo faces the grim possibility of a nuclear launch by an unstable sergeant (Warren Finnerty, star of Shirley Clarke’s The Connection).
Hosted by author Roald Dahl, the mid-season replacement series served briefly as the lead-in for The Twilight Zone on CBS before cancellation after only 14 episodes. Presented with original commercials.
 
April 6, 4:15 p.m.
In-person: Film preservationist Ross Lipman
Time of the Heathen (1961), Los Angeles restoration premiere
Famous theater actor, director and acting coach Peter Kass’ sole feature won the grand prize at the 1962 Bergamo International Film Festival, but has mostly been lost to the public since its initial debut. The film follows emotionally unstable drifter Gaunt (played by the expressive character actor John Heffernan) who stumbles into a violent backwoods incident that sets in motion a series of events that explore racism, guilt, the casualties of war and, ultimately, redemption. Celebrated avant-garde filmmaker Ed Emshwiller’s beautiful black-and-white and color photography works perfectly to set a neorealistic and psychedelic tone, as does Lejaren Hiller’s modern score.
Preceded by
 
The Lighter Side of Hearst Newsreels #3: “Water” (1936-1966)
Our third newsreel segment demonstrates what results from combining ingenuity and H20. Highlights include a one-person submarine for hunting gold, a “leaping” lifeboat, some elastic water and an automated fishing rod. Let us see if these inventions are the wave of the future or just all wet.
 
Tall Tales (1940), restoration world premiere
Co-directed by William Watts and Willard Van Dyke (who would become director of film at The Museum of Modern Art), this charming musical short stars Burl Ives in his first on-screen performance. Ives, Will Geer (later known as TV’s Grandpa Walton) and Winston O’Keefe are joined by the prodigious African American folksinger Josh White (a 2023 Blues Hall of Fame inductee). Jazz historian Mark Cantor notes that the film was “the first (and ultimately only) short subject from Brandon Films in what was supposed to be a series intended to support progressive thought [in relation to racial integration].”
 
April 6, 7:00 p.m.
In-person: Director Marc Levin in conversation moderated by Eugene Hernandez, Director, Sundance Film Festival
SLAM (1998), Los Angeles restoration premiere
Actor/poets Saul Williams and Sonja Sohn make their feature film debuts in SLAM, a “drama-vérité” directed by documentarian Marc Levin. After being charged with drug possession, small-time marijuana dealer and rapper Ray Joshua (Williams) must navigate the Washington, D.C., criminal justice system. Though he faces imprisonment, his dreams for his future are ignited by a writing instructor, Lauren Bell (Sohn), who introduces him to the slam poetry world. Their powerful poetry and the film itself tackle the hard issues of criminal justice reform, institutional racism, societal expectations and violence — as well as imagination and freedom.
 
April 6, 9:30 p.m.
In-person: Television host, film historian Eddie Muller
 
Never Open That Door (No abras nunca esa puerta, Argentina, 1952), Los Angeles restoration premiere 
No abras nunca esa puerta (Never Open That Door) follows two upper-class Argentine families facing desperate familial conflicts. The original stories adapted for the two-part film noir, “Somebody on the Phone” and “Hummingbird Comes Home,” were written by American crime author Cornell Woolrich and directed by respected, yet exiled, Argentine director Carlos Hugo Christensen. Featuring an iconic cast of Argentine stars (Roberto Escalada, Renée Dumas), Christensen’s maze of shadows and gut-wrenching confusion marks No abras nunca esa puerta as one of the most celebrated noir thrillers to come out of Argentina’s golden era of cinema.
 
April 7, 11:00 a.m.
In-person: Introduced by director of The Packard Humanities Institute Stoa Film Archive, Santa Clarita CA, Patrick Loughney
Topper Takes a Trip (1938), restoration world premiere
Cosmo Topper (Roland Young) is back in this first sequel to 1937’s hit Topper. Now he’s in trouble with his wife, Clara (Billie Burke), for the shenanigans caused by ghostly Marion Kerby (Constance Bennett). When Clara ships off for the French Riviera, Marion appears (and disappears and reappears) to prod Topper and reunite the couple, using supernatural tricks to ward off Clara’s would-be suitor, Baron de Rossi (Alexander D’Arcy). Swap out Topper breakout Cary Grant for “ectoplasmic pup” Mr. Atlas, played by Asta of The Thin Man (1934) fame, and you have all the ingredients for this ribald martini.
Preceded by
The Lighter Side of Hearst Newsreels #4: “Home” (1936-1959)
Delightful inventions that one might use at home! A solar oven (demonstrated on Venice Beach) and an ex-marine’s self-feeding baby bottle are among these creations meant to improve domestic life.
Lucky Millinder and His Orchestra (1946), restoration world premiere
This jazzy gem is an early example of a mainstream multiracial band led by the charismatic Lucky Millinder. Around the time of this production, Millinder had deliberately decided that it was time to integrate his band, which was extremely popular with African American audiences. The bandleader introduces three numbers that include tenor saxophonists Sam “The Man” Taylor, Clarence “Bull Moose” Jackson (also a singer), and Annisteen Allen. Blues vocalist Allen is presented as the “Hot Tamale” from close to the Mexican border (Champaign, Illinois, was her actual home); her rendition of the hit “I Want a Man” is a highlight.
 
April 7, 1:30 p.m.
Man and Wife (1923), Los Angeles restoration premiere
Living on the family farm, the Perkins sisters are a study in contrasts — Dolly thrives in the rural setting, while Dora restlessly dreams of a move to the big city. Following an argument with her father, Dora leaves for the beckoning metropolis, sparking a storyline replete with deception, bigamy, madness, and finally, reconciliation. A melodrama shot in Fort Lee, New Jersey, Man and Wife features a strong cast: Maurice Costello, Gladys Leslie, and Robert Elliott, plus a pre-fame appearance by future MGM superstar Norma Shearer.
 
April 7, 2:35 p.m.
In-person: Q&A with filmmakers, Sylvia Morales and Moctesuma Esparza
Chicana (1979), Los Angeles restoration premiere
Inducted into the National Film Registry of the Library of Congress, Chicana is considered the first major feminist Chicana documentary. Period artifacts, artwork and contemporary scenes of women working are woven together with narration from renowned actor Carmen Zapata. Telling the matriarchal histories of the Americas using historical female figures, Chicana becomes less about history and more about how these movements are connected to the greater narrative of women fighting for space and equality, and combatting exploitation.
 
Requiem-29 (1970), restoration world premiere
Filmed by students from UCLA’s Ethno-Communications Program as a class project, Requiem-29 was meant to be a documentary about the National Chicano Moratorium Movement demonstration on August 29, 1970. But it is more: combining footage from the march, interviews, the wake of a deceased attendee, and incredible courtroom testimony, Requiem-29 exposes the brutal racial biases against the Latinx community at the hands of law enforcement, from the perspective of those experiencing it.
April 7, 4:20 p.m.
In-person: Introduction by professor, USC School of Cinematic Arts and past president of the Writers Guild of America, West, Howard Rodman Jr.
Westinghouse Studio One: “Walk Down the Hill” (1957)
Set in a Nazi prisoner-of-war camp during World War II, “Walk Down the Hill” concerns a Jewish G.I. (William Smithers) imperiled when his captors question the American P.O.W.s about their religious affiliation. Based on screenwriter Ernest Kinoy’s (Roots) own harrowing experiences during the war, the tense morality drama explores universal humanist themes of faith and conscience that extends beyond the parameters of religion. Produced by future Television Academy Hall of Fame inductee Herbert Brodkin (Holocaust) and featuring a gifted ensemble cast including Don Gordon, Ivan Dixon, Clu Gulager and John Fielder. Presented with original commercials.
 
April 7, 5:40 p.m.
In-person: television writer-producer and biographer David Stenn
The Wages of Sin (1938), restoration world premiere
After the Production Code imposed rigid self-censorship on the Hollywood film industry in 1934, independent producers began to shoot lurid and shocking pictures — a genre now known as exploitation films — including the trafficked woman drama The Wages of Sin. The plot revolves around young Marjorie Benton, who works hard to support her unappreciative family, and fatefully is enticed to spend an evening at a seedy nightclub. After being plied with drinks and marijuana, she catches the eye of a pimp who callously begins to coerce her into the “Sisterhood of Sorrow,” leading her to commit a heinous crime.
Preceded by
The Lighter Side of Hearst Newsreels #5: “Variety” (1939-1947)
Our fifth newsreel segment covers a variety of inventions that defy easy categorization. From an early version of synthetic speech to a fence that listens and foils saboteurs, let us continue to explore the curious creations from times gone by.
 
Sweet Shoe (1937), restoration world premiere
Rita Rio — later known to film audiences as Dona Drake (Kansas City Confidential) — led one of the most commercially successful all-woman swing bands of the 1930s (after Ina Ray Hutton). Showcasing her vivacious stage presence, this breezy musical short accurately reflects why Rio was known as the “Mexican tornado of rhythm” (though born Eunice Westmoreland to a family of mainly African American heritage). In addition to highlighting Rio’s very efficacious stage brand with a “sweet and hot” version of “La Cucaracha,” the film showcases the entertaining acrobatic tap dancer Anita Jakobi as well as The Norsemen and The Four Specs.
 
April 7, 8:30 p.m.
Smog (1962), Los Angeles restoration premiere
Director Franco Rossi offers an atmospheric meditation on the pervasive alienation of American life as seen through the outsider perspectives of an Italian attorney (Enrico Maria Salerno) and the small circle of Italian expats he meets in Los Angeles while on layover. From his polyglot exchanges at Los Angeles International Airport to cocktails at the Pierre Koenig-designed Stahl Residence — and all the anonymous car lots, oil fields, off ramps and diners in between — Rossi offers a unique, street-level view of the mid-century city, adding a touch of hometown pride and nostalgia to all the modernist ennui.
Preceded by
The Lighter Side of Hearst Newsreels #6: “Grab Bag” (1933-1945)
We conclude this wonderful collection of human creativity and imagination with a real grab bag of inventions. Highlights include a French inventor electrifying violins, a new design for a beer glass, and the premiere of the latest glamor boy, the robot Elektro.
For details, registration information and the latest health guidelines, please visit cinema.ucla.edu.

#### 2026 Dances With Films: LA Film Festival Announces Lineup
Dances With Films: LA has announced the film lineup for next month’s return of Los Angeles’ largest indie film-focused film festival (June 18-28) for its 29th edition platforming films not produced by studios or with big budgets. Those films include DWF: LA’s critically-acclaimed Midnight Horror and Genre, and Pilots sections, as well as continuing the celebration of music, dance, and family-friendly programming in the Downbeat and Kidz sections. This year’s packed schedule will be bookended by the world premieres of Jay Silverman’s drama Yale with Caitlin McGee, Kevin Dunn, and Rachael Harris, as the Opening Night selection, and Adam Hoelzel’s thriller Tender with Jesse Garcia, Jess Weixler, David Koechner, and Robert Longstreet, on Closing Night. In an environment where multiplexes can struggle to consistently fill houses, DWF: LA expects to once again draw record-breaking audiences to its screenings and events at the TCL Chinese Theatre on 6925 Hollywood Blvd. in the Ovation Complex.
This year’s DWF: LA’s lineup includes 279 films, including 41 narrative features, 17 documentary features, 4 midnight features, 33 television and streaming pilots, and 184 short films (99 narrative and 21 documentaries, 32 midnight, 15 Kidz section, 17 Downbeat/Music), with an impressive number of films making world, North American, or U.S. premieres.
Dances With Films has built an indisputable reputation as a discovery film festival that year in and year out features the most world premieres of any festival in Los Angeles and a significant discovery festival in the US. Additional narrative features (beyond the two gala selections) making their world premieres in June include: Andrew David Paterson’s American Flake, Jay Diaz’s Angeleno, Brian L. Tan’s Bandit, John Brownell’s Coin, Sean Perry’s Coaled Blood, Daniel Katz and Brad Dickson’s Dave vs. Hollywood, Joel David Santner’s Directors’ Commentary, Gerald Fillmore’s Face Love, Mädchen Amick’s Fractured, Rachel Carey’s Good Thoughts, Doug Bremner’s The Goose That Laid the Golden Egg, Jordan Rowe’s Hamilton House, Jonathan Oster’s Jane’s Not Here, Jason Laurits’ Loves Company, JJ Lippman’s Mind Games, Stephen McNamee’s Muffled, Robyn Symon’s Queen of Shock, D.J. Hale’s Rescued, Dustin Brown’s Solidarity, David Ketterer Spencer’s Souvenir, RJ Zabasky’s Sync, Marcus Niehaus’ Tales From the Crypto, Gregory J. Green’s Tempest, Debra De Liso’s Wilma, Wu, and a Stripper Named Lorraine, and Njedeh Anthony’s Yellow Broken Road. Making their North American Premieres will be Tristan Barr’s Deathkeeper, Aleksandra Hansen’s Life at Sandy’s, and Scott Tinkham and Michael Woloson’s Littermates, and Mason Howard’s U A P.
Feature-length documentaries making their world premieres at DWFLA include: Kern Konwiser’s Autumn Gold, Hrag Yedalian’s Beneath the Ashes: The Past Reimagined, Cam Lui, and Michael Schnee’s Better Call Babs, David Booth Gardner’s The Last Place on Earth, Beatrix Ryle’s My Name is Gitta, Jordan Kronick’s Peaking: Psychedelics and the Pursuit of Happiness, Jon Bolerjack’s Stan Lee: The Final Chapter, Brad Alexander’s Tell Me About Tomorrow, and Boaz Dvir’s To Kill a Nazi.
Dances With Films’ founders, Leslee Scallon and Michael Trent, said, “For close to three decades Dances With Films has exhibited ‘The Power of Indie Film’ and this year’s lineup is filled with unique and diverse voices from filmmakers working outside of the studio system and without the benefit of bigger budgets, will entertain and surprise film lovers with the cinematic magic DWF is well-known for. As always, we couldn’t be more thrilled to introduce them all and connect our filmmakers with audiences, film distributors, and other industry veterans in the best way imaginable: at the TCL Chinese Theatres right in the heart of Hollywood.”
Thursday, June 18 features the World Premiere Opening Night presentation of Jay Silverman’s drama Yale. The film focuses on a woman who must find and ask for help from the father who abandoned her when she was a child in order to save her son, who needs an emergency kidney transplant. The film stars Caitlin McGee, Dominic Leeder, Kevin Dunn, and Rachael Harris.
Sunday, June 28, DWF: LA offers another world premiere as its Closing Night selection, Adam Hoelzel’s drama Tender. The film follows a couple trapped in a failing marriage and drowning in debt who discover a hidden stash of gold buried within the walls of their home. What begins as a lifeline quickly spirals into danger, as the pair devise a high-stakes plan to offload the fortune and escape their financial ruin. The impressive cast includes Jesse Garcia, Jess Weixler, David Koechner, Robert Longstreet, Mark St. Cyr, Keli Price, Stephen Ellis, Robert Peters, and Sonja O’Hara.
Additional highlights among the narrative feature films making their world premieres include Jay Diaz’s home grown drama Angeleno. The LA-based story follows a first-generation Latino American whose filmmaking dreams have taken a back seat to family responsibilities and crises that derailed him in his youth. However, a new opportunity might finally help him break through and convince him that it’s never too late in a city built for dreamers. Also making its world premiere, David Ketterer Spencer’s Souvenir focuses on two estranged friends whose unexpected encounter leads to an unexpected day-long adventure through New York City as they attempt to return a dead self-help guru’s lost wallet. The cast includes Janeane Garafalo, Ruby Cruz, and Eric Berryman. Mädchen Amick makes her feature film directorial debut with the thriller Fractured. Based on a true story, and starring Bruce Dern and Julia Ormond, the film centers on a woman whose past filled with tragedy and trauma catches up with her when an ex-boyfriend shows up and triggers memories of her father’s death. Adam Jumba’s Lone Rider stars Jack Alcott as a young man whose impulsive decision to steal back his beat-up ’89 Mustang from his estranged father leads to a quixotic journey through middle-of-nowhere diners, old stomping grounds, and midnight highways, crossing paths with old friends, strangers, and moments that feel like echoes of another life.
Matt Flanders’ romantic comedy How to Date Again follows Michael (Rob Mor), a heartbroken animator struggling to re-enter the dating world after a devastating loss. He finally meets Leigh (Natasha Loring), an emotionally intuitive record exec and they embark on a spontaneous California coast road trip to confront their pasts and learn how to heal. The film also stars Haley Joel Osment and Kevin Nealon. Jason Lauritis’ fish out of water comedy Loves Company will make its world premiere at DWFLA. In the film, a faded game show personality is rescued after a car crash in the Everglades by his #1..and only…fan. The outcast  woman soon reaches her limit with his bad behavior, but now she can’t get rid of him. The cast includes Rachel Dratch, Jack Plotnick, Sarah Baker, and Dustin Ingram. Guy Jacobson’s screwball comedy Out of Order stars Brandon Routh as an ambitious lawyer who accepts a job offer from a big snobbish rival law firm; that is, until his current boss suffers a heart attack and begs him to take one last case. Convinced he can do it, he decides to swing both positions until he realizes that he is now representing opposite sides of the same case. The film also stars Brooke Shields, Sandra Bernhard, Sam Huntington, and Luis Guzman.
Dances With Films: LA has an equally strong slate of documentaries with a number of films making their world premieres. One of the films making its debut is Cam Lui, and Michael Schnee’s Better Call Babs which places the audience in Babs Fry’s iconic van for a ride along, witnessing her Red-Cross award-winning work of recovering lost pets and rehabilitating feral dogs, but through the personal challenges that shaped the woman she is today. Also making its world premiere is Boaz Dvir’s To Kill a Nazi, which follows the saga of Michel Cojot’s journey to find Klaus Barbie and get revenge for Cojot’s father’s death at Auschwitz. Rob Arthur’s Frampton traces Peter Frampton’s rise to global rock and roll fame, the struggles that tested his identity and resilience, and his relentless reinvention. As personal sacrifices surface, the cost of fame becomes clear. Now facing a degenerative muscle disease, Frampton confronts his limits with urgency and grace. Making its world premiere is Jon Bolerjack’s Stan Lee: The Final Chapter which looks at Lee’s experiences at conventions where Stan’s signatures and memorabilia were converted into millions of dollars and rival hucksters double-crossed each other to control his fortune.
Dances With Films’ critically acclaimed Midnight section of films including the following features making their North American premieres: Tristan Barr’s Deathkeeper pits a reclusive angel against a charming demon in disguise in order to save a possessed woman. Mason Howard’s U A P takes place during a Fourth of July reunion, where five friends discover a mysterious sphere that draws the attention of government forces and private interests, and is possibly manipulating humanity itself. Making its world premiere is Stephen McNamee’s Muffled, where two true crime enthusiasts return to their hometown to solve the mystery of what happened to their childhood friend, who had vanished without a trace.
The pilots category platforming projects with streaming and broadcast ambitions has a varied selection of programming including Alexander Jeffery’s Fixation. Inspired by true events the series begins following the death of a young Korean woman which is deemed routine until an autopsy uncovers something far more sinister. Making its World Premiere is the docuseries People of the West. Directors on the project are Christopher Nataanii Cegielski, Phillip Montgomery, and Josh Baker. The docuseries reveals the untold history of California through Indigenous eyes, from creation to the present day, cutting through myth to expose the forces that shaped the land we now call California. Also making its world premiere are funny high-concept projects like Zach Trent’s Knighted, about a scientist who inadvertently drops a medieval knight into his living room, and now must teach the knight how to survive in the scientist’s modern world. Another high concept pilot making its debut is Paige Ivy’s Pain in the Neck. Set in a post-apocalypse Hollywood, an actress must deal with a zombie landlord, and her vampire roommate, who she might just be falling in love with. Another pilot with an LGBTQIA+ romance is Mandy Fabian’s You Are Here, which follows a fifty-something single gay man, and his tight-knit circle of friends navigating life, friendship, sex, and the horrors of dating after 50.
DWF: LA’s prodigious short films lineup includes the world premiere of Alyssa Limperis and Emily Murnane’s Going Home in which a woman decides to go to her childhood home and visit her parents after suffering through a really bad day. The film stars Limperis and Patton Oswalt. Page Kennedy’s Macbeth in Compton delivers a hip-hop-infused reimagining of Shakespeare’s classic tragedy set in 1990s Compton. Jeff Perreca’s sci-fi short Conflicting Reports has characters finding themselves in a situation described by two mysterious broadcasts. One claims that aliens have arrived and are peaceful. The other says they’re hostile invaders. The cast includes Noel Fisher, Meghan Leathers, Guillermo Diaz, and Andrew Jacobs. Also making its world premiere is Jingbei Bai’s American Boy. The very timely drama tells the story of an undocumented Chinese immigrant, finding joy in a classic night out with his two friends, until their celebration is cut short by ICE agents. Other short highlights include the world premieres of Katherine Connor Duff’s This Little Piggy Went to Market, which explores parasocial relationships, female financial autonomy, and the effect of the insatiable gaze of social media, Darcy Miller’s Captain Milo, a touching look at a child’s defensive fantasies, and Autumn Palen’s outrageous globe-trotting coming of age EDM-themed romp Breakfast At Berghain, produced by DWF’s own Frankie Campisano.
For more information about the Dances With Films: LA film lineup, events, passes, and tickets, go to: https://danceswithfilms.com/.
 
The 2026 Dances With Films: LA official selections:
 
OPENING NIGHT SELECTION
Yale                                                                 WORLD PREMIERE
USA, 2025, 123 min.
DIRECTOR: Jay Silverman
Based on a true story about a troubled woman who must confront her deadbeat father who abandoned her as a child as the last ditch effort to find a donor kidney for her dying son.
 
CLOSING NIGHT SELECTION
Tender                                                             WORLD PREMIERE
USA, 2026, 95 min.
DIRECTOR: Adam Hoezel
After inheriting a modest house in a dying town, Billie and Mick believe they’ve finally found stability, until crushing debt, old resentments, and a shocking discovery buried within their walls threaten to tear them apart. As the couple is forced into a dangerous alliance to protect their future, Tender becomes a darkly intimate portrait of marriage under pressure, where love, money, and survival blur into something unrecognizable.
 
 
ADDITIONAL NARRATIVE FEATURES
Again Again
USA, 2025, 99 min.
DIRECTORS: Mia Moore, Heather Ballish
After reliving the same day over and over again for 10 years in a torturous time loop, Agatha awakens one day to find she’s unexpectedly broken out of it and now faces the terrifying unknown of a brand new day.
 
American Flake                                               WORLD PREMIERE
USA, 2025, 82 min.
DIRECTOR: Andrew David Paterson
A charismatic small town drug dealer avoids grieving the death of his mom by searching for a lost bag of his favorite potato chips.
 
Angeleno                                                         WORLD PREMIERE
USA, 2026, 83.5  min.
DIRECTOR: Jay Diaz
Angel, a first-generation Latino American navigates his past, present, and future through a series of parties across Los Angeles, discovering that nothing is ever too late in a city built for dreamers.
 
Bandit                                                              WORLD PREMIERE
Indonesia/USA, 2026, 109  min.
DIRECTOR: Brian L. Tan “BLT”
With nothing left to lose, two desperate friends steal an abandoned G-Wagon for a quick score. What they didn’t count on? A corpse in the trunk — and the people who put it there.
 
Before the Call
South Korea/USA, 2025, 62 min.
DIRECTOR: James Choi
As a global crisis escalates and Korean soldiers prepare for deployment, Jinwoo, a Korean American exempt from military service, voluntarily enlists and returns to Seoul. His decision confounds everyone around him: why risk everything for a war that isn’t his? Set in the hours before his service begins, the film drifts between quiet present-day moments, reunions, conversations, unresolved feelings and the letters Jinwoo writes to Minji, a former love. Poetic and introspective, the letters become the film’s spine: a young man thinking aloud about identity, duty, belonging, and what it means to act when nothing is clear.
 
Bravado
USA/Wales, 2026, 106 min.
DIRECTOR: Alex Hanno
Bravado is a psychological meta-thriller that tells the story of an obsessive screenwriter, her manipulative mentor, and the film-within-a-film they’re striving to perfect: a gritty UK mafia story.
 
Coaled Blood
USA, 2026, 130 min.
DIRECTOR: Sean Perry
A tight-knit group of unemployed West Virginian coal miners convenes at a remote cabin for their annual deer hunting trip to discuss the unspeakable acts they committed the year prior out of desperation to make ends meet.
 
Coin                                                                 WORLD PREMIERE
USA, 2026, 76 min.
DIRECTOR: John Brownell
Two friends misappropriate campaign funds to launch a cryptocurrency in a half-baked plan to raise capital to save a local park, setting a political hitman after them. Coin follows two friends and their half-baked pursuit to save their childhood park from being replaced by a luxury development backed by an egotistical (and possibly corrupt) mayor. After their mock political fund unexpectedly goes viral, they use the money to launch a cryptocurrency—only for it to crash immediately. When a political fixer comes calling for the campaign funds, they’re forced into a precarious situation with dooming consequences.
 
Dave vs. Hollywood                                         WORLD PREMIERE
USA, 2026, 88 min.
DIRECTORS: Daniel Katz, Brad Dickson
Dave vs, Hollywood is a mockumentary about an actor who moves to Los Angeles completely devoid of connections and contacts.  The humiliations and indignities soon pile up. After a fruitless struggle Dave decides to try to make his mark by taking a non-traditional “anything goes” approach that some might label unethical or even amoral. Are there any depths to which Dave won’t sink in an effort to make it in Hollywood?  Will this kind of subversive approach work? Dave vs. Hollywood may sound a bit cynical. But as Dave would say, “It’s a cynical world out there.
 
Dead Deer High
USA, 2026, 101 min.
DIRECTOR: Jo Rochelle
A once-brilliant slam poetry team has lost their voice one year after a tragedy changed their school forever. Now, their English teacher must overcome his crippling fear of returning to the classroom to help them find healing through words on the stage.
 
Directors’ Commentary                                   WORLD PREMIERE
USA, 84.5 min.
DIRECTOR: Joel David Santner
After two failed years in LA, Ryan Samberg’s Hollywood screenwriting dreams have fizzled. The final humiliation comes when his wife dumps him for another guy. He’s ready to give up, but his ambitious manager insists that pitching Ryan’s latest script to a volatile comedian could be the ticket to fame. He turns to his favorite DVD commentaries for inspiration and magically summons a trio of indie filmmakers out of his tv and into his life. Real or imagined, Ryan’s cinematic heroes direct him through a Hollywood fairy tale where he hopes to find everlasting love and success.
 
Edie Arnold is a Loser
USA, 2026, 73  min.
DIRECTORS: Megan Rico, Kade Atwood
Timid dork Edie accidentally takes the spotlight when she starts a punk band with her fellow “turds”, becoming an icon to the rest of the losers at her all-girls Catholic school while managing to piss off the hot girls, the nuns, and the horniest altar boy you’ve ever seen.
 
Face Love                                                        WORLD PREMIERE
USA, 2025, 96  min.
DIRECTOR: Gerald Fillmore
Face Love is a romantic comedy set across Los Angeles, Madrid, London, and Tijuana. The story follows Daniel, a Brit-Spaniard living in Los Angeles, who travels to Madrid to renew his visa just as a global pandemic shuts down borders. Stranded 5,900 miles from his new girlfriend Ana, he must navigate bureaucracy, cultural displacement, and a relationship sustained through video calls. Inspired by the award-winning short Hold for Applause, the film transforms digital limitations into a cinematic language, exploring love, distance, and connection in a screen-mediated world.
 
Fractured
USA, 2025, 72 min.
DIRECTOR: Mädchen Amick
When an infamous ex-boyfriend shows up and triggers memories of her father’s death, a woman who has spent a lifetime masking the trauma of her childhood now must face a truth that will either heal or destroy her.
 
Good Thoughts                                               WORLD PREMIERE
USA, 2026, 109 min.
DIRECTOR: Rachel Carey
A college student returns to school after a mental health crisis and forms an unofficial support group with other students struggling with similar issues. As she begins to feel responsible for the well-being of her new friends, she must also learn to fend off her anxious mother’s constant outreach.
 
The Goose That Laid the Golden Egg              WORLD PREMIERE
USA, 2026, 92 min.
DIRECTOR: Doug Bremner
When a psychiatrist discovers that a medication for the treatment of acne is causing teenagers to kill themselves, the pharmaceutical company sets out on a campaign to destroy the source of the threat to their billion-dollar-a-year drug.
 
Hamilton House                                               WORLD PREMIERE
USA, 2025, 83 min.
DIRECTOR: Jordan Rowe
Hamilton House is a Halloween-set comedy following a group of young actors who live together in a cramped New York City basement apartment. When the wide-eyed Zach learns that a legendary horror film director is moving into their neighborhood, he convinces his girlfriend and other roommates to turn their home into a haunted house to get the filmmaker’s attention. But as Halloween grows closer, Zach’s plans begin to unravel, risking much more than his big break.
 
Heartworm
USA, 2026, 107  min.
DIRECTORS: Miriam Louise Arens, Mitchell Arens
In a near future where virtual reality has become a refuge for the grieving, Heartworm follows Avena, a bereaved mother struggling to pull her family back from the edge of disappearance. Her husband Mark has retreated into NeuraLife, a fully immersive digital world that promises comfort, continuity, and escape from unbearable loss. As Avena searches for a way to reconnect with him, she’s drawn into a disorienting journey through memory, technology, and longing
 
Hekla
USA, 2026, 89 min.
DIRECTOR: Michael Glover Smith
Hekla is a comedy-drama about the emotional cost of pursuing a creative life. Hekla, a determined Chicago actress, races through auditions, breakups, and self-doubt, risking her heart and career to claim her voice and step fully into the artist and woman she’s meant to be. Set over one day in Chicago, the film explores how ambition, identity, and vulnerability collide when you’re chasing something as personal, and uncertain, as an acting career. Beneath the humor and dramatic momentum lies a story about the importance of showing up for yourself, even if the world isn’t clapping for you yet.
 
How to Date Again
USA, 2025, 96 min.
DIRECTOR: Matt Flanders
A heartbroken, Los Angeles-based animator embarks on a reluctant romantic comeback with the help of friends, fate, and a fantastical first date.
 
Isle Child
USA, 2025, 91 min.
DIRECTOR: Thomas Percy Kim
Si Miller is a star high school pitcher in Concord, Massachusetts, fully at ease in his white suburban world. He’s Korean-born, adopted as a toddler, and has never looked back. That changes when he finds a hidden letter suggesting his birth mother is terminally ill and searching for him. The discovery unravels everything: his confidence, his relationships, his sense of self. A new Chinese-American teammate, Yang, becomes an unwanted mirror for the identity Si has spent years burying. After lashing out at everyone close to him, Si and his adoptive mother travel to Korea, where he begins to confront who he actually is.​​​​​​​​​​​​​​​​
 
Jane’s Not Here                                               WORLD PREMIERE
USA, 2026, 105  min.
DIRECTOR: Jonathan Oster
When Jane Hayes wakes from a coma after a devastating accident, she is plagued by memories of a husband and son that no one else remembers. As she leans on her brother to rebuild her life, her search for answers begins to fracture her sense of reality.
 
Life at Sandy’s                                                 NORTH AMERICAN PREMIERE
USA/Norway, 2026, 75 min.
DIRECTOR: Aleksandra Hansen
A lonely American stuck in a small Norwegian town is lured in by the characters of a friendly sitcom with increasingly sinister intentions.
 
Littermates                                                      NORTH AMERICAN PREMIERE
USA, 2025, 87 min.
DIRECTORS: Scott Tinkham, Michael Woloson
Amidst the chaos of a mysterious war, two victims of an attack take refuge at a cottage in the English countryside, where an enigmatic caretaker insists they must stick together.
 
Lone Rider
USA, 2025, 87 min.
DIRECTOR: Adam Jumba
Twenty-five-year-old Tyler steals back his beat-up ’89 Mustang from his estranged father and takes off with no plan beyond the next mile. Chasing a Facebook post and the fading memory of a teenage crush, he drifts through middle-of-nowhere diners, old stomping grounds, and midnight highways, crossing paths with old friends, strangers, and moments that feel like echoes of another life. Inspired by early-Linklater, Lone Rider turns a spur-of-the-moment theft into a psychological summer odyssey—equal parts funny, tender, and restless—that captures the raw poetry of Rust Belt youth grasping for connection, meaning, and a reason to keep driving.
 
Loves Company                                               WORLD PREMIERE
USA, 2026, 94  min.
DIRECTOR: Jason Laurits
Blake de Troy, a faded, gameshow personality is rescued after a car crash by his #1 fan (and only fan left), Florida outcast, Antoinette Funk. Trapped in her creepy Everglades home and believing he’s been kidnapped, Blake tries to escape, only to realize he has nowhere to go. His partner (and manager) has died, and the world has moved on from Blake. Except Antoinette, who’s happy to cater to his every need. However, she quickly learns he’s not the bubbly, fun personality on TV. He’s a needy, high-maintenance, drunk in withdrawal. Antoinette reaches her limit and tries to get rid of him…not so easy when he realizes his “kidnapping” could stir up some much-needed, career-boosting publicity.
 
Mind Games                                                    WORLD PREMIERE
USA, 2025, 96 min.
DIRECTOR: JJ Lippman
Dr. Jules Abrams, an overworked therapist stuck in a stagnant marriage, takes on two new clients: Ava, a radiant young woman with a seemingly perfect life, and Zander, a charismatic man who feels trapped despite his success. Unaware at first that they are a couple, Jules becomes increasingly drawn to Zander. As she realizes their connection, she begins subtly manipulating their sessions, feeding Ava doubts and insecurities under the guise of guidance.
 
Out of Order
USA, 2025, 95 min.
DIRECTOR: Guy Jacobson
John Slater Esq has big dreams but small ambition – he’s always late, looks like an unmade bed and still hasn’t tried his first case. Yet when LISA, his supermodel girlfriend dumps him, he decides to prove his worth and win her back. He accepts a job offer from a big snobbish rival law firm – that is until his current boss suffers a heart attack and begs him to take one last case. Convinced he can do it, John decides to swing both positions until he realizes that his new firm and old firm are representing opposite sides of the same case. What else can you do except don a disguise and a new confident persona, “Jack” to stay undercover at the new firm. With the help of his cynical best friend and fellow lawyer, Paul, he erratically tries to help the eccentric Sue, the plaintiff in the new case, try to take down a biotech firm for stealing her idea while simultaneously defending the very same biotech giant. Chaos ensues.
 
Queen of Shock                                               WORLD PREMIERE
Mexico/USA, 2026, 86 min.
DIRECTOR: Robyn Symon
Mari, a struggling single mother in a tourist town outside Mexico City, discovers an extraordinary ability to withstand pain while playing toques, a real Mexican electric shock game. But when her young daughter is kidnapped, she is pulled into a brutal underground world where the traditional game has evolved into a violent, male-dominated spectacle fueled by gambling, viral fame, and exploitation. As Mari rises through the savage underground circuit, her victories transform her into an unexpected viral sensation. But in a world built on machismo and control, her growing power ignites dangerous tensions within her family — especially with her volatile ex-partner Álvaro, whose obsession with reclaiming his family hides darker motives. With every escalating competition, the shocks take an increasingly devastating toll on Mari’s body.
 
Rescued                                                          WORLD PREMIERE
USA, 2026, 127 min.
DIRECTOR: D.J. Hale
A homeless man finds the motivation to turn his life around after a stray dog saves his life and refuses to leave his side.
 
Smile… The Worst is Yet to Come
USA, 2025, 84 min.
DIRECTOR: Chloe Lenihan
Smile…the Worst is Yet to Come follows Ben and Birdie, elder millennials whose marriage buckles under failed IVF and stalled ambitions. Their attempt to reconnect at a romantic getaway in Big Bear is derailed when Gen-Z influencers, January and Jerek, crash their cabin, sparking a raw night of storytelling. Secrets surface, facades shatter, and the couple must confront uncomfortable truths about love, time, and what really matters.
 
Solidarity                                                         WORLD PREMIERE
USA, 2026, 98 min.
DIRECTOR: Dustin Brown
A Mexican seamstress and a Lithuanian butcher struggle to survive as immigrants in Los Angeles, their parallel lives marked by loss, labor, and unexpected connection.
 
Souvenir                                                          WORLD PREMIERE
USA, 2026, 88 min.
DIRECTOR: David Ketterer Spencer
A chance encounter between estranged friends Kevin and Dani leads to an unexpected day-long adventure through New York City as they attempt to return a dead self-help guru’s lost wallet. Their journey – through litigious heirs, suspiciously bad poetry, and a mysterious watch – forces them to confront unresolved feelings and life-changing decisions.
Sync                                                                WORLD PREMIERE
USA, 2025, 121 min.
DIRECTOR: RJ Zabasky
In the near future, Ryan is invited to try a groundbreaking technology that creates AI versions of the dead, offering a new way to cope with grief. Reluctant at first, he enters the simulation to confront the loss of his late fiancée. But as her presence feels increasingly real, the eerily perfect world begins to reveal something deeply wrong beneath the surface.
 
Tales From the Crypto                                     WORLD PREMIERE
USA, 2026, 93 min.
DIRECTOR: Marcus Niehaus
As the Covid pandemic upends the global economy, a young programmer, Ravi, turns to cryptocurrency trading during the emergence of Uniswap and “DeFi Summer” to save his parents’ farm in India. But in a world rife with scammers, ruggers and naysayers, he finds that trading is much more than he bargained for.
 
Tempest                                                          WORLD PREMIERE
USA, 2026, 95 min.
DIRECTOR: Gregory J. Green
Miranda may be a successful artist, but her life and marriage are in ruins. One hopeless night, lightning flashes, dimensions shift, and Miranda is overjoyed to find herself in a parallel world where none of her heartbreaks exist. But this new life crumbles when the alternate Miranda, whose own world has been usurped, starts desperately trying to return.
 
This Will Never Work
USA, 2025, 87 min.
DIRECTORS: Marina Tempelsman, Niccolo Aeed
This Will Never Work is about a family coming together to have an intervention for Amanda’s drinking problem. They’ve hired a therapist named Trevor, written emotional letters, chosen the time and location, and now they sit and wait for Amanda to arrive. But when Amanda arrives, Trevor realizes the family… hasn’t been entirely honest with him.
 
Wilma, Wu, and a Stripper Named Lorraine     WORLD PREMIERE
USA, 2026, 94 min.
DIRECTOR: Debra De Liso
When a beloved desert cantina is threatened with closure, a washed-up burlesque dancer rallies an outrageous crew of misfits, church ladies, hustlers, and dreamers for one last talent show to save their town. As chaos turns to community, a feuding mother and daughter must decide whether to hold on or finally let go.
 
Yellow Broken Road                                        WORLD PREMIERE
USA, 2026, 108 min.
DIRECTOR: Njedeh Anthony
A woman dreams her entire future with the perfect stranger, only to discover it is real. But if she chooses him, their love, though profound and complete, will end in tragedy. Across one hopeful night, parallel to it, years of romance unfold while Death taunts every minute of their future.
 
 
DOCUMENTARY FEATURES
 
4000 Days
USA, 2026, 110 min.
DIRECTOR: Daniel E Catullo III
4000 Days is a powerful documentary following three families who transform personal tragedy into a national movement after losing their sons to fraternity hazing. Confronting a system built on secrecy and denial, they unite to demand accountability and push for legislative reform. The title reflects the years-long fight to turn grief into meaningful change. Through intimate access and raw testimonies, the film captures both heartbreak and determination as their individual losses grow into a collective force.
Autumn Gold
USA, 2026, 71 min.
DIRECTOR: Kern Konwiser
A feature length investigative documentary about a relentless investigative journalist who must outwit and out maneuver the Pentagon in order to expose a secret government biochemical experiment and bring justice to the veterans who were harmed by it.
 
Beneath the Ashes: The Past Reimagined      WORLD PREMIERE
USA, 2026, 63 min.
DIRECTOR: Hrag Yedalian
In the aftermath of the Eaton Fire, Altadena’s historic Black community confronts devastating loss—and a high-stakes fight to preserve a cultural legacy generations in the making.
 
Better Call Babs                                              WORLD PREMIERE
USA, 2025, 59 min.
DIRECTOR: Cam Lui, Michael Schnee
Better Call Babs places you in the passenger seat of Babs Fry’s iconic van for a ride along, not just through her Red-Cross award-winning work of recovering lost pets and rehabilitating feral dogs, but through the personal challenges that shaped the woman she is today. From high-stakes rescue missions to intimate moments of reflection, this film mirrors the chaos she embraces daily as a recovered addict turned vigilante pet detective. At its core, this film explores recovery through purpose, the healing power of community and the vulnerability required to ask for help.
 
The Burning: The Untold Story of Africa’s Refugee Crisis
USA/Nigeria, 2025, 86 min.
DIRECTOR: Isabella Alexander-Nathani
Step inside our world’s largest and most underreported refugee crisis. A courageous mother, a brotherhood of orphaned boys, and a father desperate to find his family lead audiences on an epic journey across the African continent to a stretch of coast where only eight miles of sea separates Africa from Europe. They are shocked to find what awaits them there. Filmed undercover, over the course of ten years, The Burning brings the untold story of Africa’s refugee crisis to light for the first time. 9,000 miles. 10 refugees. 1 chance to escape. This is a story you will never forget.
 
Cabali and the Tiki Mug Obsession
USA, 2025, 96 min.
DIRECTOR: Josh Dragotta
A feature length documentary exploring the subculture of Tiki enthusiasts that create and collect ceramic drinking vessels known as Tiki mugs. The film follows Fini Finical, as he assembles a team of craftsmen and artists to build a Tiki bar dedicated to his overwhelming collection of mugs.
 
Frampton
USA/UK, 2026, 104 min.
DIRECTOR: Rob Arthur
From the explosive success of Frampton Comes Alive! to the quiet introspection of his final tour, Frampton is an intimate portrait of a rock icon who soared, stumbled, and rose again. The film traces Peter Frampton’s rise to global fame, the struggles that tested his identity and resilience, and his relentless reinvention. As personal sacrifices surface, the cost of fame becomes clear. Now facing a degenerative muscle disease, Frampton confronts his limits with urgency and grace.
 
Holy Ghetto
USA/Israel, 2026, 83 min.
DIRECTOR: iLan Azoulai
Four souls trapped within Tel Aviv’s red-light district, entangled in sex trafficking and addiction, embark on spiritual journeys to transcend their personal ghettos. Olga, abducted by traffickers at 17; Dave, an American who founded a shelter for homeless women in prostitution; Yana, a recovering addict and struggling mother of five; and Ohad, a former sex-trafficker chasing redemption. Holy Ghetto is a story of hope and transformation, asking: Can they rise above what they became? And in turn, can we?
 
Kratom: Side Effects May Include
USA, 2025, 78 min.
DIRECTORs: Jamie Neese, Jason Neese
Kratom: Side Effects May Include investigates the lethal consequences and regulatory gaps surrounding a plant-based extract found in everyday locations such as gas stations. With gripping stories of victims and the sometimes controversial advocates who argue its benefits, this groundbreaking feature documentary explores the complex narrative of Kratom—an unregulated substance that some claim has cost thousands of lives.
 
The Last Place on Earth                                  WORLD PREMIERE
USA/Indonesia, 2026, 102 min.
DIRECTOR: David Booth Gardner
The Last Place on Earth is a thrilling, eight-year journey into the heart of Sumatra’s 2.6 million-hectare Leuser Ecosystem — where tigers, elephants, rhinos, and orangutans still roam free – that follows a group of extraordinary wildlife activists who risk everything to save one of Earth’s last untouched wildernesses from the devastation of the illegal palm oil industry.
 
My Name is Gitta                                             WORLD PREMIERE
USA, 2026, 93.5 min.
DIRECTOR: Beatrix Ryle
Gitta is a vivacious nonagenarian holocaust survivor who has long ago processed and overcome her childhood trauma, and for decades has been telling her story of recovery and forgiveness at schools. But as she retraces her steps across Europe and reconnects with families and organizations that saved her life, she finds there is always more to uncover.
 
Peaking: Psychedelics and the Pursuit of Happiness             WORLD PREMIERE
USA, 2025, 95 min.
DIRECTOR: Jordan Kronick
A growing number of people with mental disorders are reporting something extraordinary: illegal psychedelic drugs are curing their brains overnight. Peaking: Psychedelics and the Pursuit of Happiness explores all the major psychedelics, not just by explaining how they work medicinally, but by showing it. The film takes viewers inside dosing rooms for extremely rare looks at the remarkable power, emotion, and speed of psychedelic healing in action: from pro athletes repairing brain damage from concussions, to combat veterans finding relief from suicidal despair, to a woman breaking free from opioid addiction, and more.
 
Reservation Redemption
USA, 2026, 60 min.
DIRECTORs: Brenda Fisher, Blake Pickens
One juror away from the death penalty at 17, a lost Colville tribal member, known as “Chief”, discovers his culture and identity and makes a change that inspires a following of the most incarcerated race in Washington state toward the “Red Road”. The “Red Road” signifies a deep commitment to living life immersed in the culture – with an intrinsic respect for others and oneself, and turning one’s back on addiction to drugs, alcohol, and crime.
 
Sell Your House
USA, 2026, 95 min.
DIRECTORS: Eric Foss, Brandon Pickering
You have to be really rich or really stupid to make a movie. James and Francis aren’t rich, so they opt for stupidity when James sells his house to finance their debut feature. This kicks off a years-long journey through the wonderful, lucrative, glamorous world of indie filmmaking, where absolutely nothing bad ever happens. A comedic documentary following the making of The Last Stop in Yuma County and the complications that come with indie film distribution.
 
Stan Lee: The Final Chapter                            WORLD PREMIERE
USA, 2026, 110 min.
DIRECTOR: Jon Bolerjack
A story of abuse and duplicity, this is the tale of how comic book legend Stan Lee landed in the middle of a scandal as wild as any superhero saga. The events are chronicled by filmmaker Jon Bolerjack who became an assistant to Stan Lee and a fixture of his inner circle. Jon gained unprecedented access and filmed everything he saw. What he uncovered was a thriving market where Stan’s signatures and memorabilia were converted into millions of dollars and rival hucksters double-crossed each other to control Stan’s fortune and ultimately his fate. After years of futility in trying to get justice for Stan, Bolerjack is ready to share this shockingly and truly heartbreaking story with the world.
 
Tell Me About Tomorrow                                 WORLD PREMIERE
USA, 2026, 120 min.
DIRECTOR: Brad Alexander
On June 9, 2022, Cooper Noriega died after unknowingly taking a fentanyl-laced pill sold as Xanax. Living in Los Angeles at the time, he was a model with millions of TikTok followers. His death shocked fans and was widely reported as an “accidental overdose,” but that label raises questions. When a lethal synthetic opioid is disguised as a less dangerous drug, is it truly accidental? Like many families facing similar losses, the Noriegas are searching for answers. This film explores Cooper’s story and asks: What is fentanyl, and how can it be confronted? Featuring insights from loved ones and experts on addiction, grief, and recovery.
 
To Kill a Nazi                                                   WORLD PREMIERE
USA, 2026, 101 min.
DIRECTOR: Boaz Dvir
1974, Paris. Haunted by his father’s disappearance during World War II, business consultant Michel Cojot embarks on a journey of discovery. He finds out his dad was deported by Klaus Barbie to Auschwitz, where he was murdered. Michel uproots his family and moves to Latin America to assassinate Barbie, who works for the Bolivian government. Gripping a pistol under his poncho, Michel follows Barbie through the winding streets of La Paz. Fearing he’d stoop to Barbie’s level by firing, Michel hesitates. He aims … Michel ends up regretting his decision. Soon, he gets a once-in-a-lifetime second chance to redeem himself.
 
 
MIDNIGHT FEATURES
 
Deathkeeper                                                    NORTH AMERICA PREMIERE
Australia, 2025, 91 min.
DIRECTOR: Tristan Barr
Cursed to age decades each time he saves a life, a reclusive angel is drawn to a possessed woman who is hunted by a charming demon in disguise. As their paths collide, he is forced to confront a brutal truth: the only way to reclaim his youth is by killing.
 
Jump Scare
USA, 2025, 98 min.
DIRECTOR: Donnie Hobbie
The all-woman metal band ‘JUMP SCARE’ retreats to a remote cabin to write their new album. Kye, Jen, Deb, Val and the tag-along producer Dale. It’s soon very apparent that something is off in this strange desert world. When Dale goes missing, and a hungry family of cannibals move in, our heroes find themselves in a fight for survival.
 
Muffled                                                            WORLD PREMIERE
USA, 2025, 90 min.
DIRECTOR: Stephen McNamee
Years after their childhood friend Greta vanished without a trace, true crime enthusiasts, Nora and Harper, return to their hometown to solve the mystery. Armed with cameras, microphones, and possibly misguided gumption, they set out to uncover the truth. Their documentary project soon uncovers disturbing ties to sinister creepypastas and rumored occult rituals. As their investigation spirals into the internet’s darkest corners, reality begins to glitch, and the line between sleuth and subject starts to blur.
 
U A P                                                               NORTH AMERICAN PREMIERE
USA, 2026, 106 min.
DIRECTOR: Mason Howard
During a Fourth of July reunion, five friends discover a mysterious sphere that draws the attention of government forces and private interests—forcing them to confront escalating paranoia, their unraveling faith, and the terrifying possibility that the object may be manipulating humanity itself.
 
PILOTS
 
Baddie                                                             WORLD PREMIERE
USA, 2025, 17 min.
DIRECTOR: Steven Yee
 
Banana
USA, 2025, 28 min.
DIRECTORS: Raghav Puri, Kieran Barry
 
Bigg County Restorations
USA, 2025, 17 min.
DIRECTOR: Dan Angelucci
Burning Bridges                                              WORLD PREMIERE
USA, 2026, 35 min.
DIRECTOR: Jorge Yanes
 
Bridal Party
USA, 2026, 26 min.
DIRECTOR: Mckenzie Salvatierra Custin
 
Chet Bond: License to Chill
USA, 2025, 25 min.
DIRECTOR: Blake Sherwyn
Codependent
USA, 2026, 25 min.
DIRECTOR: Caitlyn Phu
 
CVNT
USA, 2026, 16 min.
DIRECTOR: Nicole Higgins
 
Delicate Condition                                           WORLD PREMIERE
USA, 2025, 36.5 min.
DIRECTOR: Bailey Castle
 
Delivering Destiny w/Amir Mo                         WORLD PREMIERE
USA, 2026, 23 min.
DIRECTOR: Amir Mo
 
Farther Along
USA, 2025, 14 min.
DIRECTORS: MJ Bernier, Emily Draper
 
Fixation
USA, 2026, 35 min.
DIRECTOR: Alexander Jeffery
 
Level Up
USA, 2025, 17.5 min.
DIRECTOR: Gabrielle Roberts
 
I Could Eat – Episode 3                                    WORLD PREMIERE
USA, 2026, 14 min.
DIRECTORS: Rick Bedrosian, Sonja Stark
 
It’s Getting Late with Owen Reed                    WORLD PREMIERE
USA, 2026, 44 min.
DIRECTOR: Ryan Dougall
 
Knighted                                                          WORLD PREMIERE
USA, 2026, 23 min.
DIRECTOR: Zach Trent
 
Matched
USA, 2026, 24 min.
DIRECTOR: Elvira Ibragimova
 
Misguided
USA, 2025, 5.5 min.
DIRECTOR: Mariah Marasco
 
Mort
USA, 2025, 13 min.
DIRECTORS: Larry Ziegelman, Terry Ziegelman
 
Nobody F#cking Leaves
USA, 2026, 28 min.
DIRECTOR: John Mossman
 
Pain in the Neck                                              WORLD PREMIERE
USA, 2026, 41 min.
DIRECTOR: Paige Ivy
 
Penguin House: Credit Limit                           WORLD PREMIERE
USA, 2025, 13 min.
DIRECTOR: Chris Alden
 
People of the West                                          WORLD PREMIERE
USA, 2026, 60 min.
DIRECTORS: Christopher Nataanii Cegielski, Phillip Montgomery, Josh Baker
 
The Reverb                                                      NORTH AMERICAN PREMIERE
USA, 2026, 30 min.
DIRECTORS: Jordan Ruttert, Janie Ruttert
 
Son of a Bikram
USA, 2025, 18.5 min.
DIRECTOR: Johnny Rey Diaz
 
Strand
USA, 2026, 28 min.
DIR: Austin Gorski
 
Toxic-ish                                                         WORLD PREMIERE
USA, 2026, 38 min.
DIRECTOR: Corey Grant
 
The Trinity
USA, 2026, 37 min.
DIRECTOR: Emmanuel Mertis
 
Witches                                                           WORLD PREMIERE
USA, 2026, 26 min.
DIRECTOR: Gethin Aldous
 
Womb Room
USA, 2026, 22 min.
DIRECTOR: Nicole Treston Abranian
 
You Are Here                                                   WORLD PREMIERE
USA, 2026, 30 min.
DIR: Mandy Fabian
 
Zaddies                                                            WORLD PREMIERE
USA, 2026, 28 min.
DIRECTOR: John Frank Uranday
 
Zen Room                                                        WORLD PREMIERE
USA, 2025, 12 min.
DIRECTOR: Layne Marie Williams
 
 
SHORT FILMS
 
NARRATIVE SHORTS
Aayat                                                               WORLD PREMIERE
USA/India, 2025, 16 min.
DIRECTOR: Sonia Bhatia
 
Achiever
USA, 2026, 13.5 min.
DIRECTOR: CharlieTraisman
 
All That’s Left                                                  WORLD PREMIERE
USA, 2026, 10 min.
DIRECTOR: William D. Hellmuth
 
American Boy                                                  WORLD PREMIERE
USA, 2026, 13 min.
DIRECTOR: Jingbei Bai
 
The Art of Inflation
USA, 2025, 22.5 min.
DIRECTOR: Brett Wietecha
 
At What Cost?                                                 NORTH AMERICA PREMIERE
USA, 2026, 20.5 min.
DIRECTOR: Ant Roberson
 
Bembé
USA, 2025, 12 min.
DIRECTOR: Zayre Ferrer
 
Beware the Wolves                                          WORLD PREMIERE
USA, 2025, 19 min.
DIRECTOR: Alex Bush
 
Bigote Or (The Happy Anarchy of Bureaucracy)
USA, 2026, 11 min.
DIRECTOR: Rafael A. López
 
Birthday Bird                                                   WORLD PREMIERE
USA, 2025, 7.5 min.
DIRECTOR: Heather Brumley
 
Björn                                                               WORLD PREMIERE
USA, 2025, 16.5 min.
DIRECTOR: Kristofer Pitzek
 
The Blistering Blundering West                      WORLD PREMIERE
USA, 2026, 15 min.
DIRECTOR: Quinton Buxton
 
Breathe, Brother, Breathe                                WORLD PREMIERE
USA, 2026, 19 min.
DIRECTOR: Arman Khaghani
 
Buckets
USA, 2025, 11 min.
DIRECTOR: Drew van Steenbergen
 
Burro
USA, 2025, 12 min.
DIRECTOR: Hannah Lerner
 
Captain Milo                                                    WORLD PREMIERE
USA, 2025, 12 min.
DIRECTOR: Darcy Miller
 
Chloé                                                               NORTH AMERICAN PREMIERE
France, 2025, 18 min.
DIRECTOR: Madeline Stephenson
 
Clean Getaway
USA, 2025, 11 min.
DIRECTOR: Patricia Rigney
Conflicting Reports                                         WORLD PREMIERE
USA, 2025, 20 min.
DIRECTOR: Jeff Perreca
 
Cornerman                                                      WORLD PREMIERE
USA, 2026, 17.5 min.
DIRECTOR: Sam Findlay
 
Corps-À-Corps                                                WORLD PREMIERE
USA, 2025, 8 min.
DIRECTOR: Nikki Kobrick
 
The Country They Call Life                              WORLD PREMIERE
USA, 2025, 20 min.
DIRECTOR: Grace Sims
 
Dissection Day
USA, 2025, 15 min.
DIRECTOR: Rachel Thomas Medwid
 
Dog Years
USA, 2025, 10.5 min.
DIRECTOR: Rex Provost
 
Don’t Watch Without Me                                  WORLD PREMIERE
USA, 2025, 13 min.
DIRECTOR: Avi Kaye
 
Dream of Emptiness                                        WORLD PREMIERE
Vietnam, 2026, 26 min.
DIRECTOR: Thien Hoang Bui
 
Dres the Thief                                                  WORLD PREMIERE
USA, 2025, 3 min.
DIRECTOR: Tomas Vegara
 
Drones                                                             WORLD PREMIERE
USA, 2026, 22.5 min.
DIRECTOR: Steve Acevedo
 
Dropping Off                                                   WORLD PREMIERE
USA, 2025, 14 min.
DIRECTORS: Will Mayo, Ian Scott McGregor
 
Early Human Media
USA, 2025, 11.5 min.
DIRECTOR: Adrian Delcan
 
Escape
USA, 2026, 5 min.
DIRECTOR: Jasmine Russ
 
Everything Is Brand
USA, 2026, 13 min.
DIRECTOR: Brett Weiner
 
The Expiration of Darius Campbell                  WORLD PREMIERE
USA, 2026, 7 min.
DIRECTOR: Charlie Roth
 
Extraña
USA, 2025, 7 min.
DIRECTORS: Paloma Ronquillo, Ryan Fajet
 
Fabric
USA, 2025, 15 min.
DIRECTOR: Frank Sun
 
Fat                                                                   WORLD PREMIERE
Ireland, 2026, 19.5 min.
DIRECTOR: Dolores Rice
 
For Your Future Wife                                       WORLD PREMIERE
USA, 2026, 13 min.
DIRECTOR: Megan Petersen
 
Foxtails
USA, 2025, 9 min.
DIRECTOR: Alejo Perez-Stable Husni
 
Godpower                                                        WORLD PREMIERE
USA/Nigeria, 2025, 16.5 min.
DIRECTOR: Geoff Browne
 
Going Home                                                    WORLD PREMIERE
USA, 2025, 15 min.
DIRECTORS: Alyssa Limperis, Emily Murnane
 
Good Not Great
USA, 2026, 22 min.
DIRECTOR: Nick von Gremp
 
Good Vibes Only                                             WORLD PREMIERE
Canada, 2025, 13 min.
DIRECTOR: Sarah D’Ambrosio
Growing Still                                                   NORTH AMERICAN PREMIERE
New Zealand, 2025, 12.5 min.
DIRECTOR: Alyx Duncan
 
Hand on Camera
USA, 2025, 25 min.
DIRECTOR: Phillip Alexander
 
Hi Mom                                                            WORLD PREMIERE
USA, 2025, 3.5 min.
DIRECTOR: SM Goldberger
 
Hold For Applause                                           WORLD PREMIERE
USA, 2026, 10 min.
DIR: Nicole Treston Abranian
 
Homecoming
USA, 2026, 12 min.
DIRECTOR: Skyler Knutzen
 
I Love You More Than Dinosaurs
USA, 2025, 15 min.
DIRECTOR: Tyler Coon
 
In the Kitchen                                                  WORLD PREMIERE
USA, 2025, 13 min.
DIRECTOR: Babe Howard
 
Inshallah                                                          WORLD PREMIERE
USA, 2026, 18.5 min.
DIRECTOR: Sibel Damar
 
Inside These Walls
USA, 2026, 18 min.
DIRECTOR: Melissa Fisher
 
Jacob, Side Smirk, Nose Kiss                         WORLD PREMIERE
USA, 2026, 9 min.
DIRECTOR: Zac Kish
 
Jasmine.Home.Mother.
USA/UK/Lithuania, 2026, 15 min.
DIRECTOR: Ugnė Skonsmanaitė
 
Just My Luck
USA, 2025, 12 min.
DIRECTOR: Nicholas Pitts
 
Kill the Macoui                                                 NORTH AMERICAN PREMIERE
France, 2025, 12 min.
DIRECTOR: Mathieu Le Roux
 
King of Games
USA, 2025, 9 min.
DIRECTOR: Tyler Cino Maradiaga
 
Las Hadas de la Sombra
USA, 2026, 21 min.
DIRECTOR: Ryan Jenkins
 
Late Shift
USA, 2026, 8 min.
DIRECTOR: Britta Johnson
 
Less Than Nothing                                          U.S. PREMIERE
Canada, 2025, 14 min.
DIRECTORS: Reagan Henderson, David Michan
 
Light Go Shining                                             WORLD PREMIERE
USA, 2025, 13 min.
DIRECTOR: Max Olson
 
Look Out!
USA, 2025, 7 min.
DIRECTOR: Brian Carroll
 
Lotion
USA, 2026, 10 min.
DIRECTOR: Bri Rodebaugh
 
Macbeth in Compton
USA, 2025, 19.5 min.
DIRECTOR: Page Kennedy
 
Magic Is Cool                                                   WORLD PREMIERE
USA, 2026, 20 min.
DIRECTOR: Barrett L. Shuler
Memorabilia                                                    WORLD PREMIERE
USA, 2025, 16 min.
DIRECTOR: Patrick Elmore
 
Mimi the Mime                                                 WORLD PREMIERE
USA, 2026, 23 min.
DIRECTORS: Nikos Spiridakis, Kit Moynihan
 
Never to Return
USA, 2026, 11 min.
DIRECTOR: Tyler Smith
 
Nip
USA, 2026, 13 min.
DIRECTORS: Thea Brooks, Taylor Karin
 
Nourish!                                                          WORLD PREMIERE
USA, 2025, 13 min.
DIRECTOR: Casey Bischel
 
Old Literature                                                  WORLD PREMIERE
USA, 2025, 13 min.
DIRECTOR: Silas Gobat
 
Oma                                                                 WORLD PREMIERE
USA, 2025, 10 min.
DIRECTOR: Shane Bannon
 
One and Done Tour
USA, 2025, 15 min.
DIRECTOR: Preston Pimentel
 
One Twenty-Six                                               WORLD PREMIERE
USA, 2025, 13.5 min.
DIRECTOR: Dan Lesser
 
Pale Shelter                                                     WORLD PREMIERE
USA, 2026, 16 min.
DIRECTOR: Edward Robles
 
Patchwork                                                       WORLD PREMIERE
USA, 2025, 14 min.
DIRECTOR: Holly Cook
 
Pittsburgh
USA, 2025, 17 min.
DIRECTOR: Ali Marsh
 
Plastic Pastures                                              WORLD PREMIERE
USA, 2025, 12 min.
DIRECTOR: Darren Rubin
 
Precious Light
USA, 2025, 13 min.
DIRECTOR: Nickon C. Hemati
 
Projectionist                                                    WORLD PREMIERE
USA, 2026, 13.5 min.
DIRECTORS: Pat McCoy, Nicolas Alexandre
 
Ramon Makes a Movie
USA, 2025, 13.5 min.
DIRECTOR: Haley Kirton
 
Ready For My Close-Up
USA, 2025, 11 min.
DIRECTOR: Elijah Guo
 
The Resistance                                                WORLD PREMIERE
Belgium/USA, 2026, 13.5 min.
DIRECTOR: Natalie Schwan
 
River Maid
USA, 2026, 17 min.
DIRECTOR: Colin J. Mason
 
She’s Nonbinary
Canada, 2026, 11 min.
DIRECTOR: Jess McLeod
 
The Shorn Lamb
USA, 2025, 14 min.
DIRECTOR: Emily Rolen
 
Shortcut                                                          WORLD PREMIERE
USA, 2025, 14 min.
DIRECTOR: Christina de Leon
 
Siren                                                                WORLD PREMIERE
USA, 2026, 10.5 min.
DIRECTOR: Aja Corynn
 
Soñado                                                            WORLD PREMIERE
USA, 2026, 16 min.
DIRECTOR: Darren Alberti
 
The Souvenir                                                   WORLD PREMIERE
USA, 2026, 16 min.
DIRECTOR: Adam Tiller
 
The Spanish Lesson
USA, 2025, 12 min.
DIRECTOR: Simone Stadler
 
Stale Air
USA, 2025, 18.5 min.
DIRECTOR: Sarah Leibman
 
Stand Clear’ The Closing Doors
USA, 2026, 7 min.
DIRECTOR: Stacey Sargeant
 
Still Mine                                                         WORLD PREMIERE
USA, 2025, 6 min.
DIRECTOR: Blythe Haaga
 
Stuffed                                                             WORLD PREMIERE
USA, 2025, 8 min.
DIRECTOR: Callie Carpinteri
 
Take Five                                                         WORLD PREMIERE
USA, 2026, 12 min.
DIRECTOR: Daniel Weingarten
 
Truant                                                              WORLD PREMIERE
USA, 2026, 19 min.
DIRECTOR: Robyn Wholey
 
We Didn’t Know Why
USA, 2025, 7 min.
DIRECTOR: Evan Henderson
 
The Worm’s-Eye View of the Bird
USA, 2025, 6 min.
DIRECTOR: Karen Zipor
 
You Could’ve Been a Nurse
USA, 2025, 12 min.
DIRECTOR: Meg Mateo
 
 
DOCUMENTARY SHORTS
24 Hour Sanctuary                                           WORLD PREMIERE
USA, 2025, 10 min.
DIRECTOR: MG Nava
 
A Slice of Home
USA, 2025, 11 min.
DIRECTOR: Pauline Tran
 
All Of Us Girls
USA, 2025, 23 min.
DIRECTOR: Yifeng Wang
 
The Art of Sharing                                           WORLD PREMIERE
USA, 2026, 20 min.
DIRECTOR: Ric Serena
 
The Asset                                                        WORLD PREMIERE
USA, 2026, 30 min.
DIRECTOR: Ravit Markus
 
Body of Work                                                  WORLD PREMIERE
USA, 2026, 25 min.
DIRECTORS: Odin Wadleigh, Cassidy Rast
 
Call of the Jab                                                 WORLD PREMIERE
USA, 2025, 16 min.
DIRECTOR: Fletch Power
 
Cookie, Love
USA, 2025, 9.5 min.
DIRECTOR: Sari Arambulo
 
Dual Wielder                                                    WORLD PREMIERE
USA, 2026, 16 min.
DIRECTOR: Julia Boyd
 
Echoes From the Kitchen: A Tale of Comida and Cultura       WORLD PREMIERE
USA, 2025, 11 min.
DIRECTOR: Chef Eddie Garza
 
Find Your Voice                                               WORLD PREMIERE
USA, 2026, 25 min.
DIRECTOR: Roger Love
 
I Paint Monsters                                              WORLD PREMIERE
USA, 2026, 20.5 min.
DIRECTOR: Ben Woolverton
 
Invinceble
USA, 2026, 23 min.
DIRECTORS: Beth Gage, George Gage
 
Lady Chief                                                       WORLD PREMIERE
USA, 2025, 11 min.
DIRECTOR: Broms
 
Marigold
USA, 2025, 6 min.
DIRECTOR: Dusty Dale Barker
 
Mitad                                                               WORLD PREMIERE
USA, 2025, 23 min.
DIRECTORS: Alyssa Callahan, Claire Gostin
 
Mike and Billy’s American Pie
USA, 2025, 20 min.
DIRECTOR: Erin P.S. Zimmerman
 
The Righteous Road Trip                                WORLD PREMIERE
USA, 2026, 40 min.
DIRECTOR: Vanessa Roth
 
Roll Modelz
USA, 2025, 12.5 min.
DIRECTORS: Oliver Rodriguez Dickson, Yahir Tzec-Carrasco
 
Stack                                                               WORLD PREMIERE
USA, 2025, 8 min.
DIRECTOR: Randolph Buffington
 
Thanksgiving for Angels
USA, 2025, 13 min.
DIRECTOR: Rebecca Corry
 
Three Brothers in Shanghai                             WORLD PREMIERE
USA, 2026, 17 min.
DIRECTOR: Nick Andrus
 
Where We Played: Voices From the Fire         WORLD PREMIERE
USA, 2026, 9 min.
DIRECTORS: Nat Wolff, Austin Cauldwell
 
 
MIDNIGHT SHORTS
A Deal in Liberty                                              WORLD PREMIERE
Canada, 2026, 15 min.
DIRECTOR: Palmer Wells
 
A Little R&R                                                     WORLD PREMIERE
USA, 2026, 18 min.
DIRECTOR: Bryan Bockbrader
 
The Bones Exist
USA, 2026, 14 min.
DIRECTORS: Kelsey Bollig, Matthew DuVall
 
Breakfast at Berghain                                      WORLD PREMIERE
USA, 2026, 14 min.
DIRECTOR: Autumn Palen
 
The Candle                                                      WORLD PREMIERE
USA, 2025, 9 min.
DIRECTOR: Ren Ariel Sano
The Death of Therapy
USA, 2025, 13 min.
DIRECTOR: Jared Hirsch
 
The Deep Vessel                                              WORLD PREMIERE
USA, 2025, 20 min.
DIRECTOR: Sean Cruser
 
Demon Dog                                                      WORLD PREMIERE
USA, 2026, 11 min.
DIRECTOR: Vanessa Newell
 
Dual
USA, 2025, 20 min.
DIRECTORS: Nitasha Bhambree, Declan Mulvey
 
Four Itchy Boys                                               WORLD PREMIERE
USA, 2025, 13 min.
DIRECTOR: Andrew Hebert
 
House Cat
USA, 2026, 14.5 min.
DIRECTOR: Kyle Spleiss
 
The Intimacy Coordinator
USA, 2026, 15 min.
DIRECTORS: Jack Mullany, Terry Mullany
 
Into the Static                                                  WORLD PREMIERE
USA, 2026, 6 min.
DIRECTORS: The Burbank Brothers
 
Knifeman
USA, 2025, 14.5 min.
DIRECTOR: MP Hayes
 
Lady Puritan
USA, 2026, 15.5 min.
DIRECTOR: Gustine Füdickar, Justin Streichman
 
The Last Cheap House                                    U.S. PREMIERE
USA, 2025, 10.5 min.
DIRECTOR: Meg Favreau
 
Legend Has It
Canada, 2025, 16.5 min.
DIRECTOR: Thomas Lorber
 
The McRoommate
USA, 2025, 1.5 min.
DIRECTOR: The Perez Bros
 
Mimic
USA, 2024, 6 min.
DIRECTOR: Thomas Hindy
 
Physical Touch
USA, 2025, 11 min.
DIRECTOR: Kendra Baude
 
Playtime                                                          WORLD PREMIERE
USA, 2026, 3 min.
DIRECTOR: Paul Hollingsworth
 
Pleasure-Seeking
Australia, 2025, 14.5 min.
DIRECTOR: Michaela Holmes
The Shed                                                         WORLD PREMIERE
USA, 2026, 7 min.
DIRECTORS: Christina K. Moore, Judy Choi, Sabrina Almeida, Winnie Kemp
 
Silent Scream                                                  WORLD PREMIERE
USA, 2026, 12 min.
DIRECTOR: Tommy O’Rourke
 
Starflare                                                           WORLD PREMIERE
USA, 2026, 14.5 min.
DIRECTOR: Christine W. Chen
 
Stay In
USA, 2025, 11 min.
DIRECTOR: Michael Buran
 
Tame
USA, 2025, 11.5 min.
DIRECTOR: Will Schneider
 
Tasty Bones
USA, 2026, 5 min.
DIRECTOR: Ronald Short
 
This Little Piggy Goes to Market                     WORLD PREMIERE
USA, 2026, 14.5 min.
DIRECTOR: Katherine Connor Duff
 
Tick
USA, 2025, 14 min.
DIRECTOR: Sam Permar
 
Ultra Juice
USA, 2025, 3.5 min.
DIRECTOR: Carl Conway Maguire
 
Waltz for Isabelle                                             U.S. PREMIERE
USA/Mexico, 2026, 15 min.
DIRECTOR: Emiliano Figueroa
 
 
DOWNBEAT
1.21 Gigawatts (Director’s Cut)
USA, 2025, 6 min.
DIRECTORS: Erik Deutscher, Tamara Gray
 
Bus Driver                                                       WORLD PREMIERE
USA, 2025, 3.5 min.
DIRECTOR: Karen Haglof
 
Dance On My Own                                           WORLD PREMIERE
Australia, 2026, 3.5 min.
DIRECTOR: Lachlan Dinley Jones
 
Energy
USA, 2024, 6 min.
DIRECTOR: Greyfaen Eastland
 
Glass House                                                    WORLD PREMIERE
USA, 2026, 4.5 min.
DIR: Carla Troconis
 
Hanalei I Ka Pilimoe                                        WORLD PREMIERE
USA, 2026, 3 min.
DIRECTOR: Carolina Espiro
 
Listen To The Lambs                                       WORLD PREMIERE
USA, 2026, 6 min.
DIRECTORS: John W. Snyder, Laura Milosch
 
Money                                                              U.S. PREMIERE
USA, 2025, 4 min.
DIRECTOR: Jordyn Apostolache
 
Ohio Song (OFFICIAL MUSIC VIDEO)              WORLD PREMIERE
USA, 2025, 4 min.
DIRECTOR: Rebecca Shapiro
 
Out of Mind                                                     WORLD PREMIERE
USA, 2025, 4 min.
DIRECTORS: Kacey Fifield, Varvara Aristakesyan
 
Pacific Coast Highway
USA, 2025, 4 min.
DIRECTOR: Alfred Thomas Catalfo
 
Pirate Radio
USA, 2025, 3.5 min.
DIRECTOR: Alfred Thomas Catalfo
Pussy on the Floor                                          WORLD PREMIERE
USA, 2025, 3 min.
DIRECTOR: Chris Osborn
 
Quartermain and Victoria                                WORLD PREMIERE
USA, 2026, 4 min.
DIRECTORS: Summer Purks, Katie Limentato
 
Second Skin                                                    WORLD PREMIERE
USA, 2026, 3.5 min.
DIRECTOR: Anil Baral
 
Shiny Things
USA, 2025, 3.5 min.
DIRECTOR: Tristan Pelletier
 
You Make Me Wanna Dance                            WORLD PREMIERE
USA, 2025, 3 min.
DIRECTORS: Neil Miguel Watson, Trinity Bliss
 
 
DANCES WITH KIDZ PRO SHORTS
Added Flavor                                                   WORLD PREMIERE
USA, 2026, 11 min.
DIRECTOR: Mike Dowling
 
Cake
USA, 2025, 14 min.
DIRECTOR: Erick Juarez
 
Four Square
USA, 2025, 14 min.
DIRECTOR: Eli Staub
Gotta Get Up and Dance
USA/Singapore, 2025, 2 min.
DIRECTOR: Jenny Hersch
 
I Got Next
USA, 2026, 17 min.
DIRECTOR: Christopher Baxter
 
Pan Gyul
Nevis, 2025, 17 min.
DIRECTOR: Juliette Jeffers
 
Rock, Paper, Destiny
USA, 2025, 17 min.
DIRECTOR: Tess Paras
 
 
DANCES WITH KIDZ BY KIDZ SHORTS
The Energy Detective                                      WORLD PREMIERE
USA, 2026, 2 min.
DIRECTOR: Sophia Inghilleri
 
Joy                                                                  WORLD PREMIERE
USA, 2025, 4 min.
DIRECTOR: Owen O’Meara
 
Let’s Erase Extinction                                     WORLD PREMIERE
USA, 2025, 33 min.
DIRECTOR: Andrew Barratt
The Parts We Keep
USA, 2026, 9 min.
DIRECTORS: Hana Marie Kim, Liliana Patel
 
Rose Tinted Nostalgia                                     WORLD PREMIERE
USA, 2025, 28.5 min.
DIRECTOR: David Mahmoudieh
 
Sol                                                                   WORLD PREMIERE
USA, 2025, 4 min.
DIRECTOR: Paulina Monroy-Freyre
 
This Or Life
USA, 2026, 4 min.
DIRECTOR: Winslow Burnett
 
UNPlural “New Home”
USA, 2026, 2 min.
DIRECTOR: Angel Gaeta

#### 2026 USA Film Festival Announces Filmmaker Awards following “fun-at-the-movies” edition of Dallas’ longest running film festival  
The Dallas-based USA Film Festival wrapped the 56th edition of the film festival focused on having fun at the movies. Screenings and events filled the Angelika Film Center with sharks and an appearance by a rock legend (KISS’ Gene Simmons, there with his survival adventure Deep Water), a Superman (Brandon Routh, there with his screwball comedy Out of Order), Black Canary (Arrow’s Katie Cassidy, there with her thriller Speed Demon), a ventriloquist (The Dummy Detective’s Jonathan Geffner) and an Academy Award nominee (Lesley Ann Warren, honored by USAFF, and there with her short film Olive).
Filmmaker awards were announced for Tom Koch’s Olive (Best Narrative Short), Lynnette Luis, Christopher Leete, and Ottilie Maters’ Every Line Becomes A Circle (Best Nonfiction Short). Special jury prizes in the Narrative category went to Hae-Oh Park’s Broken Dawn, Ugnė Skonsmanaitė’s Jasmine. Home. Mother, and Ali Cook’s The Pearl Comb. A special jury prize in the Nonfiction category went to Mei-Juin Chen’s Lisa Lu Plays Herself.
Honorable mentions went to Jonathan Hammond’s Fireflies in the Dusk, Slava Denisov’s The Ride in the Narrative category, and Charles Evans, Jr.’s Reverence, and Cece King’s Si La Isla Quiere (Island Willing), in the Nonfiction category.
Additional awards went to Vita Stoikova’s Vita 2.0 (Student Nonfiction), Catriona Baker’s Ball Lightning (Animation), Yuxin Yang’s 91 Times Smash (Student Animation), Farzaneh Forouzesh’s We Didn’t Say It, You Picture It! (Experimental), Can Karayalçın’s Ankara 1979 (Student Award), and Rodrigo Moreno-Fernandez’ El Lloron (Texas Award).
Additional special jury prizes went to Hannes Rall’s Dobrina (Animation), Emy Mirel Ivasca’s On Saint Nicholas’ Eve(Student Animation), Weipeng Huang, and Yajing Wang’s Allegory of the Cave (Experimental), Gery Riba’s Old Man’s Child (Student), and Ulises Córdova’s Tito Ritmo (Texas). Honorable mentions went to Gordon LePage’s Something Greater Than You (Animation), and Lucía G. Romero’s Casi Septiembre (Student).
Known for its celebration of new and classic films from the U.S. and abroad, as well as free-to-the-public screenings, USAFF opened with a salute to celebrated fashion photographer Arthur Elgort (in attendance) featuring Warren Elgort’s new documentary Arthur Elgort: Models & Muses. The Centerpiece screening of Renny Harlin’s new disaster thriller Deep Water brought several inflated sharks “swimming” throughout the Angelika’s lobby and walkways, as well as Harlin and Gene Simmons wearing safety vests as they did photos and interviews on the USA Film Festival’s red carpet. The next day’s red carpet was a comic book lover’s dream as Routh joined his Out of Order director Guy Jacobson, Cassidy joined her Speed Demon director Jon Keeyes, and Lesley Ann Warren (who once played Lois Lane) all appeared on the same red carpet. If you were a Dallas-based film journalist, that red carpet was the place to be.
Additional highlights included a special 75th Anniversary screening of Alfred Hitchcock’s Strangers on a Train (1951) with author and film historian Stephen Rebello in attendance with his new book about the film “Criss-Cross: The Making of Hitchcock’s Dazzling, Subversive Masterpiece Strangers on a Train.” The screening was hosted on-stage by fellow author and film historian Foster Hirsch. USAFF once again placed emphasis on celebrating local filmmakers, highlighted by Oklahoma native Reed Arnold’s award-winning feature debut Do Us Part, and Adam Meeks’ debut feature Union County, starring Will Poulter and Noah Centineo. The festival’s Closing Night line-up featured a screening of Matthew Thayer’s inspirational No Limbs No Limits starring Nick Vujicic, with Vujicic in attendance.
The Festival’s 2026 Short Film Jury included actor Jim Beaver, actress Dale Dickey, actress/producer/documentarian/ educator Diane Baker, animator/director Bill Haller, film historian/author/professor Foster Hirsch, manager/writer/producer/ director Chris Roe, and artist/director/writer Rosson Crow. Award winners are selected from hundreds of submissions in a variety of categories including Fiction, Nonfiction, Animated and Experimental with additional awards for Student and Texas films also awarded.
For more information on the USA Film Festival, please visit https://www.usafilmfestival.com/
The 2026 USA Film Festival Filmmaker Award Winners
FIRST PLACE / NARRATIVE
Olive
Director: Tom Koch
FIRST PLACE / NONFICTION
Every Line Becomes A Circle
Directors: Lynnette Luis, Christopher Leete, Ottilie Maters
FIRST PLACE / STUDENT NONFICTION
Vita 2.0
Director: Vita Stoikova
FIRST PLACE / ANIMATION
Ball Lightning
Director: Catriona Baker
FIRST PLACE / STUDENT ANIMATION
91 Times Smash
Director: Yuxin Yang
FIRST PLACE / EXPERIMENTAL
We Didn’t Say It, You Picture It!
Director: Farzaneh Forouzesh
STUDENT AWARD
Ankara 1979
Director: Can Karayalçın
TEXAS AWARD
El Lloron
Director: Rodrigo Moreno-Fernandez
PERFORMANCE AWARD
Lesley Ann Warren
Special Jury Prizes
Jury Prize, Narrative – Broken Dawn, Hae-Oh Park, director
Jury Prize, Narrative – Jasmine. Home. Mother., Ugnė Skonsmanaitė, director
Jury Prize, Narrative – The Pearl Comb, Ali Cook, director
Jury Prize, Nonfiction – Lisa Lu Plays Herself, Mei-Juin Chen, director
Jury Prize, Animation – Dobrina, Hannes Rall, director
Jury Prize, Student Animation – On Saint Nicholas’ Eve, Emy Mirel Ivasca, director
Jury Prize, Experimental – Allegory of the Cave, Weipeng Huang & Yajing Wang, co-directors
Jury Prize, Student – Old Man’s Child, Gery Riba, director
Jury Prize, Texas – Tito Ritmo, Ulises Córdova, director
Honorable Mentions
Honorable Mention, Narrative – Fireflies in the Dusk, Jonathan Hammond, director
Honorable Mention, Narrative – The Ride, Slava Denisov, director
Honorable Mention, Nonfiction – Reverence, Charles Evans, Jr, director
Honorable Mention, Nonfiction – Si La Isla Quiere (Island Willing), Cece King, director
Honorable Mention, Animation – Something Greater Than You, Gordon LePage, director
Honorable Mention, Student – Casi Septiembre, Lucía G. Romero, director

#### 20th Century Fox Announces Sing-Along Screenings of THE GREATEST SHOWMAN
 

	20th Century Fox has announced a week of sing-along screenings of its hugely popular, original musical feature film THE GREATEST SHOWMAN.

	Starting this Friday, January 12, the film will be available in 300 theatres around the country in a special version that will display the songs’ lyrics on screen, allowing viewers to sing along with the film’s best-selling soundtrack.

	The film’s songs, penned by Academy Award-winning songwriters Benj Pasek and Justin Paul, have already been embraced by fans worldwide: THE GREATEST SHOWMAN soundtrack currently holds the #1 spot on the Billboard 200 albums chart, and has also reached #1 on iTunes in over 60 countries.

	Earlier this week at the 75th annual Golden Globe Awards, “This Is Me” (performed by Keala Settle) took home the award for Best Original Song in a Motion Picture.

	USA Today said, “THE GREATEST SHOWMAN is chock full of amazing and catchy tunes you’ll be humming after the credits roll.”

	But starting Friday, fans can sing-along as the film is playing! The link below provides a list of all participating theatres.

	http://www.thegreatestshowmantickets.com/?format=sing-a-long

#### 21 & Over (Bluray)
I remember turning 21.  It was a long time ago (though not necessarily in a galaxy far, far away…). As a teenager, I was pretty crazy, but only in that ‘I’m a theater nerd’ kinda way.  I wasn’t a drinker or smoker; I hated parties and had no desire to have a wild time just because it was legal for me to. This may be, in part, why movies like “21 & Over “ don’t always appeal  to me in the way that it might others.
“21 and Over” stars Justin Chon as Jeff, a hard-working student readying himself for an extremely important interview for a prestigious medical school.  As the title suggests, he is turning 21 but doesn’t have time for trivial pursuits. Enter Miles Teller and Skylar Astin as two of his high school buddies who are determined to take Jeff out and celebrate in a manner befitting his ‘coming-of-age.’ “Just one drink” turns into many and the next thing you know, the friends finally decide it’s time to get Jeff home. Except they don’t know where he lives. You can kind of guess things just get worse from here.
To say that “21 and Over” is a poor man’s “The Hangover” would be a disservice to the film because, despite my inability to identify with any of the characters, it’s a pretty funny film overall. There’s one sight gag after another and if you like unbelievably uncomfortable situations, well… you’ll find plenty of them here.  The humor is crude, rude and you’ll find a good bit of male nudity here (much more than I think was necessary) so you might want to keep this move away from younger teenagers – I’d say 17 and up.
The Blu-ray release offers a very clean picture, with great color saturation. The audio is equally good, and while there are no special sound effects the ambient sounds in the louder scenes are well balanced with the dialogue so you never have an issue hearing the actors.
Special features are sparse, but acceptable for a film like this. “Levels of Intoxication” follows Jeff’s growing intoxication and “Tower of Power” focuses more on the types of drinking games that I would admittedly avoid like the plague. You’ll also find a brief Gag Reel and Theatrical Trailer. The Combo Pack I have includes the DVD and Digital Copy of the film.
I’m definitely not the target audience for “21 and Over”, but despite that, I still found it quite funny, if not necessarily original. 
Directed by:  Jon Lucas & Scott Moore
Starring: Miles Teller, Justin Chon, Jonathan Keltz, Sarah Wright, Skylar Astin
Extras: Levels of Intoxication; Tower of Power ; Gag Reel ; Theatrical Trailer
Release Date: 6/18/2013
MPAA Rating:  R
http://21andovermovie.tumblr.com/

#### 23 BLAST –  A Review by John Strange
 

	23 BLAST

	 

	By: John ’Doc’ Strange

	 

	Directed by: Dylan Baker

	 

	Cast: Dylan Baker, Alexa Vega, Stephen Lang, Mark Hapka, Kim Zimmer, Max Adler and Bram Hoover

	 

	MPAA Rating:  PG-13 (for some teen drinking)

	 

	Selig Rating: FULL PRICE

	 

	Runtime: 98 Min.

	 

	 

	As Texans, my friends and I have grown up watching football, especially high school football.  23 Blast is the true story about the small town of Corbin, Kentucky where the high school team has had a great run on the shoulders of a quarterback, Travis Freeman (Mark Hapka) and his best friend, the ne’er-do-well running back, Jerry Baker (Bram Hoover).  Travis is a hero to the town both on and off the field.

	 

	Travis comes down with an infection that settles in his head and affects the optic nerves causing him to go blind.  He and the town go into shock at first.  No one knows what will become of the young man who has put so much of his life into playing the game of football. 

	 

	Coach Farris (Stephen Lang) has been the boys’ coach since their pee-wee league days.  He is the type of coach every young man prays to have and few ever do.  His approach to coaching is to build up the players not knock them down and force them into a model of the coach’s desires.

	 

	With Travis, Coach Farris has a real challenge.  The young man who has been the leader of the team no longer has a clear goal in life.  College football is out now.  Travis has to first learn how to walk across a room and then how to get around without someone to lead him before he can get on with his life.

	 

	Enter Patty Wheatley (Becky Ann Baker), a physical therapist whose no nonsense approach wakes the young man up and gets him to thinking about the future again.  He returns to school and begins to get his life back in order.

	 

	Sadly, his friend Jerry is not doing as well.  His attitude has been affecting his receptions and he is no longer the go-to receiver on the team.  The new quarterback has a receiver who is not screwing up.  Jerry is imploding, drinking and not trying to fight his way back to the first team.  His chance to get a football scholarship and get out of the town are rapidly shrinking. Only a miracle can save him.

	 

	Travis has something or rather someone else in his favor, his friend Ashley (Alexa Vega).  Ashley spends time with Travis and together they “watch” the team practice in the afternoons.  Coach Farris comes over one afternoon to talk with the watchers and in the course of their discussion discovers that maybe there is a place on the team for Travis.

	 

	As I said at the beginning of this review, this is a true story.  The story is uplifting and heart-breaking at the same time just as any real life story should.  As you watch the credits you will see the real people who are portrayed in the film.  They are in the stands of the stadium where the final game has been played.  As much as I enjoyed watching this film, I loved seeing the real people even more.  This is a film you should make time to see.

	 

	 

	 

	 

	Movie Site: http://www.23blast.com

	 

	 

	The Selig Rating Scale:

	 

	FULL PRICE – Excellent movie, well worth the price

	MATINEE – Good movie

	DOLLAR – OK movie

	CABLE – No need to rush. Save it for a rainy day.

	FREEBIE – Good that I saw it on the big screen but wish I hadn't paid for it.

	COMMERCIAL TV – Commercials and cutting to the allotted time will not hurt this one.

	FORGET IT! – Bad. If you see this one, do yourself a favor and keep it to yourself.

	GET YOUR TORCHES – BAD! – Burn the script, the writer, the director and maybe even the actors!

#### 23 Blast – Interview with Director Dylan Baker
A magical true-life tale of Travis Freeman captures the fun reality behind small town high school football.  Click through for my interview with Director Dylan Baker.

	

	Dylan and I started our talk by talking about how he came to know about Travis Freeman.

https://seligfilmnews.com/wp-content/uploads/2014/10/Dylan-Baker-Becky-and-Dylan.wav

	Dylan talked about other members of the producing team and reminisced about his own high school football days.

https://seligfilmnews.com/wp-content/uploads/2014/10/Dylan-Baker-Gary-Varsity-and-Coaches.wav

	Dylan and Becky even spent some of their honeymoon watching a Texas High School football game!

https://seligfilmnews.com/wp-content/uploads/2014/10/Dylan-Baker-honeymoon-and-Kentucky.wav

	Intermission moment with NFL Hall of Famer: Marshall Faulk.

	I asked Dylan about the real-life Travis' impact on the film.

https://seligfilmnews.com/wp-content/uploads/2014/10/Dylan-Baker-Travis-Freeman-being-there.wav

	Travis' reaction.

	Dylan and I ended our chat by talking about his Dallas connection via his days at SMU.

https://seligfilmnews.com/wp-content/uploads/2014/10/Dylan-Baker-SMU.wav

	For more information on this inspirational story go, here

#### 23rd Annual Magnolia Independent Film Festival Lineup and Advance Tickets Now Available
 
The annual Magnolia Independent Film Festival, taking place from February 27-29th, 2020 at the Hollywood Premier Cinemas in Starkville, MS, has released the lineup and advance tickets are now on sale.
The Mag, Mississippi’s first and longest running film festival, will continue its legacy of bringing quality independent films and filmmakers from around the world to the Golden Triangle for the 23rd year. The festival will feature 38 films: 29 short films, 5 music videos, and 4 feature films. The lineup ranges from drama to comedy and from narrative to documentary, and includes work from all over the US, the UK, Canada, Switzerland, Uruguay, China, Iran, The Netherlands, Italy, Poland, Venezuela, and Czech Republic. This lineup includes 27 exclusive Mississippi and US premieres and 2 world premieres. Advance tickets are now on sale.
Tickets:
$10 Per Block ($5 for student)
$5 Family Friendly Block
$30 Festival Pass ($15 for student)
$75 VIP Experience
“In addition to our four traditional blocks of films, we have added a family-friendly block with films that the entire family can enjoy. The proceeds for this block are going to be donated to MSU’s T.K. Martin Center for Technology and Disability, so we hope to get a lot of support for this event from our local and surrounding communities. Expanding our lineup in this way allows us to share independent film with an entirely new audience and perhaps inspire a new generation of young filmmakers,” said Brandon McLaren, director of the 2020 Magnolia Independent Film Festival.
Funded in part by grants provided by the Mississippi Arts Commission, the Starkville Area Arts Council, as well as various local and regional sponsors, The Mag will host dozens of filmmakers from all over the state, country, and world. Additionally, a free workshop will also be open to the public on Saturday, February 29th titled “The ABCs of Making a Documentary Film: From Concept to Creation de-mystifying the creation of a documentary film” presented by Mark LaFrancis of Natchez, MS. More details will be released soon.
“Our lineup this year is going to be very unique. With 12 different different countries represented, multiple Mississippi films, and various genres, including documentaries, horror, drama, comedies, and more, there is going to be something for every film lover.” McLaren continues.
To view the lineup of films and purchase tickets, visit www.magnoliafilmfest.com or check out The Magnolia Independent Film Festival on Facebook and Instagram.

#### 23rd New Orleans French Film Festival Announces Opening Night Film
 
The New Orleans Film Society (NOFS) announced that the 23rd New Orleans French Film Festival will be held between February 27 – March 4, 2020, at the Prytania Theatre. Festival passes are now on sale at neworleansfilmsociety.org
The New Orleans French Film Festival is one of the longest-running foreign language festivals in the U.S. and it is no coincidence that it takes place at The Prytania Theatre, the oldest continuously running single-screen theater in New Orleans. The festival traditionally showcases 20+ feature-length and short French-language films from Belgium, Canada, the Carribean, France, Haiti, North Africa, and Francophone communities here in Louisiana. As always, all films will be screened with English subtitles. The French Film Festival is also known for its eclectic music performances by local musicians prior to film screenings.
SIBYL OPENS THE FRENCH FILM FESTIVAL
The complete festival lineup and schedule will be announced at the end of January. However, the Opening Night Film is out! Premiered at the most recent Cannes Film Festival, French director Justine Triet’s SIBYL brings together an all-star cast with Virgine Effira (Elle, Victoria), Adèle Exarchopoulos (Blue is the Warmest Color), and Sandra Hüller (Toni Erdmann). This sultry and stylish psychodrama follows a psychotherapist who begins to use a patient’s life as source material for her novel. The film is the perfect appetizer to get the festival-goers avid for the next 6 days of programming.
PASSES ARE NOW ON SALE
Acquiring a French Film Festival Pass is the best way to experience the festival. Passholders get free access to all screenings, skip the lines with priority entrance, keep their seats without having to leave the theater between screenings, and book their tickets a week before tickets go on sale for the public.
The Patron Pass, on top of all the benefits of a regular pass, comes with an invitation to the French-themed Patron Party on February 27th at a New Orleans residence prior to the Opening Night Film.
Individual tickets will be available to book for festival passholders and New Orleans Film Society members on February 3rd, a week earlier than tickets go on sale to the public on February 10th.
For more information on passes & tickets, visit neworleansfilmsociety.org/french-film-festival
New Orleans Film Society’s Scene Stealer, Producer’s Circle, Executive Producer’s Circle, and Director’s Circle members get two FREE passes to the French Film Festival! Moviegoer and Take Two members get $15 off of passes or $3 off of individual tickets.
To become a member, visit neworleansfilmsociety.org/become-a-member
Join the Facebook event page at https://www.facebook.com/events/470418756953762/
 
SUPPORT FOR THE 23RD FRENCH FILM FESTIVAL COMES FROM…
The 23rd New Orleans French Film Festival’s premiere sponsor is TV5Monde. The festival’s lead media sponsor is The New Orleans Advocate – Times-Picayune, with other sponsorship support from L’Union Francaise. The festival is organized in partnership with the Prytania Theatre and WWNO is a media partner.
 
FILM SYNOPSIS
OPENING NIGHT FILM: SYBIL
Thursday, February 27, 2020, 7:30 PM, The Prytania Theatre
Dir. Justine Triet | France| 2019 | 101min. | Cast: Virgine Effira, Adèle Exarchopoulos, Sandra Hüller, Gaspard Ulliel
A sly, sultry character study from filmmaker Justine Triet, SIBYL follows a psychotherapist (Virginie Efira) who decides to quit her practice and return to writing instead. As Sibyl starts dropping patients, she begins to struggle with excess time and a lack of inspiration–until she gets a call from Margot (Adèle Exarchopoulos), a young actress wrapped up in a dramatic affair with her costar, Igor (Gaspard Ulliel), who happens to be married to the film’s director (Sandra Hüller). Becoming further enmeshed in Margot’s life, Sibyl starts to blur past and present, fiction with reality, and the personal with the professional as she begins to use Margot’s life as source material for her novel.

#### 24th Annual VideoFest adds screening of Socialism by Jean-Luc Godard at Texas Theatre
24th Annual VideoFest adds screening of Socialism by Jean-Luc Godard at Texas Theatre
 

	For press information:
Lisa Taylor 
Taylor-Made Press
Taylormadepress@gmail.com or 214-914-1099
 
Dallas, TX – VideoFest 24 will now open Sept. 21 instead of Sept. 22 because it obtained the rights to screen Jean-Luc Godard’s latest film Socialism. This special opening night event will be at 7 p.m. at The Texas Theatre, 231 W. Jefferson Blvd. in North Oak Cliff. The rest of VideoFest will be at the Angelika Film Center at Mockingbird Station in Dallas, Sept. 22-25, 2011.
 
The oldest and largest video and film festival in the nation, VideoFest shows a diverse range of works by regional, national and international video and film artists that are hard to find at the local video store, the movie theater or on Netflix. Because VideoFest is different than a traditional film festival or just going to a movie, expect something different!  This year we want to really show Dallas what VideoFest is all about; we want to rock the boat, push buttons, and take the new advent of media to the next level. We have opened a new category that we feel expresses exactly what we wish to achieve: The Subgenre. We are looking for music videos, skating videos, and similar projects that represent counterculture and subculture. These are the underground films, the Harriet Tubman's, the Tyler Durdens, the middle fingers of cinema and television, if you will. For the fourth year in a row, the VideoFest will be presented thru I-Tunes.
Media Sponsor is D Magazine and Art + Culture.
 
Highlights of this year’s VideoFest will include: 
the winner of the “Silence The Opera Singer” for Angelika theaters nationwide; 
the winner of D Magazine’s “Dallas Stories” competition; 
the winners of the 24 Hour Video Race;
the winner of 8th Annual Albert Mayles Award for an emerging documentarian; 
The Texas Show, a juried compilation of short film and video by Texas artists;
Guts N Glory, a live performance event where teams shoot 100 feet of film in sequence then VF develops it in time for event without the teams seeing it, meanwhile the teams create a performance piece to accompany their films 
Siggraph Electronic Theater, the best selections from this annual computer graphics event;
The London International Advertising Awards, the best commercials 
and Slackers Dallas Style, marking the 20 Year Anniversary of the pivotal film Slackers by Texas Filmmaker Richard Linklater. 
 
 
Patrons may purchase day passes ($25 or $35 depending on day) or All-Festival passes ($150) for over 150 programs making this Festival the best deal in town. Buy tickets online in advance or at the door day of show. Visit www.videofest.org for more information or call 214-428-8700.
 
ABOUT VIDEOFEST
 
VideoFest is now the oldest and largest video festival in the United States, and continues to garner critical and popular acclaim. Since 1986, VideoFest has specialized in independent, alternative, and non-commercial media, presenting hard-to-find works rarely seen on television, in movie theaters, or elsewhere, despite their artistic excellence and cultural and social relevance. Even in a Web 2.0 environment where everything is seemingly available on the Internet, the VideoFest provides curatorial guidance, a critical voice in the wilderness navigating the vast and diverse landscape of media, helping to interpret its cultural and artistic significance. The event still provides a communal environment for real-time, face-to-face dialogue between makers and audiences.
ABOUT VIDEO ASSOCIATION OF DALLAS
 
The mission of the Video Association is to promote an understanding of video as a creative medium and cultural force in our society, and to support and advance the work of Texas artists working in video and the electronic arts.   The Video Association of Dallas (VAD) is a 501(c)(3) organization incorporated on April 25, 1989.   It began in 1986 a weekend event, “Video As A Creative Medium”, presented at the Dallas Museum of Art by independent curators Barton Weiss and John Held. That first event, which included two nights of video by selected local and national video artists, was a great popular success, which led to the founding of the Dallas Video Festival (DVF) in 1987.  Video Association of Dallas presents the 24 Hour Video Race, The Program at Conduit Gallery, the Texas Tour, the Youth Media Jam, Three Star Cinema, Rock n Reel, college showcases and other programs throughout the year. 
For press information, please contact Lisa Taylor at 214-914-1099 or email taylormadepress@gmail.com
 
# # # #

	
 
 
TWENTY-FOURTH ANNUAL VIDEO FEST
 
WHAT:               Twenty-Fourth Annual Video Fest
                        Presented by the Video Association of Dallas                  
 
WHERE:             At the Angelika Film Center, 5321 E. Mockingbird Lane
                        * At The Texas Theatre, 231 W. Jefferson Blvd.       
 
WHEN:              Wednesday, Sept. 21           7 p.m.*
Thursday, Sept. 22              7-11:30 p.m.
Friday, Sept. 23                  7-11:30 p.m. 
                        Saturday, Sept. 24               noon-11:30 p.m.
                        Sunday, Sept. 25                 10:30 a.m.-10 p.m. 
 
TICKETS:           All-festival passes: $150
                        All-Evening passes: Thursday or Friday $25
All-Day and Evening passes: Saturday or Sunday $35
Seniors (60 or older): $10 off
Some selected programs will be $6 per program available at event only
                        Tickets will be available at the door or online at videofest.org
 
INFO:                        Video Association of Dallas
T: (214) 428-8700
                        E: info@videofest.org
http://www.videofest.org
Press: Lisa Taylor, 214-914-1099, taylormadepress@gmail.com
 
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#### 25th Annual Kineo Awards Announces Honorees for event at Venice Film Festival
The renowned Kinéo Awards announced honorees for its 25th Anniversary edition, including Faye Dunaway, Nicola Peltz Beckham, and Paul Thomas Anderson’s One Battle After Another. Cecilia Miniucchi’s dramatic short film, Dinner With Dante will receive the “Diamonds at Cinema” award. This will mark consecutive years that Miniucchi’s work has been honored by the Kinéo Awards. The awards take place on September 5 at Casa Cinema Giovani with a private dinner to follow at Hotel Ca’ Sagredoon at the 83rd Venice Film Festival (September 2-12).
Dunaway will receive a lifetime achievement award adding to a host of honors the Academy Award-winning film legend, known for such classics as Bonnie and Clyde, Network, Chinatown, and more, has received. Beckham will receive the Rising Star Award, citing her work as an actress, producer, and filmmaker. Dunaway and Beckham will soon be seen onscreen together in Alessandro and Luca Morelli’s Prima.
Last year, Miniucchi’s film No Place Like Home garnered Italian actress Cristiana Capotondi the Kinéo Award for Best Italian Actress in an International Film, while Miniuccchi received a special Kinéo Award for being the first and only female Italian director to begin and continue her career in the U.S.
Directed by Miniucchi from a script by Katherine Schimmel, Dinner with Dante, focuses on a young woman (Gaia Botazzi) who is unable to fully recover from the death of her fiancé in World War II. That trauma has frozen her and her life in time, just like the statue of Dante, at the Piazza Santa Croce outside the Basilica of Santa Croce, with whom she has an ongoing internal relationship and dialog reflecting on war and his Inferno. Shot in Florence, and filmed in black and white, Dinner with Dante is a poetic exploration of how the personal devastation from wartime conflict and the loss of loved ones can continue to burn in stasis, even while time and life goes on.
Other honorees include Paul Thomas Anderson’s Academy Award-winning One Battle After Another (Best International Film), Chiara Francini (Best Actress), Maria Gifuni (Best Supporting Actress), Raniero Monaco di Lapio (Best Actor, Series), Sara Lazzaro (Best Actress, Series), and Paolo Calvano (Best Child Star). A special nod to international cinema will include Turkish star Alp Navruz, and Mexico’s Oka Giner.
The Kinéo Award, conceived and directed by Rosetta Sannelli, is an award that combines the judgment of the public and a high-caliber jury of industry experts. It has always been an official collateral special event at the Venice International Film Festival.

#### 26th Annual Beverly Hills Film Festival Returns April 12-19, 2026 with Record 450 Films from 65+ Countries
The 26th annual Beverly Hills Film Festival® (BHFF) will return from April 12 – April 19, 2026, marking its largest and most internationally diverse edition to date. With a record-breaking 450 films representing more than 65 countries, the 2026 festival underscores its growing global influence as a premier showcase for filmmakers.
Celebrating more than two decades of international cinema, the Beverly Hills Film Festival continues to serve as a high-profile gathering point for established industry leaders, tastemakers, and global audiences. This year’s expansive slate spans narrative features, documentaries, shorts, animation, and experimental works, reflecting the evolving landscape of global storytelling and the increasing cross-border collaboration that shapes today’s film industry.
The festival will kick off with its signature opening night celebration at The Beverly Hilton, for a glitzy night of red-carpet spectacle and old-school Hollywood glamour, all in the heart of Beverly Hills. The weeklong celebration will culminate in the festival’s renowned black-tie Awards Gala, where standout filmmakers will be honored for excellence in cinematic achievement.
This year’s highlights, all playing at the iconic TCL Chinese Theatres, include the following titles:

Sock it To me: The Legend of George Schlatter, directed by Chris Coronado, starring Tom Hanks, Billy Crystal, Goldie Hawn, Martin Short, Lily Tomlin, Michael Douglas, Bill Maher, Jimmy Kimmel, Sherry Lansing, Jay Leno, Clive Davis, and many more.
Boris is Dead, directed by James Cullen Bressack, starring Dane Cook, Cam Gigandet, Jesse Metcalfe, James Duval, Steven Bauer, and Martin & Jesse Kove.
Eddie Cochran: Don’t Forget Me, directed by Kristy Bell, starring Kiefer Sutherland, Keith Richards, Ronnie Wood, Roger Daltrey, Billy Idol, John Waters, Linda Perry, Sting, and Yungblud.
The Highest Stakes, directed by Tony Dean Smith, starring Seth Green, Kevin Dillon, Charlie Weber, and Dylan Walsh.
Crystal Cross, directed by Richie James Follin, starring Rubyrose Hill, Missi Pyle, Samantha Robinson, and Lukas Haas.
Elvis, Rocky, & Me: The Carol Connors Story, directed by Alex Rotaru, starring Carol Connors, Barbi Benton, Mike Tyson, Dionne Warwick, and Diane Warren.
Bonding, directed by Victoria Trofimenko, starring Jefferson White, Gloria Reuben, Tate Donovan, and Alexandra Doke.

Throughout the week, attendees can expect high-profile premieres, filmmaker Q&As, curated panel discussions, and industry networking events designed to spark collaboration and spotlight bold new voices. Outdoor programming and special events across Beverly Hills further reinforce the city’s role as both backdrop and cultural catalyst for the global film community.
“Each year, the Beverly Hills Film Festival brings together some of the brightest filmmakers working today and showcases extraordinary examples of filmmaking from around the world,” said Nino Simone, President and Founder of the festival. “There is a unique energy and spirit here in Beverly Hills that simply doesn’t happen anywhere else. The festival has grown into a true destination for the global film community, a place where exciting new voices in cinema are discovered while the legends who shaped this industry are celebrated and honored.”
In partnership and hosted at The Beverly Hilton, the festival continues to position Beverly Hills as a global destination for arts and culture, generating international visibility while supporting local businesses, hospitality, and tourism.
“We are delighted to welcome the Beverly Hills Film Festival back to The Beverly Hilton in 2026. As an iconic destination with enduring ties to film, artistry, and Hollywood history, the hotel has long served as a premier gathering place for storytellers and industry visionaries from around the world,” said David Ecija, General Manager at The Beverly Hilton. “This continued partnership reflects our shared commitment to celebrating creative excellence and honoring the craft of cinema. We are proud to once again host filmmakers, industry leaders, and distinguished guests as they come together in the heart of Beverly Hills to recognize the transformative power of storytelling and the lasting impact of film.”
The 2026 festival is made possible through the support of its distinguished partners, including The Beverly Hilton Hotel, Official Hotel and Awards Venue Partner; Love Beverly Hills, Official Host Destination Partner; Ovation Hollywood, Official Outdoor Panel Venue Partner; TCL Chinese Theatres, Official Screening Partner; Maison Perrier, Official Water Partner; Aix Rosé, Official Rosé Partner; Fever-Tree, Official Mixer Partner; and Peroni, Official Beer and Non-Alcoholic Beer Partner. Their collaboration enhances the festival experience, from world-class hospitality and iconic venues to curated culinary and beverage offerings that elevate each event throughout the week.
For more information about the festival, please visit beverlyhillsfilmfestival.com

#### 27th Galway Film Fleadh – Preview
In the picturesque city by the sea, locals and volunteers are getting ready to welcome film lovers to the annual Galway Film Fleadh in Galway, Ireland July 7-12. Now in its 27th year, the festival is Ireland's flagship film event that includes international and local cinema, workshops and even an outdoor film score concert presented by the Esker Festival Orchestra.

	https://youtu.be/Ov8RaC9ORiM

	The Opening Night film highlights the extraordinary talents of filmmaker Simon Fitzmaurice. Fitzmaurice is an award-winning director who was diagnosed with Motor Neuron Disease but was passionate and determined to complete his first feature film My Name is Emily. It is a coming-of-age story about a 16-year-old who embarks on a road trip to find her missing father. The screening will include a Q&A at the Town Hall Theater, Tuesday, July 7th at 7:30 p.m.

	

	The Closing Night film, An Klondike, is also a journey-inspired story about the three Irish Connolly brothers, who traveled from the silver mines of Montana to the Klondike Valley during the Gold Rush in the late 1800s. The brothers find riches by dealing dirty and eventually become the head honchos in the mining town of Dominion Creek. An Klondike is a must see as it happens to be the first Western filmed in Ireland! The screening will include a Q&A at the Town Hall Theater, Sunday, July 12th at 8:30 p.m.

	IRISH CINEMA

	https://youtu.be/o1MvOOMHbpE

	Speaking of Irish talent, the Galway Film Fleadh will screen 21 narrative and documentary feature length films directed by Irish filmmakers.

	Dr. Aiden MacCarthy was a survivor of World War II who spent years in a POW camp, a stone's throw away from the Nagasaki atomic bomb site. A Doctor's Sword is a documentary following MacCarthy's daughter, Niki, who travels back to Japan to learn about the mysterious Japanese officer who gave Dr. MacCarthy his ancestral sword.

	

	Lost in the Living is a narrative drama set in Berlin. Oisín is a musician from Dublin who finds himself looking for an adventure after losing his mother. The film addresses a conditions and situations that many can relate too, like loneliness and homesickness.

	FOCUS ON THE NETHERLANDS

	https://youtu.be/C1jKsg44Gn4

	Galway Film Fleadh will spotlight films hailing from the Netherlands. And it's an exciting lineup that includes an intense documentary about a top chef Sergio Herman in Sergio Herman: F***ing Perfect. Film people can geek out on the fact that it was shot on Super-16mm.

	https://youtu.be/u4lVkxwIM4k

	Another documentary that looks delicious and appealing is Banana Pancakes and the Children of Sticky Rice directed by Daan Valdhulzen. It captures the lives of traditional Laotian farmers and the outsiders who interpose their modern ways. These are just a few of the titles representing the beauty and elegance of Dutch cinema.

	SPECIAL EVENTS

	

	In case that's not enough cinema love, actors, how about doing a little workshopping with the talented John C. Reilly? Reilly will teach a Masterclass Saturday, July 11th. Registration is still open on the festival website. And Sunday, July 12th, the festival will host "An Afternoon With John C. Reilly" with a special screening of Walk Hard: The Dewey Cox Story.

	

	For those interested in diving deep into classic Irish cinema, there will be a special archive presentation of rediscovered films from the Aran Islands. The series will include works by documentarian Robert Flaherty (Man of Aran and Oidhche Sheanchais). Irish Film Institute curator Sunniva O’Flynn will introduce each film and special musical accompaniment by Aran fiddler Deirdre Ní Chonghaile.

	For the full lineup, other special events, shorts and more go – GalwayFilmFleadh.com

	Follow Selig Film News Facebook, Instagram and Twitter pages for exclusive real-time news and updates from Ireland!

#### 27th New Orleans French Film Festival Announces Lineup Including New Restoration of Glen Pitre Films
$8.50 A Barrel
 
The New Orleans Film Society (NOFS) announced the film lineup for the 27th annual New Orleans French Film Festival that will be held at the historic Prytania Theatre from February 22-28 and streaming virtual February 22- March 3, 2024. The festival will spotlight special screenings of two newly restored films, entirely in Cajun French, from Louisiana filmmaker Glen Pitre.
The festival will also continue to broaden its definition of “French cinema” with inclusion of work from around the world, including stories centering communities in the Democratic Republic of the Congo, the mountains of Switzerland, Québec, and Louisiana.
In addition to conversations with Pitre, the festival will also include a showcase of the work of Johanna Makabi, a filmmaker of Senegalese and Congolese heritage who is an artist-in-residence at Villa Albertine in Louisiana, a program created by the French Ministry for Europe and Foreign Affairs, and supported by the French Ministry of Culture. The festival will host a screening of four of Makabi’s films and a conversation with her regarding her work and approach to cinematic storytelling.
Visit neworleansfilmsociety.org/french-film-festival to see the full lineup and to purchase festival passes. All pass types (All Access Pass, Virtual Pass, and Student + Teacher Pass) are now available to purchase!
Important Dates:
February 8 at 12 PM CST – Schedule goes live.
February 8 at 12 PM CST – Individual tickets go on sale to NOFS members February 15 at 12 PM CST – Individual tickets go on sale to the public
24 FILMS FROM 10 COUNTRIES
The festival brings together 14 features alongside 10 short films all prominently featuring francophone communities from around the world, in French with English subtitles. The films were produced in Belgium, Canada, Democratic Republic of Congo, France, Germany, Italy, The Netherlands, South Africa, Switzerland, and the USA.
Clint Bowie, Artistic Director of the New Orleans Film Society, said, “Now in its 27th year, the French Film Festival continues to grow and evolve, and this year’s program fully encapsulates the diversity of French-language cinema from around the globe, including films made right here in Louisiana. It includes work from industry veterans like Claire Simon and François Ozon while also introducing audiences to new voices from directors like Baraka Rahmani and Chasah and Charliese West.”
OPENING & CLOSING NIGHT FILMS
Director François Ozon’s The Crime is Mine (Mon Crime) will open the 27th French Film Festival on February 22nd. Ozon’s crime comedy follows struggling actress Madeleine (Nadia Terezkiewicz) and her best friend Pauline (Rebecca Marder), an unemployed lawyer, living in a cramped flat and owing five months’ rent. Opportunity knocks after a lascivious theatrical producer who made an inappropriate advance towards Madeleine turns up dead. Madeleine stands trial for murder and ascends to decadent stardom, with Pauline serving as defense counsel and media circus ringmaster. A new life of fame, wealth, and tabloid celebrity awaits—until the truth comes out. This marks Ozon’s 8th film at the French Film Festival, having previously shown Summer of 85, Double Lover, In the House, and others.
The in-person portion of the festival will conclude on February 28th with Menus-Plaisirs – Les Troisgros, regarded as one of the greatest food films ever made. This four-hour opus from 93-year-old legendary documentarian Frederick Wiseman takes an insider’s look at a French restaurant that’s held the top Michelin star rating of three stars for more than 50 years and over four generations. Sumptuous and lavishly observed, the film shows the great artistry, ingenuity, imagination, and hard work of the restaurant staff in creating, preparing, and presenting meals of the highest quality.
LOUISIANA FRENCH REPRESENTED
Louisiana is represented by three films within the French Film Festival program this year, including director Glen Pitre’s newly restored French Cajun films $8.50 a Barrel (Huit Piastres et Demie!) and Yellow Fever (La Fievre Jaune). After the films were released in the late 1970s, Roger Ebert described Glen as “a legendary American regional director, a shrimper’s son who graduated from Harvard and went back home to Louisiana to make movies. His early films were shot in the Cajun dialect. [He is] arguably the world’s only Cajun-language filmmaker.” Both films
look at historical events in Louisiana’s history: the shrimp war of 1938 and the yellow fever epidemic in the state in 1897, both centering the French Cajun community and language. IndieCollect has restored these two rare films, shining a light on the expressiveness of the unique Cajun language and culture. The new 4K restoration of these films was led by IndieCollect and created with the support of the Golden Globe Foundation. Pitre, who is a “Chevalier de l’ordre des arts et des lettres”—a prestigious order given by the French cultural ministry to distinguished artists in the fields of cinema, literature, arts, and fashion—will take part in conversations following screenings of each of the two restored films.
Additionally, the festival will host the world premiere of Louisiana-based directors Chasah West and Charliese West’s short film Heritage, made with support from the Nous Foundation. Alums of the New Orleans Film Society’s Emerging Voices Directors Lab, the West Sisters wrote and directed this story of a teenager, disinterested in her Louisiana Creole heritage, who finds herself rethinking her own heritage after an encounter with a French-speaking visitor.
Scroll down to read synopses and see the screening schedule of all 24 films included in the 27th New Orleans French Film Festival lineup.
 
FILM LINEUP
All screenings will be held at the Prytania Theatre in the films’ original language with English subtitles.
Part of the lineup will also be available to stream online in the festival’s Virtual Cinema at https://watch.eventive.org/fff2024.
 
FEATURE FILMS
$8.50 A BARREL (HUIT PIASTRES ET DEMIE!) — Restoration Premiere!
Dir. Glen Pitre| USA | 1981 | 58 min.| Narrative Feature
During the Great Depression, shrimp prices spiraled down. Fishermen began to organize, families chose sides, and violence erupted. The Cajun cast recreates the tumultuous Shrimp War of 1938 in this thrilling film. Though made on a tiny scale, its verisimilitude recalls Victor Fleming’s dramatic 1937 film, Captains Courageous. New 4K Restoration by IndieCollect created with the support of the Golden Globe Foundation. A conversation with the filmmaker will follow the screening.
 
ÀMA GLORIA
Dir. Marie Amachoukeli |France | 2023 | 84 min.| Narrative Feature Trailer: https://www.youtube.com/watch?v=8pzdym2l-Aw
Six-year-old Cléo loves her nanny Gloria more than anything. When Gloria must return to Cape Verde to care for her own children, the two must make the most of their last summer together. A standout at the Cannes Film Festival, and having recently screened at the Sundance Film Festival, Àma Gloria exquisitely captures themes of family, separation, and the ties that bind people together from the point of view of its capricious—and expertly acted—young protagonist.
 
ANIMAL KINGDOM (LE RÈGNE ANIMAL)
Dir. Thomas Cailley |France, Belgium | 2023 | 128 min. | Narrative Feature Trailer: https://www.youtube.com/watch?v=MZ9LA7LEXR0&t=31s
In this surprising, expectation-defying, and often humorous drama, a father (Romain Duris) and his teen son (Paul Kircher) contend with a cross-country move and an unexplained epidemic that causes people to mutate into animals. Also starring Adèle Exarchopoulos (Blue is the Warmest Color), this creature-filled dystopian thriller world premiered as the opening night selection of Cannes Un Certain Regard.
 
DRIVING MADELEINE
Dir. Christian Carion | France | 2023 |90 min. | Narrative Feature Trailer: https://www.youtube.com/watch?v=w_ZLwuO2eg8
A seemingly simple taxi ride across Paris evolves into a profound meditation on the realities of the driver and his fare, a 92-year-old woman whose warmth belies her shocking past. Charles (Dany Boon) is a taxi driver in Paris, and he is having a very bad day. Enter Madeleine (Line Renaud), an immaculately groomed nonagenarian, who informs Charles that the trip today will not be a direct one. She is moving into a nursing home and would like to make some stops along the way, predicting that this might be her last car ride through the city. Their ride takes them through the momentous locations of her life and their brief friendship deepens as Madeleine listens to Charles confess his own worries.
GODARD CINEMA
Dir. Cyril Leuthy| France | 2022 | 100 min. | Documentary Feature Trailer: https://www.youtube.com/watch?v=g-KAPslQ5ck&t=1s
A 2022 Venice Film Festival selection, this portrait of the gamed French filmmaker is divided into six chapters, each inspired by phases of his life’s work, spanning the 40 years from his breakthrough with Breathless in 1960 to his late magnum opus Histoire(s) du cinéma. In trying to uncover the real Jean-Luc, filmmaker Cyril Leuthy sat down with Godard’s many collaborators, friends and critics who have a lot to say about an eternal rebel who was still exhausting himself in the hunt for a perfect cinema, even with 140 films under his belt.
 
LA CAGE AUX FOLLES
Dir. Édouard Molinaro | France, Italy | 1978 | 92 min. | Narrative Feature Trailer: https://www.youtube.com/watch?v=MKZkZr_ke_o
Renato (Ugo Tognazzi) and Albin (Michel Serrault) are happy that their son, Laurent (Rémi Laurent), is getting married. Unfortunately, the bride’s father (Michel Galabru) is a die-hard conservative—and Renato and Albin are rather conspicuously gay. To ensure that the marriage goes off without a hitch, Albin uses his skills as a drag performer to play mom for a meeting with the in-laws. But, before long, both men learn that playing it straight isn’t as easy as it seems!
This classic received 3 Oscar nominations when it was released in 1979.
 
LA SYNDICALISTE
Dir. Jean-Paul Salomé | France, Germany| 2022 | 122 | Narrative Feature Trailer: https://www.youtube.com/watch?v=dYvSo4kHBvk
An investigative thriller set in the world of nuclear power and corrupt politics, La Syndicaliste follows the true story of Maureen Kearney (Isabelle Huppert), the influential head union representative of a French multinational nuclear powerhouse. Fighting against government ministers and industry leaders, Maureen worked tirelessly to bring a scandal to light and defend thousands of jobs before she was violently sexually assaulted in her own home, seemingly targeted for her attempts to reveal the truth. As her attack is investigated, new elements create doubt in the minds of detectives and lawyers, and they begin to see Maureen not as a victim, but as a suspect.
 
MENUS-PLAISIRS – LES TROISGROS
Dir. Frederick Wiseman| France | 2023 | 240 min.| Documentary Feature Trailer: https://www.youtube.com/watch?v=vNsTyFX-1o8
Regarded as one of the greatest food films ever made, this four-hour opus from 93-year-old legendary documentarian Frederick Wiseman takes an insider’s look at a French restaurant that’s held the top Michelin star rating of three stars for more than 50 years and over four generations. Sumptuous and lavishly observed, the film shows the great artistry, ingenuity, imagination, and hard work of the restaurant staff in creating, preparing, and presenting meals of the highest quality.
 
OMEN (AUGURE)
Dir. Baloji |Belgium, Democratic Republic of Congo, The Netherlands, France, South Africa, Germany |2023 | 90 min.| Narrative Feature
Trailer: https://www.youtube.com/watch?v=RTrSnQ3KuYo
After spending years in Belgium, Koffi (Marc Zinga), a young Congolese man, returns to his birthplace of Kinshasa to confront his family and homeland culture. Secrecy and sorcery erupt when a nosebleed is mistaken for a curse, and Koffi is shunned from his family. Using magical realism to paint a portrait of “undesirables” and “sorcerers,” OMEN delves into the intricacies of identity, culture, and belief systems through a deeply rich and visually captivating lens.
 
OUR BODY (NOTRE CORPS)
Dir. Claire Simon |France | 2023 | 168 min. | Documentary Feature Trailer: https://youtu.be/LiAYazlrBTQ
French documentary titan Claire Simon observes the everyday operations of the gynecological ward in a public hospital in Paris. In the process, she questions what it means to live in a woman’s body, filming the diversity, singularity, and beauty of patients in all stages of life.
Through these many encounters, the specific fears, desires, and struggles of these individuals become the health challenges we all face, even the filmmaker herself.
PETITE SOLANGE
Dir. Axelle Ropert| France| 2021 | 86 min. | Narrative Feature Trailer: https://www.youtube.com/watch?v=nZNxLz1uOuQ
Solange is a typical 13 year old, curious and full of life, with perhaps the peculiarity of being overly sentimental and adoring her parents. But when her parents begin to argue, fight, and slowly drift apart, the threat of divorce looms near and Solange’s world begins to splinter. To keep her family together, she will worry, act out, suffer—it’s the story of a young and overly tender teen who wants the impossible: for love to never end.
 
SOLO
Dir. Sophie Dupuis | Canada | 2003 | 102 min.| Narrative Feature Trailer: https://www.youtube.com/watch?v=Q0d14BbVUE8&t=1s
It’s love at first sight when Simon, a rising star of the Montreal drag scene, meets Olivier, the new recruit of the bar-show where Simon performs. While Simon believes he is living an electrifying love story, a toxic and destructive dynamic arises between them. At the same time, Claire, Simon’s mother, a famous opera singer, returns to work in the country after a 15-year absence. Fascinated by this woman he hardly knows but whom he idolizes, Simon persists in trying to connect with her. Weakened by the failure of these two impossible loves, Simon will have no choice but to realize that he deserves better.
 
THE CRIME IS MINE (MON CRIME)
Dir. François Ozon | France | 2023 | 102 min.| Narrative Feature Trailer: https://www.youtube.com/watch?v=ipeDYBawfec
Paris in the 1930s: a playground for industrial heirs and debonair architects, but the City of Lights does not shine evenly for all. Struggling actress Madeleine (Nadia Terezkiewicz) and her best friend Pauline (Rebecca Marder), an unemployed lawyer, live in a cramped flat and owe five months’ rent. Opportunity knocks after a lascivious theatrical producer who made an inappropriate advance towards Madeleine turns up dead. Madeleine stands trial for murder and ascends to decadent stardom, with Pauline serving as defense counsel and media circus ringmaster. A new life of fame, wealth, and tabloid celebrity awaits—until the truth comes out.
 
THUNDER (FOUDRE)
Dir. Carmen Jaquier |Switzerland | 2022 | 92 min.| Narrative Feature Trailer: https://www.youtube.com/watch?v=nNaCnA4cSsE&t=3s
Nestled in a lush Swiss valley, 17-year-old Elisabeth—the second of four girls—is preparing to take her vows at a nunnery. But after five years in pious seclusion, Elisabeth’s fate is abruptly altered when she is summoned home to work the fields following the death of her elder sister, Innocente, whose mysterious death pushes Elisabeth to seek answers from three childhood
friends—now young men with their own cravings for truth and connection. Inspired by Pier Paolo Pasolini’s 1964 neorealist drama The Gospel According to St. Matthew.
 
SHORT FILMS
ALFIE
Dir. Alexandra Nadeau | Canada | 2023 | 12 min. | Documentary Short
Settled in Montreal for the past two years, Alfredo is integrating himself to his new city through his passion: burlesque.
 
BEFORE WE WERE TOLD — World Premiere!
Dir. Baraka Rahmani |Canada | 2022 | 23 min.| Narrative Short
A loveable Arab family living in Quebec welcomes their guest for the summer: an awkward exchange student from Vancouver. Their teenage daughter of the same age doesn’t have much in common with her new friend… except for their attraction towards one another. The two girls embark on a journey of self-discovery as they navigate their secret within a culturally-conservative household.
 
EXPECTING (L’ATTENTE)
Dir. Alice Douard |France | 2022 | 30 min.| Narrative Short
In the maternity ward, Céline awaits the arrival of her first child. It is Jeanne, her partner, who will bring her into the world. At night, in the entrance hall of the hospital, she meets men who are waiting, like herself.
 
FRIEND OF A FRIEND (AMI D’AMI)
Dir. Simon Gualtieri |Canada | 2023 | 15 min. | Narrative Short Trailer: https://vimeo.com/842305061
Jules is bi. Bi as in bisexual. Bi, even though he’s only slept with women. Bi and ready to try his first experience with Samuel, a friend of friend.
 
GRÂCE
Dir. Johanna Makabi |France| 2022 | 14 min.| Narrative Short
8-year-old Grace hates her neighborhood, she hates cheerleading and today she has decided to join her father in space.
 
A LAUNDRY DAY
Dir. Johanna Makabi |USA, France| 2022 | 5 min.| Narrative Short Today, Fatou goes to the laundromat in Harlem and meets a young man.
 
PAULETTE AND THE CLOWN (PAULETTE ET LE CLOWN)
Dir. Fanta Sylla, Johanna Makabi |France| 2021 | 2 min.| Narrative Short Adaptation of the text by Paulette Nardal “Le Guignol Ouolof.”
 
OUR MEMORY (NÔTRE MÉMOIRE)
Dir. Johanna Makabi |France| 2019 | 12 min.| Documentary Short
Mbissine Thérèse Diop, lead actress in Sembène Ousmane’s first film La Noire de…. , reflects on her experiences as a Black actress in the 1960s.
 
HERITAGE — World Premiere!
Dir. Chasah West & Charliese West | USA | 2024 | 12 min. | Narrative Short
A teenager, disinterested in her Louisiana Creole heritage, finds herself having to entertain a visitor who only speaks what sounds like French. She’ll discover how magical it can be to connect with one’s heritage.
 
YELLOW FEVER (LA FIEVRE JAUNE) — Restoration Premiere!
Dir. Glen Pitre| USA| 1978 | 30 min. | Narrative Short
It is 1897 and Louisiana is plagued by a devastating epidemic of yellow fever. Families are being separated and quarantined. Will their loved ones survive? Director Glen Pitre used an all-Cajun cast—mostly non-professionals—to make this memorable dramatic film. New 4K Restoration by IndieCollect created with the support of the Golden Globe Foundation.

#### 289 Feature Films In Contention For 2013 Best Picture Oscar®
 

	Two hundred eighty-nine feature films are eligible for the 2013 Academy Awards®, the Academy of Motion Picture Arts and Sciences announced today.

	To be eligible for 86th Academy Awards consideration, feature films must open in a commercial motion picture theater in Los Angeles County by midnight, December 31, and begin a minimum run of seven consecutive days.

	Under Academy rules, a feature-length motion picture must have a running time of more than 40 minutes and must have been exhibited theatrically on 35mm or 70mm film, or in a qualifying digital format. 

	Feature films that receive their first public exhibition or distribution in any manner other than as a theatrical motion picture release are not eligible for Academy Awards in any category. The “Reminder List of Productions Eligible for the 86th Academy Awards” is available at http://www.oscars.org/awards/academyawards/rules/reminderlist.html.

	The 86th Academy Awards nominations will be announced live on Thursday, January 16, 2014, at 5:30 a.m. PT in the Academy’s Samuel Goldwyn Theater.

	Academy Awards for outstanding film achievements of 2013 will be presented on Oscar Sunday, March 2, 2014, at the Dolby Theatre® at Hollywood & Highland Center® and televised live on the ABC Television Network.  The presentation also will be televised live in more than 225 countries and territories worldwide.

#### 2nd Annual CineCina Film Festival Announces Full Lineup
 
The CineCina Film Festival today announced the official selections for the second year of the New York City-based film festival, which takes place October 25-November 3. Dedicated to presenting the best in world cinema, the introduction of new international filmmakers to New York and the United States, and the celebration of past masters, this year’s edition of the film festival will open with Elia Suleiman’s Palestinian Oscar selection for 2019, IT MUST BE HEAVEN, and will close with a special 10th Anniversary presentation of Samuel Maoz’s LEBANON. A digitally restored version of King Hu’s 1979 classic RAINING IN THE MOUNTAIN will make its U.S. Premiere as the Centerpiece Screening.
The CineCina Film Festival’s highly curated fest includes a main slate comprised of nine films, with five special presentations, representing 24 countries. With screening locations spread throughout the city, CinaCina films will be presented at; AMC Lincoln Square 13 (1998 Broadway); AMC Empire 25 (234 W. 42nd Street); SVA (333 W. 23rd Street); DGA New York Theater (110 W. 57th Street); and French Institute Alliance Française (22 E. 6oth Street).
CineCina Film Festival Founder and Director Vina Sun, said, “In our second year, we have created a ‘road’ theme meant to highlight our cinematic journey, the connection, and mutual communication platform we seek to build to boost film culture exchanges. Our programming has expanded to all world cinema beyond the Chinese focus we established with last year’s debut. That creative road also leads to our Horizon Project, meant to encourage and develop young filmmakers, as well as Master Class lectures, which will feature film artists like one of our special guests this year, Samuel Maoz.”
Suleiman’s whimsical, yet thoughtful film IT MUST BE HEAVEN will be the Opening Night presentation Friday, October 25 at the DGA New York Theater. The film features the beloved filmmaker observing the goings on around him in Nazareth, Paris and France. Through his eyes, we see moments, and fragments of life and human interaction that can surprise and delight one moment, and be very familiar the next.
A 40th Anniversary screening of King Hu’s RAINING IN THE MOUNTAIN will be presented on Friday, November 1 at AMC Lincoln Square as the CineCine Film Festival’s Centerpiece Screening. Voted as one of the “100 Greatest Chinese Films” by the Hong Kong Film Awards. Beautifully photographed, the film is set in a Buddhist monastery during the Ming Dynasty in turmoil over who will be appointed as the next abbot. And tensions only get worse when someone steals a venerated sutra from the Buddhist scriptures.
Maoz’s LEBANON won numerous awards during it’s release ten years ago, including the Golden Lion at the Venice Film Festival. The claustrophobic and bitingly tense drama places us with an Israeli army unit in a tank during a mission to Lebanon. With a POV relegated to what can be seen from the perspective of the cramped soldiers in the tank, the atrocities of war mix with a veritable stew of humanity inside the tank itself. The film will serve as the Closing Night selection when it screens Sunday, November 3 at French Institute Alliance Française.
Two North American premieres head the main slate selection of films. Takahisa Zeze’s THE CHRYSANTHEMUM AND THE GUILLOTINE follows two female sumo wrestlers trying to escape the abuses of their past, while two other women – members of an anarchist group start to watch their wrestling matches. Lu Zhang’s FUKUOKA looks at two old schoolmates reconnecting, a mysterious woman who enters the picture and the love triangle that ensues. Zhang is set to attend the screening on Friday, November 1 at AMC Lincoln Square.
Other highlights include Lisa Zi Xiang’s award-winning A DOG BARKING AT THE MOON, about a Chinese family saga, commencing with the wife’s discovery of her husband’s homosexuality. The film was a winner at Berlin, aGLIFF, and Inside Out, among other film festivals. Yinan Diao’s THE WILD GOOSE LAKE will be the focal point of a Special Halloween event at SVA. The stylish Chinese crime noir is about a gang leader on the run and a girl in trouble ready to risk everything to change her luck.
Regarding the main slate of selections, CineCina Film Festival Co-Director of Programming Frank Yan, said, “These films are all gems that we enjoyed and were inspired by at major film festivals around the world. In the spirit of ‘the road’, we felt it was important that their road led to a screening here for the great and discerning film fans in New York City.”
Rounding out the Special Screenings, Halloween will also feature a 30th Anniversary presentation of John Woo’s influential classic THE KILLER. Chow Yun-Fat’s disillusioned assassin accepts one last hit in hopes of using his earnings to restore vision to a singer he accidentally blinded, only to be double-crossed by his boss. Naoko Yamada’s A SILENT VOICE will be screened as a special Tribute to Kyoto Animation. In the film, a young man loses friends after he bullies a deaf girl so much she moves away. As an adult, he decides he must make amends. The CineCina Film Festival will donate all proceeds from the screening to assist in the reconstruction of Kyoto Animation, which recently suffered a disastrous fire to their production offices in Japan. Serif Gören and Yilmaz Güney’s YOL (1982) will also be the subject of a special screening which will mark the U.S. premiere of a newly-restored digital print of the film. YOL is about five Turkish prisoner who face oppression from everyone during a one-week leave, won the Palme d’Or at Cannes as well as an award from the National Board of Review.
Film festival passes and tickets are on-sale now. To purchase passes or tickets to individual screenings go to: https://cine-cina.co/tickets/.
 
 
The 2019 CineCina Film Festival official selections:
 
Opening Night Selection
IT MUST BE HEAVEN                                                          New York Premiere
Director: Elia Suleiman
Countries: France/Palestine/Qatar/Germany/Canada/Turkey, Running Time: 97 minutes
Filmmaker Elia Suleiman travels to different cities and finds unexpected parallels to his homeland of Palestine.
 
Centerpiece Selection
RAINING IN THE MOUNTAIN (1979)
Director: King Hu
Countries: Taiwan/Hong Kong, Running Time: 120 min
An esquire and a general both eye a priceless handwritten scroll by Tripitaka, held in a temple library. The Abbot of the Temple selects his successor.
 
Closing Night Selection
LEBANON (2009)
Director: Samuel Maoz
Countries: Israel/Germany/France/UK, Running Time: 93 min
During the First Lebanon War in 1982, a lone tank and a paratroopers platoon are dispatched to search a hostile town.
 
 
MAIN SLATE
 
AWAY                                                                                     New York Premiere
Director: Gints Zilbalodis
Country: Latvia, Running Time: 75 min
A boy and a little bird are on a journey across a strange island trying to get back home.
 
THE CHRYSANTHEMUM AND THE GUILLOTINE             North American Premiere
Director: Takahisa Zeze
Country: Japan, Running Time: 189 min
After the Great Kanto earthquake in 1923, a troupe of female sumo wrestlers, including Tomoyo and Tamae arrive in the area near Tokyo. Meanwhile, an anarchist group, including Tetsu and Daijiro go to watch the female sumo wrestlers compete and become fascinated by them.
 
A DOG BARKING AT THE MOON
Director: Lisa Zi Xiang
Countries: China/Spain, Running Time: 107 min
A Chinese family saga, told in different periods of time, commencing with the wife’s discovery of her husband’s homosexuality. When her adult daughter comes to visit, other secrets slowly come to light.
 
THE FACTORY                                                                     New York Premiere
Director: Yuriy Bykov
Countries: Russia/France/Armenia, Running Time: 109 min
When a factory is about to close, a group of workers decides to take action against the owner.
 
 
FUKUOKA                                                                             North American Premiere
Director: Lu Zhang
Countries: South Korea/Japan, Running Time: 88 min
A film about a middle-aged man’s retrospect to his past, two Koreans’ trip to Fukuoka, and three people’s reconciliation with love.
 
THE MAGIC LIFE OF V                                                         New York Premiere
Director: Tonislav Hristov
Countries: Finland/Denmark/Bulgaria, Running Time: 87 min
Documentary follows a young woman haunted by childhood trauma, who learns how to face that past and become more independent as she helps her mentally disabled brother through live-role-playing.
 
TAKE ME SOMEWHERE NICE                                            New York Premiere
Director: Ena Sendijarevic
Countries: Netherlands/Bosnia and Herzegovina, Running Time: 91 min
A Dutch girl of Bosnian descent travels to Bosnia to visit her sick father. It will be the first time they will see each other.
 
THE WILD GOOSE LAKE
Director: Yinan Diao
Countries: China/France, Running Time: 113 min
A gang leader on the run seeking redemption. A girl in trouble risking everything to gain her freedom. Both hunted on the hidden shores of The Wild Goose Lake. They set a deadly gamble for what may be their last day.
 
SPECIAL SCREENINGS
 
THE KILLER (1989)
Director: John Woo
Country: Hong Kong, Running Time: 111 min
A disillusioned assassin accepts one last hit in hopes of using his earnings to restore vision to a singer he accidentally blinded, only to be double-crossed by his boss.
 
A SILENT VOICE (2016)
Director: Naoko Yamada
Country: Japan, Running Time: 130 min
A young man is ostracized by his classmates after he bullies a deaf girl to the point where she moves away. Years later, he sets off on a path for redemption.
 
YOL (1982)
Directors: Serif Gören, Yilmaz Güney
Countries: Turkey/Switzerland, Running Time: 113 min
When five Turkish prisoners are granted one week’s home leave, they find to their dismay that they face continued oppression outside of prison from their families, the culture, and the government.

#### 2nd Annual DFWSAFF Ends On A High Note
 

	The 2016 Dallas/Fort Worth South Asian Film Festival presented 13 ground-breaking, sold-out screenings of shorts, documentaries and feature films during its three-day festival (Feb. 19th to the 21st) at the Perot Museum in downtown Dallas and the Angelika Film Center in Plano. More than 350 people attended the opening night film, red carpet and festivities at the Perot, followed by another 1200 cinephiles at the Angelika on Saturday and Sunday. Every film was either a Texas or U.S. premiere, and the festival’s closing night film, Hansal Mehta’s “Aligarh,” was the North American premiere. Ravi Kapoor’s “Miss India America” and Prashant Nair’s “Umrika” were the opening night and centerpiece films, respectively. The entire lineup of films, including trailers and synopses, is available on the festival’s web site: www.dfwsaff.com.

	Categories included education programming, arts programming, youth programming, women’s programming, men’s programming, family programming and LGBT programming. The topics explored varied in scope from slave brides in Rajasthan to the effects of depression & mental illness on the South Asian community to the plight of the LGBTQ community in India.

	“The responses we got from our audiences were overwhelmingly positive,” said founder and festival director Jitin Hingorani. “People thanked us for bringing this revolutionary programming to North Texas, and they said they are already excited for next year’s festival.”

	The festival, produced by JINGO Media, a NYC & Dallas-based PR & events boutique firm, also presented networking events, after-parties and post-screening Q&A sessions with 14 filmmakers and actors in attendance from all over the world.

	Celebrities who walked the red carpet included:

		Suraj Sharma (Umrika, Life of Pi, Homeland, Million Dollar Arm)
	

		Tiya Sircar (Miss India America, The Internship, Friends with Benefits, Vampire Diaries)
	

		Meera Simhan (Miss India America, Anger Management, Date Movie)
	

		Tanima Bhattacharya (Shackle)
	

		Viveck Vaswani (Raju Ban Gaya Gentleman, Pathar Ke Phool, Rough Book) 
	

	
	27 mainstream and South Asian brands supported the 2016 festival as sponsors and partners:
	2016 Festival Sponsors:

		Wells Fargo
	

		Etihad Airways & Jet Airways
	

		Mercedes Benz of Plano 
	

		Civitas
	

		Cambria Hotels & Suites
	

		The Container Store 
	

		Shraman South Asian Museum
	

		Parish Episcopal School
	

		American India Foundation
	

		Milaap USA
	

	 
	Community Partners:

		Selig Polyscope Company
	

		Patrick O'Hara Salon
	

		U.S. India Chamber of Commerce DFW
	

		Dallas Video Fest
	

		Women in Film
	

		Indian Association of North Texas
	

		Women Entrepreneurs DFW
	

		Forever Rakhi
	

		World Affairs Council
	

	
	Media Partners:

		Asian Variety Show (AVS TV)
	

		Radio Azad
	

		Radio Hot Pepper 1220 AM
	

		Karishma Radio
	

		Brown Girl Magazine
	

		Diya TV
	

		Desiplaza TV
	

		TV Asia
		 

#### 2nd Annual McKinney Classic Film Festival Announces Full Line Up
 

	Second annual McKinney Classic Film Festival (MCFF) presents SCREWBALL COMEDIES FEATURING CARY GRANT.

	 

	WHAT:

	This year’s MCFF will showcase five of Cary Grant’s films during the three-day festival, which offers entertainment for the whole family with great classic films, dynamic guests, activities, and plenty of popcorn, too, all in Historic Downtown McKinney.

	 

	Film titles are: 

		ARSENIC AND OLD LACE (1944)
	

		MY FAVORITE WIFE (1940)
	

		HIS GIRL FRIDAY (1940)
	

		HOLIDAY (1938)
	

		THE PHILADELPHIA STORY (1940)
	

	 

	WHERE:

	The McKinney Performing Arts Center, 111 N. Tennessee Street, McKinney, Texas.  

	All films will be screened in MPAC’s Courtroom Theater.

	 

	WHEN: Aug. 19-21, 2016

	 

	Friday, Aug. 19 MCFF Opens

	7:30 p.m.

	ARSENIC AND OLD LACE (1944)

	A hapless theater critic (Cary Grant) discovers on his wedding day that his otherwise sweet, elderly aunts are actually homicidal dingbats.
	Director: Frank Capra
	​
	The cast also includes Priscilla Lane and Raymond Massey.
	 

	 

	Saturday, Aug. 20 Gala Events

	2-3 p.m.

	MCKINNEY DANCE BAND will perform big band and swing music onstage in MPAC’s Courtroom Theater. (Free!) 

	 

	4 p.m.

	MY FAVORITE WIFE (1940)

	A wife (Irene Dunne), missing for seven years and presumed dead, returns to find her husband (Cary Grant) remarried. A smooth reunion is not in the cards for anyone concerned.
	​Director: Garson Kanin
	Randolph Scott also appears in the film, which was nominated for three Academy Awards.

	 

	6-8 p.m.

	RED CARPET: All ticket holders may dress in any attire for fun photos, whether dressed up as their favorite screwball comedy character, retro Hollywood Star, or just plain old every day wear. Ticket holders should bring their cameras to snap plenty of Red Carpet pics! 

	 

	8 p.m.

	HIS GIRL FRIDAY (1940)

	A newspaper reporter (Rosalind Russell) finds herself drawn back into her previous relationship with her ex-husband and former boss (Cary Grant) who does everything in his power to prevent her from marrying another man.
	Director: Howard Hawks
	The cast also includes Ralph Bellamy. The film was nominated for three Academy Awards.

	 

	Sunday, Aug. 21 Events

	2 p.m.

	HOLIDAY (1938)

	Cary Grant and Katharine Hepburn portray star-crossed lovers fighting their mutual attraction in this story about a young man who becomes engaged to the wrong sister in a wealthy family. 
	​
	Director: George Cukor
	The cast also includes Doris Nolan. The film was nominated for one Academy Award for Art Direction.

	 

	4:30 p.m.

	THE PHILADELPHIA STORY (1940)

	As her wedding approaches, a socialite (Katharine Hepburn) discovers some hard truths about herself while attracting the attention of a reporter (Jimmy Stewart) and her ex-husband (Cary Grant).

	Director: George Cukor

	The film won two Academy Awards and was nominated for three others. Jimmy Stewart won for Best Actor in a Leading Role (as Mike Connor); Donald Ogden Stewart, won Best Writing, Screenplay.

	 

	Closing Party 6:30 p.m.

	All festival ticket holders will be invited to return after the final screening for the weekend’s closing party with refreshments.

	 

	General information

		Festival general admission tickets: $10 per person
	

		Film Buff Pass including all films: $45
	

		All tickets include entrance to the closing party on Aug. 21.
	

		Free parking is available on the street and in parking lots surrounding Historic Downtown McKinney.
	

	 

	Full details, including schedules for film screenings and events, and maps, are available online at mckinneyclassicfilm.com.

#### 3 DAYS TO KILL
3 DAYS TO KILL

	Starring Kevin Costner, Hailee Steinfeld and Connie Nelson

	Written by Adi Hasak and Luc Besson

	Directed by McG

	Running time 113 min

	MPAA Rating PG-13

	Selig Film Rating Cable

	 

	Kevin Costner was one of the biggest leading men in Hollywood.  Some of his major hits were Dances with Wolves, Bull Durham and The Body Guard.   In the 1980s and 1990s, he was the brightest star on the planet. 

	The 21st century has seen Kevin go from leading man to character actor.  He has taken smaller roles in films such as Man of Steel and Jack Ryan: Shadow Recruit.   In his latest film 3 Days to Kill, he combines both aspects of his career.

	The film starts with a clandestine mission gone awry.  Ethan Renner (Kevin Costner) has worked for the Company for many years and has little to show for it.  He is a lonely and bitter agent with steadfast resolve. 

	The CIA is after a money-man called the Wolf (Richard Sammel) and a terrorist called the Albino (Tomas Lemarquis).  The Albino has a dirty bomb and the CIA wants him stopped.  The mission is compromised and watching the mayhem is Vivi (Amber Heard).  As Renner chases the Albino, he collapses. 

	When Renner wakes up, he’s in the hospital.  The doctors tell him that he has only a few months to live. He is estranged from his wife Christine (Connie Nielsen) and 16 year-old daughter Zoey (Hailee Steinfeld).  Renner decides to take what little time he has left and try to mend fences with his family.

	Soon Renner finds that he cannot escape the CIA.  As he tries to re-woo his wife and find common ground with his daughter, Renner discovers that emotional connections are harder than killing bad guys.  Added to this mix is Vivi.  She has an experimental serum that may be able to save Renner’s life.  She will give it to him only if he will hunt down and kill the Wolf and those involved with him.

	3 Days to Kill bounces between action sequences and tender moments.  Renner has to figure out how to be a dad while trying to find all the terrorists.   The story has two paths.  On one path is the Dad trying be more than a guy in a picture frame.  The other path is an action story of figuring out where the bad guys are hiding and exterminating them.  The serpentine paths between these two opposing stories are the basis of the movie.

	This film is all over the place and a real mixed bag of performances.  Amber Heard and the villains seem to be from a different movie altogether.  They all snarl and bite like they are in some blending of a John Woo and Quentin Tarantino with over the top mannerisms.  It almost becomes cartoon violence while struggling to stay in a reality situation. 

	At the same time, the family drama feels forced.  One has a hard time believing the family dynamic.  The three that make up the family unit have no chemistry with each other.  They are supposed to be estranged but not strangers. 

	Though Kevin Costner is a tremendous actor, he is not up to his A-game in 3 Days to Kill.  This is the kind of role he could play in his sleep and that is the problem, he seems to be sleepwalking in the role.  One expects some passion, even from a guy who is dying.

	The film is written by Luc Besson, the man behind some great films such as The Fifth Element and The Professional.  This work is not up to that standard.  While there are moments of flashing brilliance in the secondary characters, the main focus is a bit pedestrian.  It just feels like we have seen all of this many times before.

	McG directs 3 Days to Kill.  He is the guy who helmed We Are Marshall, Terminator Salvation and the Charlie’s Angels franchise.  McG knows his way around both drama and action but never finds the right balance with this work.  The film chops along without smooth transitions between action and tender moments. 

	3 Days to Kill is just another entertainment, a flick that is not to be taken that seriously.  It is more of a diversion than a cinematic masterpiece, something to take in on a rainy day but nothing to rush out to see. 

#### 30 MINUTES OR LESS
30 MINUTES OR LESS
 
By Gary Dean Murray 
 
Starring Jesse Eisenberg, Danny McBride, Aziz Ansari, Nick Swardson, Michael Pena and Fred Ward
 
Written by Michael Diliberti (with Mathew Sullivan on Story) 
 
Directed by Ruben Fleisher
 
Running time 83 min
 
MPAA Rating R
 
Selig Film Rating Matinee
 
I always get Jesse Eisenberg and Michael Cera confused for one-another.  They seem to have similar styles of acting and do the same basic character, the kind of nerdy guy who is over his head.  With the new 30 Minutes or Less, not much changes.  
 
Jesse stars as Nick who is a pizza delivery guy working at a ‘30 minutes or it’s free’ joint.  He is just another slacker with an old Mustang and little desire to do anything with his life.  His best buddy is Chet (Aziz Ansari) who is also the guy who helped destroy Nick’s life.  Nick also has a thing for Chet’s sister Kate.
 
On the other side of the plot Dwayne (Danny McBride) is a jealous man-boy.  His father (seldom used Fred Ward) is a former marine and lotto winner who considers his son a waste of space.  A local stripper plants an idea in Dwayne’s brain.  If he gets someone to kill his father, he will inherit the money.  She knows a contract killer (Michael Pena) who will do it for $100,000. The problem is how to get the cash to pay the killer.  He and his partner Travis (Nick Swardson) come up with a plan.
 
Nick delivers a pizza to a scrap yard and is attacked by our bad guys in monkey masks.  When Nick wakes up, he finds an explosive vest around his chest.  In order to get the vest off, he must go to the local bank and rob it for $100,000.  The vest will explode in 10 hours.  
 
The film becomes a race to figure out how to rob a bank.  With Chet in tow, they make plans to commit the crime while our real criminals watch his every move.  In so many ways it reflects those action comedies from the 1980’s where some funny scene would follow a bit of action.
 
Out of the four leads Aziz Ansari delivers the most comic punch.  The actor is most known for his Parks & Recreation role plays much of the same character here, but without all the flash.  His comic timing is perfect and he delivers each line with glee.  Nick Swardson is another comic actor who steps up to the plate and knocks it out of the park.  He gives Travis a naive charm while still being a fully developed slightly bad guy.  His next project looks like a major comic step in his career.
 
The two leads Jesse Eisenberg and Danny McBride didn’t fare as well.  Jesse is playing that same character he has done in most of his movies, but without the charm.  It is as if his The Social Network persona has seeped into his acting range and infected the good will one expects from these characters.  Danny McBride shows almost no redeeming grace with Dwayne.  The more you watch him, the more you realize that the father character is right—the guy is a loser.  Even his grand scheme to make money (which is the ending tag) has such wrongness to the entire enterprise.
 
Ruben Fleisher made Zombieland, one of the freshest and most original comedies of that year.  Here is seems to be treading water.  While some of the jokes are screamingly funny the narrative whole doesn’t mesh together in a cohesive fashion.  
 
30 Minutes or Less is a fun little ride through dark streets.  It is not so much a movie as it is a ride—fun to be on but not much to think about once you’re done.

#### 300: RISE OF AN EMPIRE
300: RISE OF AN EMPIRE

	 

	By Gary Murray

	Starring Eva Green, Sullivan Stapleton and Lena Headey

	Written by Zack Snyder and Kurt Johnstad

	Based on the graphic novel by Frank Miller

	Directed by Noam Murro

	Running time 102 min

	MPAA Rating R

	Selig Film Rating Matinee

	 

	Here is today’s stumper.  You make a movie where every major character dies and it is successful at the box office.  The suits want a sequel.  What do you do?  That is the problem for the producers of 300.  The 2006 film was about a last stand of a group of Spartans who fight off the army of Xerxes. All were killed in this battle but the film did so well that everyone wanted more.  That more is 300: Rise of an Empire.

	Based on the graphic novel by Frank Miller, the story happens during the time of the first film.  While the men of Sparta are defending that pass, there is a sea battle. Themistokles of Athens (Sullivan Stapleton) commands the vessels.   At his control are a group of well-trained soldiers/sailors who are just as fierce fighters as the Spartans.  He goes to Queen Gordo (Lena Headey) to get help with the protection of Athens. 

	We also get the back-story of Xerxes (Rodrigo Santoro).  We see his rise as a god-king and how he is manipulated by Artemisia (Eva Green).  She is a commander of the high seas and truly runs the show.  She is a vicious warrior and cunning strategist.  Her goal is domination by being a puppet master.

	But truly, the film is about battle.  The audience for these films, who wants blood, gets blood.  This is one of the most violent films of the year.  There are battles upon battles, all in slow motion and with gallons of CGI blood.  Extras are chopped to little bits and it is a gore-filled mess.

	The film is directed by Noam Murro, the man who directed Smart People.  For a man who is not known as an action director, he does a workman job on all the action scenes.  Although he relies too much on slow-motion, in the end, Noam Murro does a good job of mimicking the style of the original director Zack Snyder.  He just does not have a style of his own.

	Sullivan Stapleton is no Gerard Butler, the hero from 300, but holds his own as an action champion.   He handles a sword and shield with the best of them, battling his way on land and on sea.  This is much more of a reaction/action role and Sullivan Stapleton looks the part.

	There are only a few scenes with Xerxes and it is sorely missed.  He was by far the most interesting character of 300 and a great villain makes for great drama. 

	The introduction of Artemisia by Eva Green is an interesting addition.  Though not a classic beauty, there is a spark in the young actress.  She snarls and bites while being cunning and brash.  It is a scene-chewing bit of acting and she goes over the top again and again. 

	The problem with the film is that it just ends.  It is set-up for the next 300 flick, with a cliffhanger ending.  That is just an exercise in frustration.  It seems that Hollywood realizes that if they make one of these cliff-hangers, the same audience will have to come back and see the conclusion.  It is a sneaky way to generate a wider box office and more cash from movie patrons. 

	300: Rise of an Empire is a decent sequel but not on par with the original.  It will satisfy those who liked the first film but will win few converts to the genre.  This is an expensive style drive-in flick and should be noted in Joe Bob Briggs fashion.  It has eight breasts, three beasts and 100 gallons of blood.  Heads, arms, legs and other body parts roll.  Check it out—if you dare.

#### 30th New Orleans Film Festival Lineup Announced
 
The New Orleans Film Society (NOFS) announced the Closing Night Film, the Centerpiece Film, and the feature and short film competition lineup for the 30th annual, Oscar®-qualifying New Orleans Film Festival (NOFF), which will take place from October 16th through October 23rd in venues across the city. The lineup is live at neworleansfilmfestival.org and festival passes are on Early-Bird Sale until August 29th.
The New Orleans Film Festival is turning 30 this year and New Orleans shines ever brighter as an epicenter of culture and creativity during the festival with 500+ filmmakers from every corner of the world in attendance at screenings of 230+ films. The festival is expected to engage 30,000+ attendees with visionary films, directors, and other film lovers. The festival is also known for its eclectic parties, virtual reality exhibition, conversations with notable actors, writers, and directors––and its filmmaker forum, offering numerous opportunities for project development and professional networking.
After receiving a record number of over 6,500 submissions from 104 countries for the 30th anniversary of the festival, the festival’s seasoned team of programmers carefully curated a slate of 232 visionary, thought-provoking films that represent a wealth of perspectives. Overall, the directors of selected films represent 39 different nationalities. This year, films made in the American South represent 50%, and Louisiana-made films represent 26% of the lineup. Films directed by women and gender non-conforming directors account for 54% of the lineup, and films helmed by directors of color make up 56% of the lineup.
“The festival’s strong accent on Southern voices is a vote of confidence in the rich storytelling in this region,” said New Orleans Film Society’s Artistic Director Clint Bowie. “Our role is to help cultivate the storytellers here and shine a bright light on their work—and to continue to ensure that the New Orleans Film Festival serves as an important site of discovery for audiences and filmmakers alike.”
 
HARRIET TUBMAN BIOPIC HARRIET TO CLOSE #NOFF2019
Harriet, directed by Kasi Lemmons will serve as the festival’s Closing Night Selection at the Orpheum Theater. Coming to New Orleans following its World Premiere in Toronto, Harriet is a biopic about renowned abolitionist Harriet Tubman, who escaped slavery and risked her life to lead others to freedom through the network of safehouses known as the Underground Railroad. The film stars Cynthia Erivo in the titular role, with Janelle Monáe and Joe Alwyn in supporting roles. New Orleans-based Terence Blanchard provided the music for the film. Lemmons is known for having directed the acclaimed Louisiana-shot film Eve’s Bayou, which screened at the 1997 New Orleans Film Festival. The festival plans a special screening of Eve’s Bayou to celebrate the breadth of Lemmons’ work.
 
TRIBECA WINNER BURNING CANE CENTERPIECES THE FESTIVAL
Burning Cane, directed by 19-year-old New Orleans Center for Creative Arts (NOCCA) alum Phillip Youmans, will serve as the Centerpiece Film for the festival, with a screening scheduled for Saturday, October 18, at the Orpheum Theater. The film, starring Wendell Pierce, is set amongst the cane fields of rural Louisiana, where a deeply religious woman struggles to reconcile her convictions of faith with the love she has for her alcoholic son and troubled preacher. The film received the “Youth Film Grant” through #CreateLouisiana last year, funded in part by the New Orleans Film Society. Burning Cane is executive produced by New Orleans based director Benh Zeitlin (Beasts of the Southern Wild).
With Burning Cane, Youmans became the youngest and the first African-American director to win the Founder’s Award for Best Narrative Feature at the Tribeca Film Festival. “Would be a noteworthy debut from a director twice Youmans’ age.” noted John DeFore of The Hollywood Reporter.
Additionally, Youmans’ new short film Nairobi will also screen at the festival. The 15-minute short film follows the story Eloise Sekongo immigrating to New York from Ivory Coast after divorcing her husband of 18 years.
“We couldn’t be more excited to have Harriet and Burning Cane occupy two of the festival’s most prestigious slots,” said Bowie. “Both films have strong Louisiana ties and reflect the bold work of two truly visionary artists.”
 
IN COMPETITION: 27 FEATURE FILMS FROM 12 COUNTRIES
The 30th New Orleans Film Festival feature film competition brings together 10 narrative feature films and 10 documentary feature films from 12 countries. The Louisiana Features Competition will host 6 feature films made in Louisiana.
Scroll down to see more information on feature films in competition. Short films and features screening out-of-competition can be found at www.neworleansfilmfestival.org. Additional festival announcements, including Opening Night, Spotlight Films, panels, parties, and special guests will be released in the weeks to come.
The New Orleans Film Festival campus is centered around the festival HUB at the Contemporary Arts Center (CAC), which boasts a 180-seat and 300-seat screening room; main box office of the festival; Cinema Reset virtual reality program sponsored by Cox Communications with VR and new media programming by NOFF; and a bar with lounge areas.
Two blocks away from the HUB at the CAC, The Advocate will host a 180-seat screening room and the festival’s VIP lounge for All-Access Passholders. Select festival screenings will also be held at the Broad Theater, Orpheum Theater and Prytania Theater.
 
#NOFF2019 PASSES ARE ON EARLY BIRD SALE
All-Access and Weekender Passes for the 30th New Orleans Film Festival are on early bird sale at neworleansfilmfestival.org. Festival goers can buy their passes now to save $25 on all-access and $20 on weekender passes. New Orleans Film Society members save an additional $50 on pass purchases.
All-Access Pass holders enjoy free tickets to all screenings with priority entrance to theaters, access to parties every night of the festival, feel like a star at the Festival VIP Lounge, and more… Weekender Pass holders enjoy all of these privileges between Friday, Oct 17th and Sunday, Oct 19th.
Six-Film Pass and Student Pass will go on sale on August 30th. Pass holders and NOFS members will be able to reserve their tickets on September 23rd while individual tickets will go on sale for the public on September 30th. Detailed information about #NOFF2019 passes and tickets can be found at neworleansfilmfestival.org
 
CLOSING FILM
Harriet | dir. Kasi Lemmons | USA
Based on the thrilling and inspirational life of an iconic American freedom fighter, Harriet tells the extraordinary tale of Harriet Tubman’s escape from slavery and transformation into one of America’s greatest heroes. Her courage, ingenuity, and tenacity freed hundreds of slaves and changed the course of history.
 
CENTERPIECE FILM
Burning Cane | dir. Phillip Youmans | USA
Amongst the cane fields of rural Louisiana, a deeply religious woman struggles to reconcile her convictions of faith with the love she has for her alcoholic son and troubled preacher.
 
 
FEATURE FILMS IN COMPETITION AT THE NEW ORLEANS FILM FESTIVAL 2019
NARRATIVE FEATURES COMPETITION
 
The Body Remembers When the World Broke Open | dir. Elle-Máijá Tailfeathers, Kathleen Hepburn | Canada, Norway
Two Indigenous women from vastly different backgrounds find their worlds colliding when one of them is fleeing a violent domestic attack.
 
Catching Up | dir. Bill Crossland | USA
A man with muscular dystrophy embarks on a series of romantic misadventures after falling for an able-bodied woman.
 
De Lo Mio | dir. Diana Peralta | USA, Dominican Republic
Two “ride or die” sisters raised in NYC reunite with their estranged brother in the Dominican Republic to clean out their late father’s childhood home.
 
A Great Lamp | dir. Saad Qureshi | USA
Two sad vandals and an unemployed loner wait for a fabled rocket launch in this heartfelt kaleidoscope of pain and friendship.
 
Love Cuts (Reži) | dir. Kosta Djordjevic | Serbia, Croatia
A feisty young woman walks the streets of Belgrade, trying to resuscitate her relationship with her fed-up boyfriend while suffering a grievous abdominal wound.
 
Romance Analyst | dir. Rachel Wortell | USA
A comedy about a platonic love triangle between a woman, her best friend, and her therapist.
 
Song Lang | dir. Leon Le | Vietnam
A tough debt collector for a ruthless loan shark and a charismatic young opera singer meet in a gritty 1980s Saigon.
 
Straight Up | dir. James Sweeney | USA
An OCD gay twentysomething finds his intellectual soulmate in a struggling actress.
 
Test Pattern | dir. Shatara Michelle Ford | USA
An interracial couple’s relationship is put to the test when the girlfriend is sexually assaulted and the boyfriend drives her from hospital to hospital in search of a rape kit.
 
The World is Full of Secrets | dir. Graham Swon | USA
On a summer night in 1996, five teenage girls tell morbid stories in a suburban house. However, as the night becomes darker, their world of fiction is consumed by a feverish reality.
 
 
DOCUMENTARY FEATURES COMPETITION
Border South | dir. Raúl O. Paz Pastrana | USA, Mexico
To stem the immigration tide, Mexico and the USA collaborate to crack down on migrants, forcing them into ever more dangerous territory.
 
Crafting an Echo | dir. Marco Williams | USA
This film takes the audience behind the scenes to experience firsthand the challenges of the creative process and the beauty of dance.
 
Exodus | dir. Bahman Kiarostami | Iran | US PREMIERE
In a center where Afghan immigrants who have illegally entered Iran are registered for deportation, the exit-interview process results in surprisingly delicate, witty exchanges.
 
Flannery | dir. Elizabeth Coffman, Mark Bosco | USA
A documentary covering the unusual life and ground-breaking fiction of acclaimed Georgia writer Flannery O’Connor.
 
Gracefully | dir. Arash Es’haghi | Iran
Gracefully tells the story of a drag queen who had been performing on stage for decades before the revolution and after the 1979 Iranian Revolution he has been banned from any kind of performance. He lives on a farm and spend most of his time farming and he sometimes dances for elderly people at nurseries.
 
Havana, from on high | dir. Pedro Ruiz | Canada, Venezuela
Forced upwards by the chronic shortage of housing in Central Havana, makeshift houses form a secret village above a decaying district.
 
Homemade | dir. Jason Maris | USA
Groundbreaking, intimate & artful, Homemade is the six-year journey following highly decorated Force Reconnaissance Marine, Adam Sorensen, as he navigates life after war.
 
Pier Kids | dir. Elegance Bratton | USA
Three homeless, queer black youths navigate the streets, welfare, and their biological families in order to find stable housing.
 
Ringside | dir. André Hörmann | USA, Germany
A look at the dangerous, volatile world of Chicago’s South Side from the perspective of two remarkably gifted young boxers and the fathers who train them.
 
Singular | dir. Dennis Scholl and Marlon Johnson | USA
Chronicles the extraordinary rise of Haitian-American jazz singer Cecile Mclorin Salvant, anchored by a pristine recording of a live concert.
 
LOUISIANA FEATURES COMPETITION
Burning Cane | dir. Phillip Youmans | USA
Amongst the cane fields of rural Louisiana, a deeply religious woman struggles to reconcile her convictions of faith with the love she has for her alcoholic son and troubled preacher.
 
Easy Does It | dir. Will Addison | USA | WORLD PREMIERE
Two small-town buddies and their accidental hostage careen across the 1970s Southwest on a treasure hunt turned crime spree. A freewheeling road adventure about unlikely friendships and the giddy futility of chasing the American dream.
 
The Long Shadow | dir. Daniel Lafrentz | USA | WORLD PREMIERE
A young, female Sheriff’s Deputy in rural Louisiana takes on her town’s old money establishment when the woman she loves––an attorney fighting a land grab that threatens to displace the town’s poor––is murdered.
 
Lost Bayou | dir. Brian C Miller Richard | USA
In this Southern Gothic mystery, a struggling addict ventures into the Louisiana swamp to reconnect with her faith healer father, only to discover he is hiding a troubling secret aboard his houseboat.
 
Mossville: When Great Trees Fall | dir. Alexander Glustrom | USA, South Africa
One man standing in the way of a petrochemical plant expansion refuses to give up.
 
Up from The Streets | dir. Michael Murphy | USA | WORLD PREMIERE
A celebration of the culture of New Orleans through the lens of music.

#### 31 CANDLES – A Review by Jenn Rohm
It is that time of year when many people curl up on the couch in comfy clothes with a warm beverage and a blanket to watch Christmas Movies.  Yes, they are usually very predictable, and they don’t always have large budgets.  While studios have moved away from big-budget, big-name rom-coms, the fan base is showing it still exists.  If you are a fan of the genres, keep an eye out for 31 Candles to be showing at a theater near you.
Leo Kadner is approaching his 31st birthday, lives in New York, is close with his family, and makes Christmas Movies.  He claims to be jew”ish” and content in situationships as opposed to relationships.  At a family event, he crosses paths with the girl who got away from summer camp, Eva Shapiro.  She is moving back to New York and, in addition to trying to get cast on Broadway, she is a Torah tutor, helping prepare teens for their bar/bat mitzvah.  When Leo turned 13, other events in his family took over, and he never had a bar mitzvah.  He decides he should have one and turns to Eva to tutor him.
There is enough unpredictability, mixed with the predictable, that puts this more in the rom-com than the holiday movie category, making it the perfect first production from Romantical, Jonah Feingold’s new production banner.  Not only did he write, direct, and edit the film, but he also played the lead role, Leo.  His performance is believable, and while not everyone will want to date Leo, they at least want to be his friend.  Sara Coffey was cast as Eva Shapiro.  I like that the choice was made to make the leading lady confident and comfortable with who she is.  Yes, she wants to make it on Broadway and hasn’t yet, but that isn’t bringing her down.  It’s a nice change for a role model.
Other cast members are recognizable and enhance the film’s quality.  Jackie Sandler (You Are So Not Invited to My Bat Mitzvah, Happy Gilmore 2) is Susan, and Caroline Aaron (The Marvelous Mrs. Maisel, Sleepless in Seattle) is Lila.
I will also add that there is something about New York City being a part of a film when it is shot by people who love the city.  The decisions to include certain buildings, the angles to take the shot from, and how to light it create a subplot love story for the audience.
I will keep my eyes and ears open to see what Romantical has in store for us next.
 
Director: Jonah Feingold
Cast: Jonah Feingold, Sarah Coffey, Caroline Aaron, Djouliet Amara, Seth Barrish
MPAA Rating:
Selig Rating: 4 stars
Runtime: 1h 30m
Select Theatres: November 7, 2025
Genre(s): Comedy, Romance
Trailer: 31 Candles trailer
 
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### 32 SOUNDS – Interview with Filmmaker Sam Green
Filmmaker Sam Green talked with our Gadi Elkon about Sam’s latest feature film, 32 SOUNDS!

An immersive feature documentary and sensory film experience that explores the elemental phenomenon of sound and its power to bend time, cross borders, and profoundly shape our perception of the world around us. Featuring original compositions by JD Samson, 32 Sounds is designed to be experienced with personal headphones for a truly unique binaural audio experience.
Sam and Gadi talk about the team that made this film, the inspirations and influences for Sam and so much more!
Interview with Filmmaker Sam Green:

For more info, 32 SOUNDS.

#### 35th Israel Film Festival in Los Angeles Announces Film Programming
IMAGE OF VICTORY
 
The 35th ISRAEL FILM FESTIVAL in Los Angeles, the largest showcase of Israeli cinema and television in North America, unspools this year both in theaters and virtually from May 5th – 26th.  The Festival’s Opening Night film on May 5th is director Avi Nesher’s critically acclaimed Image of Victory, nominated for 15 Ophir Awards; the evening also serves to celebrate Israel’s Independence Day.  With leading Israeli filmmakers and talent in attendance for post screening Q&As, this year’s Festival will include five U.S. Premieres, six West Coast Premieres and 14 Los Angeles Premieres among the 30 award-winning features, documentaries and short films, announced Meir Fenigstein, founder and executive director of the ISRAEL FILM FESTIVAL in Los Angeles.
“I’m thrilled that the Israel Film Festival in Los Angeles is fully back for audiences to celebrate and support Israeli movies and their talented filmmakers.  We hope that this 35th edition will be a new, exciting beginning towards continuing to bring the very best of Israeli culture to Los Angeles,” noted Fenigstein.
The Opening Night film, the Los Angeles Premiere of the much-anticipated Image of Victory directed by Nesher, will take place on May 5th at the Saban Theatre (Beverly Hills).  All other Festival screenings will show at the Lumiere Cinema’s Music Hall Theater (Beverly Hills) and the Laemmle Town Center 5 (Encino).
To purchase tickets for the May 5th Opening Night Gala and all in-person and online screenings/Q&As visit: www.israelfilmfestival.com starting April 26th, 2022 or call 310-247-1800.  Ticket prices are as follows: Opening Night:  $85./per person (includes opening night red carpet arrival, VIP reception, screening and post dessert reception); $36./person (includes opening night screening and post dessert reception); regular festival screenings:  $15./person; $13./person for students and senior citizens; $180./person for package of all regular screenings and scheduled post Q & As with filmmakers. For virtual screenings (which is strictly limited to the southern California area) the cost is $10. for one film streaming ticket; $36. for a bundle of four separate streaming tickets; $48. for a bundle of six separate streaming tickets; $75. for a bundle of ten separate streaming tickets.
Among the highlights for this year’s 35th ISRAEL FILM FESTIVAL in Los Angeles are:
Berenshtein – In this exciting journey into the depths of the soul, the last surviving member of the great partisans who located Hitler’s secret weapon, the V2 missile development facility, revisits his past as a soldier in World War II. By diving into his traumatic memories, he is forced to grapple with the dissociation and loss of identity that ensued after the war. Despite this adversity, it becomes clear that he is able to stay true to his values through it all. Based on the true story of Leonid Berenshtein.
Cinema Sabaya – This film follows nine women, Arab and Jewish, who take part in a video workshop hosted by a young film director who teaches them how to document their lives. With each raw homemade footage shot by the women and shared with the others, the group dynamic forces them to challenge their views and beliefs as they get to know each other and themselves better.
Greener Pastures – In this hilarious story, a cranky, a retired widower who is low on money and begrudgingly resides in a nursing home, learns that many of his fellow nursing home residents are users of medical marijuana.  He soon embarks on a new business venture as a cannabis dealer. When his enterprise attracts the attention of both the police and a local street gang, he must decide whether he is willing to risk everything for what really matters most to him.
Here We Are – Winner of four Ophir Awards including Best Director, Actor, Supporting Actor and Screenplay, this is the poignant story of a man who has devoted his life to raising his young adult autistic son. Together they live in a gentle routine, away from the real world until the son prepares to move into a specialized facility to start to learn how to live life semi-independently. While on their way to this new home, the father decides to run away with his son and hits the road, knowing the son is not ready for this separation. Or is it, in fact, his father who is not ready?
Image of Victory – Considered Israel’s largest budget of film to date, the film is inspired by true events in 1948. Hassanin, an Egyptian filmmaker, is tasked with documenting a raid on the isolated kibbutz Nitzanim. When the kibbutz learns of the impending army raid, Mira, a young but valiant mother, is forced to reckon with the true cost of war and make an impossible choice.
More Than I Deserve – An award-winning film filled with emotional depth, the story is about a young boy who asks his single mother, who resists religion, if he can join his classmates in preparing their Bar Mitzvahs.  She refuses. A religious neighbor volunteers to help the kid and the two form a strong bond. Gradually the mother falls for him to but will their romance last?
Plan A – Based on actual events and set in Germany in 1945, the film centers on a Holocaust survivor who meets a group of Jewish vigilantes. Together they develop a plan to take monstrous revenge against the German people for the Holocaust: to poison the water system in Germany and kill six million Germans. The film is based on the book “Nakam” by Israeli historian Dina Porat.
Queen Shoshana – An acclaimed documentary about the legendary life story of Shoshana Damari, the internationally known singing superstar who became an icon and a national treasure.
Saving Shuli – A record breaking comedy at the Israel box-office, the film is about three friends who go to Colombia to rescue one of their sons, who has been kidnapped by a drug kingpin.
Summer Nights – Winner of the Ophir Award for Best Documentary, this beautifully sensitive film offers a window into the world seen through the eyes of a six-year-old boy. It is a journey into the subconscious of an innocent and ingenuous child as he falls asleep and drifts into the depths of his own mind.
Select showings will include exclusive post screening interview Q&As with Israel’s most influential filmmakers and talent, each moderated by distinguished Israeli and American journalists. Among the filmmakers and talent scheduled to attend are:
Actor Michael Aloni, Plan A
Producer Ronen Machlis Balzam, Berenshtein
Producer Ehud Bleiberg, Image of Victory and Riding with a Spy
Actress Anna Doubrovitsky, More Than I Deserve
Actor Omer Hazan, Don’t Wait for Me
Director Yair Qedar, The Fourth Window and The Last Chapter of A.B. Yehoshua
Actress Agam Schuster, Two
 
The following is a full listing of the 35th ISRAEL FILM FESTIVAL in Los Angeles programming:
FEATURE FILMS
 
OPENING NIGHT FILM PRESENTATION
IMAGE OF VICTORY  | תמונת הנצחון
LA PREMIERE
Dir: Avi Nesher | 2021, 121 Min
Based on true events in 1948, two cultures have their values tested as an Egyptian filmmaker is tasked with documenting a raid on an isolated kibbutz commune. As the situation escalates and takes unexpected turns, both sides must re-evaluate everything they know about life and war.
*Winner of three Israeli Academy Ophir Awards 2021
Festival Guest: Producer Ehud Bleiberg
 
GREENER PASTURES | שאיפה לחיים    
LA PREMIERE
Dir: Matan Guggenheim, Assaf Abiri | 2020, 90 Min
Dov (79), a penniless widower, lives in a nursing home – and hates it. All he can think about is getting out of there, buy his house back and live there till he dies. When he notices that all his fellow residents smoke legal medical cannabis, he realizes that weed will be his salvation – selling it, not smoking it.
*2022 Palm Springs International Film Festival – Official Selection
*2020 Jerusalem International Film Festival – Official Selection
 
CINEMA SABAYA | סינמה סבאיא
Dir: Orit Fouks Rotem | 2021, 91 Min
Nine women, Arab and Jewish, take part in a video workshop hosted by Rona, a young film director, who teaches them how to document their lives. With each raw homemade footage shot by the women and shared with the others, the group dynamic forces them to challenge their views and beliefs as they get to know each other and themselves better.
*2021 Jerusalem International Film Festival – Winner Best Israeli First Feature
*2021 AFI – Official Selection
*2021 Chicago International Film Festival – Official Selection
 
PLAN A | תוכנית א׳
LA PREMIERE
Dir: Yoav & Doron Paz| 2021, 110 Min
Based on a true story. In 1945, a group of Jewish holocaust survivors planned to poison the water system in Germany in retribution for the murder of 6 million Jews. The film tells the dangerous and bold story of the secret-operation, named “Plan A”.
*2021 Haifa International Film Festival – Winner Best Artistic Achievement Award
Festival Guest: Actor Michael Aloni
 
DON’T WAIT FOR ME | אל תחכי לי
US PREMIERE
Dir: Danni Raisfeld and Roy Gluska | 2021, 88 Min
Matan moves to a violent neighborhood after his father goes bankrupt and loses their home. The family tries to pick up the pieces, but the reality makes it complicated. Matan falls in love with Eden and dreams of protecting her from the violent lifestyle.
Festival Guest: Actor Omer Hazan
 
MORE THAN I DESERVE | יותר ממה שמגיע לי
LA PREMIERE
Dir: Pini Tavger| 2021, 86 Min
Pinhas asks his single mother, Tamara, to join his classmates in preparing for their Bar Mitzvahs. Tamara, an immigrant from Ukraine, who resists religion, refuses. When the religious neighbor volunteers to help, the two form a strong bond. Gradually Tamara falls for him too. Will their romance last?
*2021 Jerusalem International Film Festival – Winner Best Screenplay
Festival Guest: Actress Anna Doubrovitsky
 
BERENSHTEIN|   ברנשטיין
WEST COAST PREMIERE
Dir: Roman Shumunov | 2021, 110 Min
The last surviving member of the great partisans who located Hitler’s secret weapon, the V2 missile development facility, revisits his past as a soldier in World War II. By diving into his traumatic memories, he is forced to grapple with the dissociation and loss of identity that ensued after the war. Based on the true story of Leonid Berenshtein.
*2022 Palm Beach Jewish Film Festival – Audience Choice Award Winner
Festival Guest: Producer Ronen Machlis Balzam
 
THE DINNER | הארוחה
LA PREMIERE
Dir: Matti Harari, Arik Lubetzki| 2021, 78 Min
Emma and Gregory, Russian immigrants, are having a hard time adapting. They cross paths with Alon, an amateur artist and owner of a high-tech company who is in crisis with his wife Yael. Emma works as a nude model at Alon’s studio. By chance, Gregory starts working at Alon’s company. The truth comes out when Alon invites Gregory and Emma to a festive dinner in his home.
*2020 Warsaw International Film Festival – Official Selection
 
APRIL 7, 1980 | הלילה
NORTH AMERICA PREMIERE
Dir: Nadav Schirman| 2020, 84 Min
On April 7, 1980, terrorists infiltrated Kibbutz Misgav-Am but find themselves trapped in the children’s nursery with hostages less than four years old. Told from multiple perspectives, this is the true story of that night.
*2020 Jerusalem International Film Festival – Official Selection
*2020 Raindance Film Festival – Official Selection
 
THE SWIMMER | השחיין
LA PREMIERE
Dir: Adam Kalderon | 2021, 83 Min
Erez, a rising swimming star, arrives at a godforsaken training camp. The winner of the competition wins one ticket to the Olympics. And then there is Nevo, beautiful and gifted, who awakens subconscious desires in Erez.
*2022 Palm Springs International Film Festival – Official Selection
*2021 Jerusalem International Film Festival – Winner Best Actor
 
THE RAFT | הרפסודה
LA PREMIERE
Dir: Oded Raz | 2021, 90 Min
Three Israeli teens decide to build a raft and sail to the championship final in Cyprus. During their journey, their friendship will be put to the test as they will get a taste of first love and discover traits and skills in themselves that they didn’t know existed. The innocent adventure evolves into a coming-of-age journey they will never forget.
*2020 Zlin International Film Festival, Czech Republic – Official Selection
 
SAVING SHULI | לשחרר את שולי
Dir: Ben Bachar | 2021, 90 Min
US PREMIERE
Avihu, Nati, and Bezalel (“Ma Kashur” trio) go on a courageous rescuing journey that includes a wide range of legal and not-so-legal activities. Desire parties, organ trafficking, licking a psychedelic toad, and having some trouble with the Colombian Drug Cartel. Will they find Avihu’s son, Shuli? Will they find love? Can you find Jahnun in Colombia?! The answer to all these questions is: Ahlan, Ahlan, Ahlan!
 
ONE MORE STORY | עוד סיפור אחד
LA PREMIERE
Dir: Guri Alfi | 2021, 89 Min
Yarden Gat, is a young and brilliant journalist working on a famous newspaper. When she eventually decides to go on a date, she tells him that she slept with her boss and ruined her friend’s chance of having true love when she made him go out on a date each day of the month with a different woman, only to get a humiliating scoop for the newspaper.
 
HERE WE ARE | הנה אנחנו
Dir: Nir Bergman | 2020, 92 Min
Aharon has devoted his life to raising his son Uri. They live together in a gentle routine, away from the real world. But Uri is autistic, and now as a young adult it might be time for him to live in a specialized home. While on their way to the institution, Aharon decides to run away with his son and hits the road, knowing that Uri is not ready for this separation. Or is it, in fact, his father who is not ready?
*2020 Israeli Academy Ophir Awards – Winner: Best Director, Best Screenplay, Best Actor & Supporting Actor
*2020 Cannes International Film Festival – Official Selection 
 
TWO | שתיים
LA PREMIERE
Dir: Astar Elkayam | 2021, 81 Min
Omer and Bar are deeply in love when they decide to start a family through IVF treatments. Their journey begins full of excitement and support, but after many unsuccessful insemination attempts, their desperation grows and the women are forced to face the conflicts in their relationship.
*2021 TLV Fest – Opening Film 
*2021 Inside Out Toronto – Official Selection 
Festival Guest: Actress Agam Schuster
 
LET IT BE MORNING | ויהי בוקר
Dir: Eran Kolirin | 2021, 101 Min
Sami lives in Jerusalem with his wife and son. An invitation to his brother’s wedding forces him to return to the Arabic village where he grew up. After the wedding, with no explanation, the village is put under lockdown by Israeli soldiers. Chaos rises overnight among those stuck within the walls. Cut off from the outside world, trapped in an unexpected situation, Sami watches as everything falls apart.
*Israel’s Oscar Submission
*2021 Israeli Academy Ophir Awards – Winner of 15 Awards (Best Film, Best Director, Best Screenplay, Best Actor and Actress, Best Supporting Actor and Actress, Best Cinematography, etc.)
*2021 Cannes International Film Festival – Official Selection 
*2021 Haifa International Film Festival – Winner: Best Film, Best Screenplay, Best Actor
 
 
DOCUMENTARIES 
 
SPEER GOES TO HOLLYWOOD | שפאר בדרך להוליווד  
Dir: Vanessa Lapa| 2021, 97 Min
How did a man in charge of 12 million slaves become “the good Nazi”? A cautionary tale about Albert Speer’s 1971 attempt to whitewash his past with a Hollywood adaptation of his bestselling wartime memoir, “Inside the Third Reich”.
*2021 Jerusalem International Film Festival – Winner Best Director
*2021 Israeli Academy Ophir Awards – Winner Best Documentary
*2021 Telluride Film Festival – Official Selection
*2020 Berlinale – Official Selection
 
QUEEN SHOSHANA| המלכה שושנ
WEST COAST PREMIERE
Dir: Kobi Farag, Morris Ben-Mayor| 2021, 110 Min
Shoshana Damari was the first Israeli diva. She graced local and international stages, stirring millions with her beguiling voice and spectacular performance. Yet, behind the larger-than-life persona and her memorable songs was a woman about whom we know little. She didn’t like to be interviewed and never volunteered details about herself and her family. Hers was the life of a Hollywood legend, and she paid the price for it.
*2021 DocAviv – Official Selection and Opening Film
 
THE FOURTH WINDOW| החלון הרביעי 
LA PREMIERE
Dir: Yair Qedar | 2021, 86 Min
Behind the international success story of Amos Oz, a symbol of the Israeli conscience and a writer translated into 45 languages, lurked a double tragedy. A series of conversations with his latest biographer presented in the film, weaves biographical passages, literature, and conversations with the main people in his life, as Amos Oz tells his last story.
*2021 DocAviv – Official Selection
*2021 Mumbai International Film Festival – Winner Best Documentary 
*2021 Warsaw International Film Festival – Official Selection
Festival Guest: Director Yair Qedar
 
APPLES AND ORANGES| תוצרת חוץ
LA PREMIERE
Dir: Yoav Brill | 2021, 80 Min
Some 350,000 volunteers came to work in Israel’s Kibbutzim during the second half of the 20th Century. The eventual decline of this movement is a tale of many conflicts: from politics to religion, cultural clashes, and personal heartbreaks.
*2021 DocAviv – Official Selection
*2022 Santa Barbara International Film Festival – Official Selection
 
DEAD SEA GUARDIANS| שומרי ים המוות
LA PREMIERE
Dir: Ido Glass, Yoav Kleinman| 2022, 76 Min
The Dead Sea – the lowest place on earth and one of the wonders of the world – is dying. Three historic enemies join forces on a heroic journey to stop this catastrophe and save the Dead Sea from disappearing.
*2022 Santa Barbara International Film Festival – Official Selection
*2021 Haifa International Film Festival – Official Selection
 
WOMEN OF VALOR| חיל אשת
WEST COAST PREMIERE
Dir: Anna Somershaf| 2021, 75 Min
Ultra-Orthodox women are forbidden to run for Israeli parliament. One woman is determined to change this historic ban. Fighting against her own community with her friends, brings a huge personal price, but Esty Shushan won’t stop until she
achieves equal rights for 600,000 women.
*2021 Jerusalem International Film Festival – Official Selection
 
BLUE BOX | קופסה כחולה
LA PREMIERE
Dir: Michal Weits| 2021, 82 Min
The Jewish National Fund’s Blue Boxes were part of a successful fundraising campaign to support the purchase of land in Palestine. Joseph Weits, the filmmaker’s grandfather, was the man who orchestrated the acquisition and expropriation of Palestinian lands. Weits’s private diaries reveal an uncomfortable truth.
*2021 DocAviv – Winner Research Award
*2021 Hot Docs – Official Selection
 
RIDING WITH A SPY|להיות ענת קם
US PREMIERE
Dir: Shlomi Eldar | 2021, 92 Min
After being convicted of espionage, ostracized by her people, and marked as a traitor, Israeli whistleblower Anat Kamm tried to rebuild her life in NYC, but her past still haunts her. Unable to find employment and extend her visa, she is forced to return to Israel. In her last months in the US, Kamm goes on a cross-country road trip to meet the American hero Daniel Ellsberg and escape as much as she can the reality of becoming again,” The Anat Kamm”.
*2021 DocAviv – Official Selection
Festival Guest: Producer Ehud Bleiberg
 
SUMMER NIGHTS|לילות קיץ 
WEST COAST PREMIERE
Dir: Ohad Milstein | 2021, 53 Min
How does the world look through the eyes of a 6-year-old child? Summer Nights offers a window into a child’s world: his fears, his desires, his way of thinking. It is a journey into the subconscious of an innocent and ingenuous child, as he falls asleep and drifts into the depths of his own mind.
*2021 Israeli Academy Ophir Awards – Winner Best Short Documentary
*2021 DocAviv – Winner Best Film
*2022 SXSW EDU – Official Selection
 
HIGH MAINTENANCE: THE LIFE AND WORK OF DANI  KARAVAN| דני קרוון
WEST COAST PREMIERE
Dir: Barak Heyman| 2021, 66 Min
As he approaches 90, Dani Karavan embarks on an emotional, political journey.  On route, the complex and fascinating character of one of the greatest artists of our time is revealed.
*2020 Jerusalem International Film Festival – Winner Best Editing
*2021 Hot Docs – Official Selection    
 
GROSSMAN| גרוסמן
LA PREMIERE
Dir: Adi Arbel | 2021, 54 Min
An intimate, exposed and rare portrait of Israeli author, David Grossman, who rarely gives interviews, yet allows the viewers into the depths of his workroom/study and shares these honest, private and intimate insights on camera, and exposes the delicate and complex connection between his novels and his personal life.
*2021 DocAviv – Official Selection
 
THE LAST CHAPTER OF A.B. YEHOSHUA|הפרק האחרון של אב יהושוע  
WEST COAST PREMIERE
Dir: Yair Qedar | 2021, 58 Min
The story of A.B. Yehoshua, the greatest Israeli writer living today – who is dealing with a serious illness, widowhood and loneliness, chooses love and embarks on his final journey. A rare and fascinating look at one of our beloved writers.
*2021 Jerusalem International Film Festival – Official Selection
Festival Guest: Director Yair Qedar
 
ON THIS HAPPY NOTE| סוף טוב – ענת גוב 
US PREMIERE
Dir: Tamar Tal Anati | 2021, 65 Min
As she prepares to die, playwright Anat Gov asks literary agent Arik Kneller to execute her will. Their last documented conversation touches upon life, death, and her writings. Consciously accepting her nearing end, Anat leaves behind a spiritual legacy: there is such a thing as a happy ending.
*2021 DocAviv – Official Selection
 
Connect with the 35th ISRAEL FILM FESTIVAL on Facebook (The Israel Film Festival), Instagram @IsraelFilmFestival, and Twitter @IsraelFilmFest for festival news and highlights, and join the conversation with #IsraelFilmFestival.
The mission of the ISRAEL FILM FESTIVAL is to highlight Israel as the lively and innovative nation that it is, as well as to shine a spotlight on its thriving film and television industry and enriching the American experience of Israel’s social and cultural diversity. As an international entertainment industry event, the festival has brought acclaim to both the films and participants and has opened new possibilities for cooperation and co-production between the U.S. and Israeli film and TV industries. Each year, the festival explores Israeli society by premiering Israeli features, documentaries and television dramas, and through conversations with visiting Israeli filmmakers. Since its inception thirty-five years ago, the festival has created an exciting and artistic platform for engaging diverse audiences with the richness of Israeli life and culture.  The co-chairs of the Festival are Michelle Sobrino-Stearns, CEO, Variety and Stacey Farish, President, Deadline.   The Festival honorary chairman is Arnon Milchan, New Regency Productions.
For nearly four decades, the Festival has presented more than 1,100 feature films, documentaries, television dramas and short films to nearly one million filmgoers, and brought hundreds of Israeli filmmakers to the U.S. to share their art.  The ISRAEL FILM FESTIVAL is produced by IsraFest Foundation, Inc., a 501 (c)(3) non-profit organization created in 1982. Some of the sponsors for the 35th ISRAEL FILM FESTIVAL include:  Adelson Family Foundation, Advanced Security Concepts, CA Relief Grant Programs for the Arts and Cultural Non-profits, Consulate General of Israel, LA, David Wiener & Family, Deadline, Diane & Guilford Glazer Foundation, Drissi Creative Studios, Hollywood Foreign Press Association HFPA, In Sync Plus, Israel Ministry of Tourism, Jewish Community Foundation Los Angeles, Keshet International, Lamar Advertising, Millennium Media, Mizrahi-Tefahot Bank, Molly & Israel Weinberg, New Mandate Films, New Regency Productions, Robert & Beverly Cohen, The Maurice Marciano Family Foundation, Rabinovich Foundation, Valley National Bank and Variety, among others.

#### 35th Israel Film Festival Named Best Print Advertising North America
 
The Israel Film Festival in Los Angeles has been selected by the World Trailer Awards as the winner of the North American Best Print Advertising Campaign for its poster artwork for the 35th festival edition in 2022.  The annual awards program honors the world’s best creative entertainment marketing representing excellence in film, television (broadcast and cable), streaming and games.  The design of IFF poster was created by Daniel Bishop and Paul Hoegh-Guldberg of InSync PLUS in conjunction with Meir Fenigstein, the founder/executive director of the Festival.
“There were many excellent print campaigns created across the board,” noted Fenigstein.  “Our campaign, created by Insync PLUS, helps us continue to celebrate the 36-year journey of our extraordinary film festival.  What began as a modest celebration of the emerging Israeli cinema to its current recognition as a global powerhouse, we have continued to bring the vision of the IFF to the world.”
The competition includes projects from Africa, Asia, Asia Pacific, Europe, Latin America, Middle East & North Africa, and North America from trailers and posters to sizzles and campaigns repping social media and out-of-home.  Each regional group winner advances to the final round of voting by a panel of senior executives from production, distribution, broadcast and streaming alongside creative directors and industry opinion leaders.  The global winners will be announced February 25 in a ceremony at the Tivoli Marina Vilamoura resort in Algarve, Portugal.
“The World Trailer Awards are all about shining the spotlight on entertainment marketers and creatives across the globe,” said World Trailer Awards global director Tim Cole. “We are delighted to have seen a full and diverse range of entries from independent and major players, across all territories this year, with some exceptional work being submitted.”
The 36th Israel Film Festival in Los Angeles will take November 8th – 19th, 2023.  www.israelfilmfestival.com

#### 36th ISRAEL FILM FESTIVAL IN LOS ANGELES (NOV. 13 – 26, 2024) ANNOUNCES PROGRAMMING
SODA Hebrew Poster
 
The 36th ISRAEL FILM FESTIVAL in Los Angeles, which celebrates the best of Israeli culture and cinema, will run November 13th – 26th, 2024.  Come Closer, written and directed by Tom Nesher in her feature film directorial debut, will have its West Coast Premiere at the Festival’s Opening Night Gala. Soda, directed by Erez Tadmor, will have a special sneak preview as the Festival’s Sponsor Centerpiece Film Event.  At this year’s opening ceremony, Ynon Kreiz, Mattel Chairman and Chief Executive Officer, who has transformed the company and spearheaded its global blockbuster film, Barbie, will be presented with the 2024 IFF Industry Leadership Award.  Actor/Comedian Shaike Levi will receive the 2024 IFF Lifetime Achievement Award at the Closing Night ceremony.  Meir Fenigstein, founder and executive director of the ISRAEL FILM FESTIVAL made the announcement today. The Festival chairwoman is Michelle Sobrino-Stearns, CEO and Group Publisher of Variety. The Festival honorary chairman is Arnon Milchan, Founder of New Regency.
“The Israel Film Festival has always maintained an environment of mutually respectful discussion and viewpoints as well as nonpartisanship.  Our thoughts and prayers are with all those affected by the war.  Festivalgoers represent the diverse communities of Los Angeles who want to be both educated and entertained by a selection of powerful and exciting Israeli films that offer a great window into Israeli culture,” noted Fenigstein.
He added, “This year’s two Festival honorees are extraordinary and renowned leaders in business and the arts.  Ynon Kreiz, who has revolutionized Mattel into an esteemed juggernaut, volunteered at the Festival over 30 years ago when he was a university student at UCLA.  The legendary comedian/actor Shaike Levi has been bringing joy and laughter to generations of audiences in Israel.”
Kreiz will be honored on November 13th at the Festival’s Opening Night Gala followed by the West Coast Premiere of Come Closer at the Saban Theatre in Beverly Hills. Soda will screen on November 18th at the Writers Guild Theater in Beverly Hills. Levi will receive the Lifetime Achievement Award on November 26th during the Closing Night festivities at the Fine Arts Theatre in Beverly Hills.
Festival screenings will also show at the Laemmle Royal Theatre (West Los Angeles) and the Laemmle Town Center 5 (Encino). To purchase tickets for the Opening Night Gala and all screenings, as well as to participate in Q&As and meet the attending Israeli filmmakers, visit: www.israelfilmfestival.com starting November 5, 2024.
 
This year many organizations are sponsoring select screenings as community partners during the Festival.  This includes:
 

Adam & Gila Milstein Family Foundation
American Friends of Tel Aviv University (AFTAU)
American Friends of the Jaffa Institute
Americans for Ben Gurion University
American Friends of Magen David Adom
Consulate General of Israel in Los Angeles
Craig Emanuel & Creative Community for Peace
David & Sheryl Wiener & the Holocaust Museum LA
EL AL Israel Airlines
Factor’s Famous Deli
Jack Gottlieb & World Jewish Heritage Fund
Josh Shachar/Engineered Magnetics and Haifa University Alumni
Israeli House
Israel Ministry of Tourism
Jewish Federation Los Angeles
JNF – Arts and Entertainment Task Force
OpenDor Media
The Rubinstein Family Foundation & The Cornerstone Village
UCLA Nazarian Center for Israel Studies
USC DORNSIFE
Winkler Lowy family Foundation & Bais Jacob School For Girls

 
For the first time, the Festival will have a panel of Israeli-American producers to discuss the option of co-productions between the U.S and the Israeli film industries.  This private event is sponsored by the Israel Cinema Project-Rabinovich Foundation and will take place on November 15th at noontime at the Crescent Theater in Beverly Hills.
Among the highlights for this year’s 36th ISRAEL FILM FESTIVAL in Los Angeles:
COME CLOSER is a 2024 Israeli-Italian drama film written and directed by Tom Nesher in her directorial debut.  After winning the Ophir Award for Best Picture (as well as Best Director), it was officially selected as the Israeli entry for the Best International Feature Film at the 97th Academy Awards 2025.   The film stars Lia Elalouf (who won Best Actress) and Darya Rosenn with Ido Tako, Yaakov Zada-Daniel and Netta Garti.  It is about a troubled young woman who becomes obsessed with her deceased brother’s girlfriend after his sudden death.
HALISA, directed by Sophie Artus, is about a nurse played by Noa Koler, who has been trying to get pregnant and ends up being gifted with the baby from one of the young women in her care.  The film received an Ophir Award Best Film nomination.
HIGHWAY 65, directed by Maya Dreifuss, is the story of a tough, tactless police detective investigating a murder in a small town.  The film received an Ophir Award Best Film nomination.
THE MILKY WAY, directed by Maya Kenig, is the story of a young mother who sells her breast milk to a wealthy family. The film received an Ophir Award Best Film nomination.
SODA, directed by Erez Tadmor, is the story about a beautiful seamstress (Rotem Sela) who moves to Tel Aviv in the 1950s and is rumored to have been a Nazi collaborator.  A former brave resistance fighter is torn between his passion to the beautiful woman and his commitment to the community to reveal her past.  The film also stars Lior Raz.
SEVEN BLESSINGS, directed by Ayelet Menahemi. As a child, Marie was given to her barren aunt by her mother, a common practice in the past. Decades later, she returns from France for her wedding. The Seven Blessings, a traditional week of meals, is planned by her large Jewish Moroccan family, but past wounds reopen, resulting in an explosion of food, comedy, drama, and belated forgiveness. Winner of 10 2023 Israeli Academy Ophir Awards including: Best Film, Best Director, Best Screenplay, Best Actress and Best Supporting Actress.
HOME, directed by Benny Fredman. A young and recently married Orthodox man’s dream to open a computer store in an ultra-Orthodox neighborhood in Jerusalem turns into a violent nightmare when the entire neighborhood sees him as an existential threat. Turning his whole world upside down, the threat enters his home, and puts his marriage to the test, as he faces the reality of his own free will within a predetermined world. The film won the 2023 Israeli Academy Ophir Award for Best Actor and Best Supporting Actor.
HAGSHASH HAHIVER, directed by Eliav Lilti. Were the “HAGASHASH HAHIVER” comedy trio the essence of Israeli-ness, or did they provide a convenient representation that everyone wanted to believe in? What does this so-called refined essence teach us about Israelis, and how does it stand the test of time? To thoroughly examine this complex issue, this documentary blends deep insights with humor, infused with anecdotes and archival footage.
THE MONKEY HOUSE, directed by Avi Nesher. A once successful novelist tries to revive his fading career by launching a highly inventive scam. He recruits a reckless actress and trains her to assume the somber identity of a lit master’s student. Their lives will alter forever.  The film received 11 2023 Israeli Academy Ophir Award Nominations.
 RUNNING ON SAND, directed by Adar Shafran. When a young Eritrean refugee deported from Israel is mistaken for the new foreign player of a struggling soccer team, his survival depends on the team’s success. The film received four 2023 Israeli Academy Ophir Award Nominations.
 KARAOKE, directed by Moshe Rosenthal.  A bittersweet comedy about a middle-class suburban couple in their 60s who are drawn to their new neighbor, a charismatic bachelor who has karaoke evenings at his apartment.  The film won the 2022 Israeli Academy Ophir Award for Best Actor, Best Actress, Best Original Score and Best Music.
 THE CITY, directed by Amit Ulman.  In a dark city, in a fictional world, detective Joe is called upon by Sarah Bennett to help investigate the murder of her sister. Quickly, the plot thickens, and Joe finds himself facing the most notorious criminal mastermind. The first ever Hebrew rap opera.  The film won the 2024 Israeli Academy Ophir Award for Best Music.
 
Select screenings will include exclusive post screening interview Q&As with Israel’s most influential filmmakers and talent, each moderated by distinguished Israeli and American journalists. Among the filmmakers and talent scheduled to attend are:
 

Sophie Artus, Director, Halisa
Lior Chefetz, Director, The Strong Hold
Benny Fredman, Director, Home
Maya Kenig, Director, The Milky Way
Shaike Levi, Actor, Hagshash Hahiver
Anat Maltz, Director, Real Estate – A Love Story
Ofer Naim, Producer, Mid Life
Tom Nesher, Director, Come Closer
Moshe Rosenthal, Director, Karaoke
Adar Shafran, Director, Running on Sand
Shemi Shoenfeld, Producer, Matchmaking 2 and Soda
Erez Tadmor, Director, Matchmaking 2 and Soda
Amit Ulman, Director and Actor, The City
Estee Yacov-Mecklberg, Producer, Come Closer and Highway 65

 
Ynon Kreiz is Chairman and Chief Executive Officer of Mattel, a leading global toy company and owner of one of the strongest portfolios of children’s and family entertainment franchises in the world. He joined the company as CEO in April 2018 and was appointed Chairman of the Board of Directors in May 2018. He has led a multi-year transformation strategy that established Mattel as an IP-driven, high-performing toy company. Under his leadership, Mattel Films announced 14 live-action motion pictures in active development with major studio partners.  The company’s first movie, the international blockbuster Barbie, has already grossed nearly $1 billion worldwide.  Mattel Television has expanded its content offering and reaches audiences across 191 countries in 37 languages. Prior to joining Mattel, he was Chairman and CEO of Maker Studios, a global leader in short-form video content and one of YouTube’s largest multichannel networks. He was formerly Chairman and CEO of the Endemol Group, the world’s largest independent television production company and owner of major programming franchises including Big Brother. Beforehand, Kreiz was a General Partner at Balderton Capital (formerly Benchmark Capital Europe), one of the leading early-stage startup investors in Europe. Prior, he co-founded Fox Kids Europe NV where he served as Chairman and CEO. Under his leadership, Fox Kids became one of the fastest growing pay TV channels in Europe and the Middle East and operated pay TV channels across 54 countries, broadcasting in 17 languages.
Shaike Levi is an Israeli comedian, singer and actor. He is best known for his role in HaGashash HaHiver, the iconic comedy trio which won the Israel Prize in 2000.  The Gashashim put on many comedy skits which became classics in their own right (“The Drafted Car”, “Off Side Story”, “Kreker vs Kreker”) and contributed numerous quotes to modern spoken Hebrew. They also starred in comic Israeli movies which became major hits, such as Givat Halfon Eina Ona, and recorded many famous Hebrew songs.  The Gashash’ sketches transcended class and education. Their elaborate word play became known as Gashashit.
 
The following is a full listing of all ISRAEL FILM FESTIVAL programming:
 
Opening Night Gala Film 
 
COME CLOSER  קרוב אלי
West Coast Premiere | 2 screenings
Dir: Tom Nesher |Israel, 2024, 107 Min
When Eden’s (20) beloved young brother (17) dies in an accident, she takes desperate measures to fill the void that has been created in her life. When she discovers he had a girlfriend she knew nothing about, these measures assume a passionate and dangerous twist.
Special Guest: Director Tom Nesher
*2024 Tribeca Film Festival: Winner: Viewpoint Award
*Ophir Award Nominee, 2024
*2024 Jerusalem Film Festival – Winner: The GWFF Award for Best Israeli First Feature
 
Festival Centerpiece Film
 
SODA | סודה | HEBREW TRAILER
SNEAK PREVIEW | 1 screening
Dir: Erez Tadmor | Israel, 2024, 96 Min
A beautiful seamstress moves to a neighborhood of Holocaust survivors in 1956. Rumors about her past (as a Capo) shake up the neighborhood, and especially Shalom, the leader and a former brave resistance fighter, who is torn between his passion to the beautiful woman and his commitment to the community to reveal her past.
Special Guest: Director Erez Tadmor
 
Closing Night Film
 
HAHIVER HAGSHASH
הגשש החיוור
Premiere Status: World Premiere | 1 screening
Dir: Eliav Lilti | Israel, 2023, 86 Min
Were the “GASHASH HAHIVER” comedy trio the essence of Israeli-ness, or did they provide a convenient representation that everyone wanted to believe in? What does this so-called refined essence teach us about Israelis, and how does it stand the test of time? To thoroughly examine this complex issue, blending deep insights with humor, infused with anecdotes and archival footage.
Special Guest: Actor Shaike Levi, Recipient of the 2024 IFF Career Achievement Award
Sponsored by: Cheryl and Haim Saban
 
 
FILMS
 
REAL ESTATE – A LOVE STORY | ן”נדל TRAILER 
Premiere Status: U.S. Premiere | 2 screenings 
Dir: Anat Maltz |Israel, 2023, 94 Min
Tamara and Adam, a wild unstable couple, are about to become parents and their
life is a mess. Just before being evacuated from their apartment in Tel Aviv, Tamara decides to search for their new home in Adam’s home town Haifa. During one unforgettable day of apartment hunting, the journey to find a home turns into a journey to the heart of their passionate yet impossible relationship.
Special Guest: Director Anat Maltz
*2023 Tokyo Film Festival
 
HALISA
חליסה 
Premiere Status: U.S. Premiere | 2 screenings
Dir: Sophie Artus| Israel, 2024, 102 Min
SARAH, 40, is a nurse at the Children’s Health Center in Halisa, a multi-ethnic and poverty neighborhood. For two years, Sarah tries to get pregnant. Her desire for a child is intertwined with the difficulties of a young mother until they reach an illusionary solution– the impossible gift of a baby.
Special Guest: Director Sophie Artus
*Ophir Award Nominee, 2024
* 2024 Haifa Film Festival, 2024
 
HIGHWAY 65
TRAILERכביש הסרגל 
Premiere Status: U.S. Premiere | 2 screenings
Dir: Maya Dreifuss | Israel, France, 2024, 109 Min
Until recently, 41-year-old Daphna was a promising detective in Tel Aviv. She now finds herself in small-town Afula, dealing with petty crimes, seeking shade from the heat, and deflecting the intrusive question: “How come you don’t have any children?” Daphna’s world is shaken by the sudden disappearance of Orly Elimelech, a captivating army widow known for her beauty and rebellious spirit. Soon enough, a troubling question creeps in: “Why isn’t anybody looking for her?” Fearing the worst, Daphna will stop at nothing to solve the mystery
Special Guest: Producer Estee Yacov-Mecklberg
2024* Jerusalem Film Festival – Special Mention
*Ophir Award Nominee, 2024
 
THE MILKY WAY | חלב | TRAILER
Premiere Status: U.S. Premiere | 2 screenings
Dir: Maya Kenig| Israel, 2024, 98 Min
Tala, 33, an offbeat Israeli musician, just had her first baby. Desperate to make a living and support her child on her own, she takes a job at “The Milky Way” – a breast milk dairy where you can find the best milk new moms can offer: vegan, high in protein, with top-rate essential nutrients. In this dystopic dark comedy, Tala embarks on a journey navigating the complexities of motherhood, while taking a glimpse into the wealthy lives she is supplying.
Special Guest: Director Maya Kenig
*2023 Tallinn Black Nights – Winner: Critics’ Picks Special Jury Mention
*Ophir Award Nominee, 2024
*2024 Jerusalem Film Festival – Winner: Best Screenplay
 
KARAOKE | קריוקי| TRAILER
Dir: Moshe Rosenthal | Israel, 2022, 100 Min | 2 screenings
A bittersweet comedy about a middle-class suburban couple in their 60s who are drawn to their new neighbor, a charismatic bachelor who has karaoke evenings at his apartment.
Special Guest: Director Moshe Rosenthal
*2022 Tribeca Film Festival – Official Selection
*2022 Jerusalem Film Festival – Winner: Best Debut Film, Audience Choice Award
*2022 Raindance Film Festival – Winner: Best Director, Best Screenplay
*2022 Israeli Academy Ophir Award – Winner: Best Actor, Best Actress, Best Original Score, Best Music
Sponsored by: American Friends of Tel Aviv University & Israel Bonds
 
DELEGATION | המשלחת| TRAILER
Premiere Status: L.A. Premiere | 1 Screening
Dir: Asaf Saban |Israel, 2023, 95 Min
Poland. Warsaw’s Chopin airport. A group of 40 teenagers, accompanied by a few nervous adults, exit the arrivals gate. They are all bunched up together, wearing white sweatshirts with “ISRAEL” printed in blue on the back. We’ll follow this young Israeli delegation on their journey around Poland, where the incomprehensible past of WW2, meets the complex present of being an Israeli teenager.
*2023 Berlinale Film Festival – Nominee, Generation Competition
*2023 Jerusalem Film Festival – Winner: Best Screenplay and Best Ensemble
 
RUNNING ON SAND | החול על לרוץ | TRAILER
Premiere Status: U.S. Premiere | 2 screenings
Dir: Adar Shafran | Israel, 2023, 104 Min
When a young Eritrean refugee deported from Israel is mistaken for the new foreign player of a struggling soccer team, his survival depends on the team’s success.
Special Guest: Director Adar Shafran
*4 Israeli Academy Ophir Award Nominations 2023
Sponsored by: UCLA Younes and Soraya Nazarian Center for Israel Studies
 
THE STRONG HOLD| המזח | TRAILER
Premiere Status: U.S. Premiere2024|  | 2 Screenings
Dir. Lior Chefetz |Israel, 2023, 113 min
After sustaining a surprise Egyptian attack during the Yom Kippur War, a desolate Israeli outpost falls under siege. While the surviving soldiers prepare for a final, hopeless battle, the Doctor comes up with an alternative plan that may save them but comes with a heavy price.
Special Guests: Director Lior Chefetz
 
SEVEN BLESSINGS | שבע ברכות   TRAILER
Premiere Status: U.S. Premiere | 2 screenings
Dir: Ayelet Menahemi | Israel, 2023, 108 Min
Marie was just two years old when her mother gifted her to her infertile sister, a common Moroccan custom at the time. 40 years later, Marie travels from France to Israel, where her family now lives, to marry her one true love. Her warm and excited family is preparing for the custom of “Seven Blessings”- a week of festive meals in honor of the bride. But Marie has also come to open old wounds. Between intoxicating family means, secrets and lies are revealed. Marie is desperate for an apology although her family is sure she should be thanking them. This week turns into a sad comedy about family crimes, forgiveness, and loss.
*Winner of 10 Israeli Academy Ophir Awards 2023 including: Best Film, Best Director, Best Screenplay, Best Actress, Best Supporting Actress etc.
*Israel’s Oscar Submission for Best International Film
 
NIGHT DAY NOR NIGHT
לא יום ולא לילה   TRAILER
Premiere Status: U.S. Premiere | 2 screenings
Dir: Phinehas Veuillet| Israel, 2024, 90 Min
It’s a summer day in Bnei Brak, Rafael had just celebrated his bar mitzvah and the fateful minor-yeshiva exams are under way. While the Talmud Torah students are studying diligently, Rafael, who is considered to be the most qualified and dedicated of his class – is heartbroken. He knows well that his familial background won’t allow his acceptance into the community’s prestigious institutes, no matter how hard he tries.
*2024 Jerusalem Film Festival
 
HOME| בית | TRAILER
Premiere Status: U.S. Premiere | 2 screenings
Dir: Benny Fredman | Israel, 2023, 111 min
Yair, a Yeshiva student, opens an electronics shop in “Geula”, a neighborhood that is the shopping epicenter for the entire ultra-Orthodox community in Jerusalem. The religious character of the neighborhood is enforced by the “Geula Committee” and Yair strictly adheres to their rules. His shop is introducing a world of advanced technology that overnight becomes a magnet for every ultra-Orthodox household. But the increasing intrusion of modernity is an affront to the committee, leading to an inevitable conflict that forces Yair into a desperate struggle for survival.
Special Guest: Director Benny Fredman
* 2023 Israeli Academy Ophir Award – Winner: Best Actor, Best Supporting Actor
 
THE CITY |הזאת העיר| TRAILER
Premiere Status: West Coast Premiere | 2 screenings
Dir: Amit Ulman| Israel, 2023, 80 Min
In a dark city, in a fictional world, detective Joe is called upon by Sarah Bennett to help investigate the murder of her sister. Quickly, the plot thickens, and Joe finds himself facing the most notorious criminal mastermind in “The City”. The first- ever Hebrew rap opera.
Special Guest: Director and Actor Amit Ulman
*2023 Warsaw International Film Festival – Official Selection
 
MID LIFE
אמצע החיים
TRAILER
Premiere Status: L.A. Premiere | 1 screening
Dir: Danni Raisfeld, Yariv Horowitz | Israel, 2023, 92 Min 
Yehonatan finds his wife Sherry screaming in pain on the bathroom floor. In the hospital, Yehonatan discovers that Sherry has cancer for a while now and has been oblivious. In the hospital rooms, Yehonatan meets his antithesis, Nissim.Yehonatan, who desperately needs saving, starts following Nissim’s footsteps and goes through a life-changing spiritual journey to embrace religion.
Special Guest: Producer Ofer Naim
 
THE MONKEY HOUSE | קופים גן TRAILER  
Premiere Status: L.A. Premiere | 1 screening 
Dir: Avi Nesher| Israel, 121 Min, 2023
A once-successful novelist tries to revive his fading career by launching a highly inventive scam. He recruits a reckless actress and trains her to assume the somber identity of a lit Masters student. Their lives will alter forever.
*11 Israeli Academy Ophir Award Nominations 2023
Sponsored by: Cornerstone Village
 
MATCHMAKING 2
| בחורים טובים2  TRAILER
Premiere Status: L.A. Premiere| 2 screenings
Dir: Erez Tadmor | Israel, 2022, 96 Min
Moti Bernstein is the son every mother wants, a student every Rabbi loves to teach, the ideal Yeshiva study mate, and the perfect match for every bride. He has it all: a good family, a brilliant mind, and he is not bad looking either. In search of a wife, he will meet the best girls in the Jewish Orthodox world but will fall for the one girl he can never have.
Special Guest: Director Erez Tadmor
*2023 Miami Jewish Film Festival – Winner: Audience Choice Award
 
CONCERNED CITIZEN | מודאג אזרח | TRAILER
Premiere Status: L.A. Premiere| 1 screening
Dir: Idan Haguel | Israel, 2022, 82 Min 
Ben plants a tree on the street in front of his house in Neve Sha’anan, a migrant neighborhood in the south of Tel Aviv. The district is on the up, and Ben has bought and upgraded a flat here together with his partner Raz. This couple now enjoys a settled existence ready to tackle their desire to have children. One day, when an unneighborly conflict escalates over the tree he has planted, Ben’s life goes into a turmoil.
*2022 Jerusalem Film Festival – Winner: Best Screenplay & Best Original Score
*2022 Berlinale Film Festival – Panorama Selection
 
 
DOCUDRAMA
 
EXODUS 91 | אקסודוס 91 | TRAILER
Premiere Status: L.A. Premiere|1 screening
Dir: Micah Smith | 2022, 91 Min
A hybrid documentary film that follows Israeli diplomat, Asher Naim, on a seemingly insurmountable mission to bring 15,000 Ethiopian Jews to Israel. As Asher learns more about these African Jews, he finds himself between worlds and facing a crisis of faith in himself and his country.
*2023 Maimi Jewish Film Festival, Atlanta Jewish Film Festival – Official Selection
Sponsored by: OpenDor Medi
 
DOCUMENTARIES
 
HIS OWN WAY – THE CINEMA OF AVI NESHER
אבי נשר: מילים להחלפה |          
 Premiere Status: U.S. Premiere | 2 screenings
Dir: Yair Raveh | Israel, 2024, 120 Min
“All my movies are personal without being autobiographical,” says Avi Nesher, a filmmaker who combines his personal life and the history of Israel in his films. This documentary examines the DNA of Nesher’s cinematic creations, which include musicals, dramas, and comedies, chronicling the homeland in which he started his career at the age of 24 and where he continues to create at 71.
*2024 DocAviv – Opening Film
 
THE THREE OF US |שלושתנו | TRAILER
Premiere Status: West Coast Premiere | 1 screening 
Dir: Henya Brodbeker| 2023, 80 Min
A young Orthodox couple is fighting to integrate their autistic son into society. To fulfill that dream, they are willing to risk everything, questioning their relationship, faith, and place in the world.
*2023 Jerusalem Film Festival – Winner: Best Documentary, Best Documentary Director, Best Editing
 
TABOO: AMOS GUTTMAN| טאבו: נחום גוטמן| TRAILER
Premiere Status: L.A. Premiere | 1 screening
Dir: Shauly Melamed |2024, 74 Min 
While alive, Amos Guttman was a red flag for Israel’s conservative film establishment. A Romanian migrant, he never found a place in his new home. As a gay filmmaker, he created the nation’s first films on the subject. Despite his adventurous spirit, Guttman made only four features before dying of AIDS. TABOO – Amos Guttman uses excerpts from his last interview, letting historical materials tell his story and reevaluate his choices on and off the set.
*2024 Jerusalem Film Festival – Winner: Best Editing
*2024 International Film Festival Rotterdam – Official Selection
*2024 TIDF – Official Selection
 
THE RETURN FROM THE OTHER PLANET| TRAILER
השיבה מהפלנטה האחרת
Premiere Status: L.A. Premiere| 2 screenings 
Dir: Assaf Lapid | Israel, 2023, 81 Min 
Ka.tzetnik lived a life of secrecy, becoming a myth. Rumors suggested that he writes all night, donning his Auschwitz uniform, never leaving his house despite his books selling millions. The film explores the writer’s personal odyssey in coping with his trauma through the unconventional path of LSD.
*2023 Jerusalem Film Festival – Winner: Best Documentary Research
*2023 FilmFest Munich – Official Selection
Sponsored by: LA Holocaust Museum, David Wiener and Family
 
THE CHILD WITHIN ME (POLIKER)| TRAILER
פוליקר: הילד שבי| 1 screening
Dir: Eti Aneta & Yaniv Amoday| Israel, 2023, 90 min
Yehuda Poliker, one of Israel’s musical giants – in a retrospective meeting of his own life – stares calmly into the camera; sometimes with longing, sometimes with regret, but mostly lovingly. He watches rare archival footage, some of which are never before seen family home-videos. At times, he joins in on the guitar, accompanying that same stuttering, insecure young man looking back at him from the screen, or his parents singing Greek songs, and sometimes, he just sits silently and reminisces. In conversation between then and now, in conversation with his friend for the past 40 years, Eti Aneta Segev, images from Poliker’s life join one another, while his touching music plays in the background. The images spark memories that transport us freely between the different junctures of his life.
*2023 Ophir Awards – Winner Best Documentary
* 2023 Doc Aviv – Opening film
 
TELLING NONIE|נוני עיוני  | 2 Screenings TRAILER
Dir: Paz Schwartz | Israel, 2024, 50 min 
Tormented by his role in a 1950s Gaza assassination, Geizi Tsafrir, an elderly Israeli agent, seeks redemption. Reflecting on his time with Shin Bet (Israeli Secret Service) and the killing of an Egyptian lieutenant colonel, he decides to confront his past. He contacts the colonel’s daughter, Nonie Darwish, once intent on avenging her father’s death but now a prominent voice against radical Islam and a supporter of Israel. The mysterious email from Tsafrir sets Darwish on an emotional journey into her past, culminating in a meeting with him in Los Angeles. This winner of the Haifa International Film Festival’s Best Israeli Documentary explores intricate emotions, history’s complexities, and the bumpy path toward mutual understanding and forgiveness.
*2023 Haifa Film Festival – Winner: Best Documentary
 
MONOGAMIA| מונוגמיה| TRAILER |2 Screenings
Dir: Ohad Milstein | Israel, Germany | 2023, 73 min
Monogamia takes you on a roller-coaster journey into the world of love and intimacy within committed relationships. Follow the director’s personal quest to bring back the love that once flourished between his parents. As you watch, the inevitable question arises: Can love indeed endure the test of time? Can the revelation of buried secrets revive the spark of long-lost intimacy? Does monogamy stop being monogamy after tasting the ‘forbidden fruit’? Amidst this captivating exploration, consider the excitement and price of open relationships.
*2024 Ophir Academy Award– Nominee: Best Documentary
*2023 Locarno International Film Festival Winner Critics Week Award
 
GOLDA’S WAR DIARIES | יומני גולדה – הותר לפרסום| TRAILER |1 Screening
Dir: Yariv Mozer | Israel | 2023, 74 min
On the Yom Kippur War’s 50th anniversary, Israel’s National Archive unveils Prime Minister Golda Meir’s classified office records, contradicting the prevailing perception of her shortcomings during the conflict. These documents reveal her resolute wartime leadership and successful diplomacy, pivotal in securing Israel’s victory and peace accord with Egypt.
 
ZVI SAYS|צבי אומר | 1 screening
Dir: Noa Shisel |Israel, 2022, 68 min
Tzvi Shissel’s last film documents his lifelong friendship and creative partnership with Arik Einstein, from their Tel Avivian childhood to Shissel’s death, using never-before-seen homemade and archived footage.
*2022 Ophir Award Nominee – Best Documentary under 60 minutes
 
EXT. DAY. SATURDAY | חוץ. יום. שבת
SPECIAL SCREENING IN SUPPORT OF SHA’AR HANEGEV REGIONAL COUNCIL
Life after October 7, 2023, from the perspective of six creators, graduates of film and television studies in the Department of Sound and Screen Arts at Sapir College and residents of the Gaza Strip, who woke up on the morning of October 7 to a day that changed the course of their lives
Sponsored by: Jewish Federation Los Angeles
 
36IFF ISRAEL FILM FESTIVAL IN LOS ANGELES 2024 GRADUATE STUDENTS’ FILM COMPETITION 
In tribute to the late Israeli filmmaker YAHAV WINNER, one of the victims of the October 7th attack on Israel
 
STEVE TISCH FILM AND TELEVISION SCHOOL, TEL AVIV UNIVERSITY
IT’S NO TIME FOR POP זה לא פופ     
Dir. Amit Vaknin  14 MINS 2024
Finding an apartment in Tel Aviv is never easy, especially on Israeli Memorial Day when you skip the memorial service for your own dad. Nevertheless, Yael has no other choice but to find a new home.
La Cinef, Cannes film festival France 2024-
2024 Israeli Competition at TISFF (Tel Aviv International Student Film Festival)
Short film Competition, CINEMED Festival, Montpellier, France 2024
 
MAALEH FILM SCHOOL
GIRL NO60427   ילדה מספר     
Dir: Shulamit Lifshitz 22 min. 2022
Tel Aviv, 1998, summer vacation. Reut finds and reads her grandmother’s secret notebook from the Holocaust. Grandma’s story resonates with Reut’s well-developed imagination, and the fun week in Tel Aviv with Grandpa and Grandma turns into something else entirely. Reut’s relationship with her grandmother changes forever. This mixed-genre, live action/animation film is based on the childhood memories of the director, who discovered her grandmother’s Holocaust diary when she was thirteen
* Winner: BAFTA Student Film Awards, 2022 – Best Student Narrative Film, Best Live Action Film 
* Winner: Best Short Film Atlanta Jewish Film Festival, USA 2024
* Haifa International Film Festival, Israel, 2022
* Miami Jewish Film Festival, USA 2024
* Toronto Jewish Film Festival, Canada 2024
 
MINSHAR FOR ART, FILM DEPARTMENT
KOSHER TEST  בדיקת כשרות     
Dir. Riki Rotter   16 Min. 2024
Tamar, an ultra-Orthodox girl from an extremist community, is taken to the hospital by her beloved father, who thinks she has had sex. Her relationship with her father and her virginity both are being tested. Her father takes her to the hospital for an examination to determine the status of her virginity. The daughter finds herself undergoing an intrusive examination accompanied by questioning without any ability to make her voice heard and tell the truth. She experiences alienation from her family and neglect from the medical staff in a safe room.
*Official Selection- Torino Film Festival 2024
* COPRO X TSIFF FICTION STUDENT LAB – Best Film Award
*JFF – Jerusalem Film Festival – Honorable Mention in Short Film Competition
*Official Selection – JWFF-   Jerusalem Women Film Festival
 
BEIT BERL ACADEMIC COLLEGE, FILM DEPARTMENT
THE BAT  Iהעטלף    15:44   2023
Dir. Coral Hoffman Haick   
Roey, a 13 years old boy, finds an injured bat in a field and decides to take care of it. He hopes that healing the bat will heal his heart. But the mission gets complicated when his classmates demand that he gets rid of it. Roey realizes that the bat is quite similar to him, and he gets into a struggle where it’s not clear how things will turn out.
 
TEL- HAI COLLEGE  
THE 50TH PSALM I המזמור החמישים     
Dir.  Hamed Sharoof & Fadi Qubti  21:30 Min 2021
Peter, an Arab boy (16) is having a secret relationship with his married neighbor, Roje. He tries to convince him to leave his wife so they can live together, but Roje refuses and asks for more time. Peter is tired of waiting and demands Roje to decide.
* Winner: Promising Creator Award – Jerusalem Film Festival
* Winner: Best Cinematography Award – Tel Aviv Student Film Festival
* Commendation – Tel Aviv Gay Film Festival.
 
SAM SPIEGEL FILM AND TELEVISION SCHOOL
TODAY IS THE DAY
TRAILERהיום זה היום-  
Dir. Roee Nagan   13:40 2024
During an ugly divorce battle, Oded takes his son to the police station to file a complaint. When his son refuses to go into the station alone, Oded insists on finding a way for his voice to be heard too – even if it means sacrificing his son.   *Winner Best Student Short, ​New York City Short Film Festival 2024
 
SAPIR COLLEGE, DEPARTMENT OF AUDIO AND VISUAL ARTS
SOLOMON & SOLOMON GO FISHING 
TRAILER  סלומון וסלומון יוצאים לדוג
Dir. Eliyahu Wonda 11 Min. 2023
In a last attempt to connect with his son, Solomon (an Ethiopian man, 49) takes Junior on a fishing trip to the Dead Sea. As the two descend in their path, the cultural and personal gaps reveal the absurdities of their lives in the Holy Land.
*Cinema South Festival – Best Screenplay Award, Best Production Award 2023
*San Francisco Jewish Film Festival 2023
*Haifa Film Festival 2023
 
Connect with the 36th ISRAEL FILM FESTIVAL on Facebook (The Israel Film Festival), Instagram @IsraelFilmFestival, and Twitter @IsraelFilmFest for festival news and highlights, and join the conversation with #IsraelFilmFestival. Ticket sales will start on the festival website on November 5th, www.IsraelFilmFestival.com

#### 40th North Texas Irish Festival Back in Fair Park March 4-6
 
The North Texas Irish Festival makes its triumphant return to Dallas’s Fair Park March 4-6, bringing with it all the music, dance, culture and excitement that this well-loved, family-friendly event creates to celebrate the rich tradition of Irish and Celtic culture. In celebration of this 40 thfestival, the event’s theme, “40 Shades of Green,” recognizes the rich culture of Irish music and the organic growth of this Irish tradition in North Texas, made possible by 40 years of volunteers dedicated to keeping traditions alive to share with all. Tickets are on sale now for the festival at www.NTIF.org.
Tens of thousands of people will come from across Texas and other parts of the country to visit the North Texas Irish Festival, one of the largest Irish festivals in the U.S. This family-friendly event features live music, dancing, storytelling, chef demonstrations and more on multiple stages, both indoors and outdoors, throughout Fair Park. Attendees will also enjoy horse shows, fencing demonstrations, sheepherding demonstrations, beer and whiskey tastings, genealogy research opportunities, shopping, animal rescue groups, child-friendly entertainment, and free arts and crafts for the kids.
“We are elated to be back in person, sharing our love of Irish music and tradition with everyone,” said Sheri Bush, president of the Southwest Celtic Music Association Inc., the organization that produces the North Texas Irish Festival and provides music and dance scholarships to local students. “The heart of our festival is our volunteers who take this opportunity every year to create a truly Irish experience for everyone.” Unique as the largest cultural celebration in DFW, the North Texas Irish Festival is produced annually by almost 1,000 volunteers, some of whom have volunteered for decades, often alongside generations of their families.
The indoor-outdoor festival takes place rain or shine. Masks are strongly recommended but not required when visiting indoor spaces, and all volunteers will be masked. Hand sanitizer stations are available throughout the festival.
Also returning this year is the North Texas Irish Festival Fun Run, a jaunt through the beautiful grounds of Fair Park on Saturday, March 5, at 8 a.m.This family-friendly fun run is perfect for runners or walkers of any age or ability, and also for dogs! All registered participants will receive a T-shirt, a “bottle opener” medal, one ticket to the North Texas Irish Festival, and two beers after the run if you are of legal drinking age. This non-timed 5K fun run will benefit Friends of Fair Park and the Southwest Celtic Music Association. More information and a link to registration is available here.
Music, dancing, whiskey tastings, fencing demonstrations, horse displays, Celtic storytelling, animal rescue groups, Shepherd’s pie, Irish stew, dozens of activities for kids and child-friendly entertainment, and chef demonstrations are all found at this family-friendly festival.
Music
While the North Texas Irish Festival today is a full weekend of cultural delights, it has never forgotten its roots as a music festival. The Southwest Celtic Music Association is proud to welcome national headlining performers for this 40 thNorth Texas Irish Festival: Celtic Aire, Ed Miller, Piper Jones Band, Skerryvore, and Úlla. Featured regional performers at the festival will include: 5 Second Rule, BEHAN, Beyond The Pale, Don Gabbert, Emerald Accent, GoldRing, Jiggernaut, KinFolk, LessMore & Too Much Time, Plunk Murray, Reel Treble, Slugger’s Rule, The Irish Rogues, The Selkie Girls, Threadneedle St, Tullamore, Wolf Loescher & Friends, and Vintage Wildflowers.
Dance
Watch the music come alive and get in step with the rhythmic magic of Irish step dancing as dancers’ unbelievably quick toes create a show unlike any other. Clap along as dancers of all ages – many of whom compete and win at the world championship level – delight audiences. Irish step dancers perform on a dedicated dance stage and with performers throughout the festival.
Hours, Admission and Location
Gates open on Friday evening, March 4, at 6 p.m. Hours are 6 to 11 p.m. on Friday; 10:30 a.m. to 11:30 p.m. on Saturday, March 5; and 11:30 a.m. to 7:30 p.m. on Sunday, March 6.
Tickets for the North Texas Irish Festival are available online at www.ntif.org. Admission is FREE on Friday from 6 to 7 p.m.; $10 after. A one-day ticket is $25 on Saturday and $20 on Sunday at the gate, while a weekend pass is $40. Discount tickets are available at area Tom Thumb and Albertsons stores for $15 for a one-day ticket. Children 11 and under are FREE when accompanied by adult family member. Seniors over 65 or current military members (with valid military ID) receive $5 off all gate prices. Dogs are allowed in on a short leash with a $1 requested donation to animal rescue groups supported by the festival. Leprechauns (in full ceremonial dress and carrying pot of gold) are FREE.
Parking is available in and around Fair Park, or attendees can take the DART (take the Green Line!) to the front entrance of Fair Park and the North Texas Irish Festival. Detailed directions and parking tips are available at www.ntif.org. The public can call (214) 821-4173, or visit www.ntif.org for more information or to volunteer to work at the festival.
 

#### 44th Annual USA Film Festival Full Schedule
DIFF 2014 is in the history books and that means it is time for the 44th Annual USA Film Festival.  This is a gem of a film festival and has a blockbuster line up.  Below is the full schedule of the festival.  Check it out, download it and print it.  This is one festival you will not want to miss.  Stay tuned to Selig Film News for full coverage of the festival.

	 

	2014 USA Film Festival Program

#### 45 YEARS – A Review by John Strange
 

	45 YEARS

	 

	By: John ‘Doc’ Strange

	 

	 

	45 Years is the story of a couple whose 45th wedding anniversary is approaching.  The couple, Geoff and Kate Mercer (Tom Courtenay and Charlotte Rampling), are retirees enjoying life in rural Ireland.  They are planning the party to celebrate their 45th wedding anniversary, a party that was supposed to occur five years earlier but was postponed when Geoff required bypass (heart) surgery.

	 

	The film opens with Kate walking the family dog, Max.  Arriving home she gathers the mail and caries it into the kitchen where Geoff is still in robe and pajamas.  While she gets a glass of water, Geoff opens a letter and tries to read it.  He doesn’t remember much German but apparently his ex-girlfriend Katia has been found buried in a glacier.  Recent thaws had stripped away the snow covering on the ice and revealed her body.  She had been missing for over 50 years.

	 

	Kate is dumfounded as to why Geoff was being notified after all of these years.  Geoff slowly reveals that he and Katia had told everyone there that they were married.  Katia even had a wooden ring they used in the deception.  He said they had to because in those days they would not have been allowed to stay together.

	 

	At first Kate is uncertain how to react to this news.  As Geoff begins to obsess more about the body and the Swiss’ request that he travel to Switzerland to see the body Kate has more and more trouble dealing with the whole situation.

	 

	When the two finally discuss his feelings for the woman, Kate begins to feel like the relationship she and Geoff had was not real.  She struggles to find a new anchor all the while going ahead with the anniversary party.

	 

	Writer/director Andrew Haigh has given us many insights that come out as we follow Kate.  We see the minutiae that make up the life of a couple that have become supremely comfortable with each other.  We meet friends and relatives and get a small glimpse into Geoff’s old job in management at a factory.

	 

	This is not a fast paced adventure.  It is a slow easy stroll through the life of this couple who have to work their way over or through a stressful bump in the road of their life together.  As with all marriages, there are ups and downs and rough patches to work your way through.

	 

	When the day of the party arrives, you can see that Kate does not feel like she should be there.  But Geoff’s speech is perhaps the most heart-felt statement of love I have ever heard.  He ends the speech in tears professing his love for Kate.

	 

	I can’t say that the speech repairs the fracture in their relationship.  Kate’s expression as the two dance is very somber.  The filmmaker leaves it up to us to decide what will happen next.  I can only hope they are able to work their way past this issue. 

	 

	Charlotte has been nominated for an Academy Award for her portrayal of Kate Mercer.  The film has itself been nominated for the Outstanding British Film BAFTA.  This is one of the films you should have on your list for Oscar season.  I think you will like it.  I found that I did.

	 

	 

	Directed by: Andrew Haigh

	 

	Cast: Charlotte Rampling, Tom Courtenay

	 

	MPAA Rating: R (for language and brief sexuality)

	 

	Selig Rating: Full Price

	 

	Runtime: 95 Min.

	 

	Movie Site: http://www.45yearsfilm.com/

	 

	 

	The Selig Rating Scale:

	 

	FULL PRICE – Excellent movie, well worth the price

	MATINEE – Good movie

	DOLLAR – OK movie

	CABLE – No need to rush. Save it for a rainy day.

	FREEBIE – Good that I saw it on the big screen but wish I hadn't paid for it.

	COMMERCIAL TV – Commercials and cutting to the allotted time will not hurt this one.

	FORGET IT! – Bad. If you see this one, do yourself a favor and keep it to yourself.

#### 45th USA Film Festival – Preview
Over the 45 years of USA Film Festival glamor, elegance, and beauty all could sum up the film experiences shown at the festival.  Dior and I showcases all of those elements and is just a part of a fantastic lineup.  Click through for the 3 treats I hope you'll try out at the year's USA Film Festival.

	

	It's a fitting close to the festival to see an aged Sherlock Holmes continue to find the truth as USAFF enters it's 45th looking to showcase some true treasures in filmmaking.  The entire lineup is stacked with great talent and wonderful films.  Here are my 3 things to catch at USA Film Festival.

	But for the full lineup go – USA.Film.Festival.

	FREE SHORT FILMS!!

	*Disclaimer – I have been a juror for the USAFF short film sections for the last three years.  So I'm biased!

	The festival includes 3 Narrative Shorts programs, Non-Fiction, Animation, Student, High School, An Award Ceremony and a special tribute to this amazing woman!

	Texas actress Margo Martindale will be given a special tribute showcase this Saturday Night at 7:30pm.  Dallasities Stephen Tobolowsky and Peri Gilpin will MC and present for this wonderful weekend treat.  Do not miss out on getting to meet one of the most dynamic, kind, and funny actresses around. 

	TALENT – ALL ABOUT THE TALENT

	

	Tab's in town, Iris is in town, the Director of Dior and I is in town!  USA Film Festival's 5 days are jam packed with talented filmmakers and talent coming to the Angelika Film Center from Wednesday to Sunday.  Only a handful of films don't have talent at the festival, USA has always done a great job in bringing people to Dallas.  This year's group is a wide range of unique and interesting people.  The treat of the festival is getting to share stories with such fun folks.  A special heads up to all those actors in DFW, the great Glenn Morshower who's been putting on a weekly class is going to be showcased.  As well as Glenn's good friend Ernie Hudson will be in town.  Overall the festival's open nature and with the free short film showcases there is no reason why you shouldn't be at the Angelika the rest of this week.  And for all you fine folks DON'T MISS THE PARTIES!  Trust me.

	GREAT FILMS!!!

	

	I got to see Wildlike at last year's Austin Film Festival and was blown away by the sheer beauty of the landscape and the amazing subtle performances.  The film is a real star turn for it's young lead, Ella Purnell.  It's also a great performance from Bruce Greenwood.  Here is an in-depth interview I did with both those talented folks at AFF 2014.

	There isn't a bad film at the festival so basically just show up. 

	USA Film Festival Wednesday April 22nd – Sunday April 26th.

	USA.Film.Festival

#### 46th USA Film Festival Announces 2016 Schedule of Events
 

	The USA Film Festival announces the schedule of events for the 46th Annual USA Film Festival, April 20 – 24, 2016.  All programs will be held at the Angelika Film Center, 5321 E. Mockingbird Lane, Dallas, Texas.  Advance tickets are available exclusively through Ticketmaster beginning April 8, 2016.
	This year’s program highlights (in-person guests) include:

		Salute to actor Alfred Molina with screening of Ira Sachs’ new film Little Men (The feature film will be preceded by a film clip compilation saluting Alfred Molina)
	

		Salute to writer/director Ira Sachs with screening of his new film Little Men
	

		Salute to the legendary photojournalist Harry Benson with screening of the new documentary film Harry Benson: Shoot First; The program will be hosted by actor (and USAFF Advisory Board member) Peri Gilpin; Harry Benson and filmmakers Matthew Miele and Justin Bare in attendance
	

		Salute to writer/director Whit Stillman (in attendance) with screening of his new film Love & Friendship
	

		Salute to country music superstar Charley Pride with screening of the new documentary film Country: Portraits of an American Sound; Charley Pride and writer/director Steven Kochones in attendance
	

		Salute to actor Bruce Davison with screenings of the new short film Extra School and new feature film Displacement (The feature film will be preceded by a film clip compilation saluting Bruce Davison)
	

		Dallas-born actor Courtney Hope (the Divergent series) returns to her hometown with a screening of the new feature thriller in which she stars, Displacement, (also with Bruce Davison); writer/director Kenneth Mader also in attendance
	

		Special repertory screening of The Diary of Anne Frank with star Millie Perkins in attendance
	

		Screening of the fascinating new documentary The Witness (a re-examination of the murder of Kitty Genovese) with writer/director James Solomon and writer Bill Genovese in attendance
	

		Screening debut of the Dallas-based documentary film Taking Back Oak Lawn with director Steven Pomerantz and other guests in attendance
	

		Actor Linda Gray (starring in the short film Wally’s Will) will host a program of new short films with filmmakers in attendance including Bruce Davison (Extra School) and Kelly Lynch (Madame Psychosis Holds a Séance, written, directed and art-designed by Dallas-born artist/painter Rosson Crow, also in attendance)
	

		Awards program for the 38th Annual International Short Film Competition; The 2016 National Jury includes writer/director John Putch, actor/writer/director Christina Beck, actor/writer/producer Paul Marcarelli, actor/writer/director/producer Karen Young, and writer/director/producer/animator Jorge Gutierrez
	

		Several programs of short films and filmmakers will be presented during the program (Narrative, Nonfiction, Student, Animation) as Free-admission events
	

		Opening Night chef's dinner at Salum Restaurant hosted by Chef Abraham Salum with visiting Chef Vivian Howard from PBS’s A Chef’s Life and Master Sommelier Michael Flynn; Broadcasting legend (NBC5) and long-time USAFF friend Bobbie Wygant will serve as Honorary Chairman for the fundraiser and will be in attendance.
	

	
	Guest moderators for this year’s program include:

		Actor (and USAFF Advisory Board Member) Linda Gray will host the SHOWCASE SHORTS program on Saturday, April 23rd
	

		Actor Peri Gilpin will host the Salute to Harry Benson on Saturday April 23rd
	

		Professor of cinema/film writer Foster Hirsch will host the screening of The Diary of Anne Frank with special guest actor Millie Perkins
	

	
	DEDICATION — This year’s program is dedicated to long-time friends and filmmakers Tom Bywaters, Philip Wuntch, Richard Glatzer and Bud Yorkin.

	TICKET & SCHEDULE INFORMATION
	Tickets for most programs are $10.
	There are also several FREE-admission shows noted in the schedule.
	On Sale April 8th
	Advance tickets will be available via TICKETMASTER beginning April 8th
	Tickets by telephone – 214-631-2787
	Tickets online – www.ticketmaster.com
	A complete schedule of all Festival events may be obtained by calling the Festival office at 214-821-FILM or may be viewed online at www.usafilmfestival.com

	Printed schedules are also available for pick up at the Angelika Film Center Dallas.

	 

	 

	46th USA Film Festival Flyer 2016

#### 49th Annual Nashville Film Festival Announces The 2018 Music Films/Music City Competition Selections
 

	 

	On the heels of announcing that Steven Tyler’s documentary OUT ON A LIMB would open the 49th Annual Nashville Film Festival, the festival continued its lineup of major talent participation with today’s announcement of the Music Films/Music City Selections for the 2018 Festival (May 10-19, 2018). Films featuring artists as diverse as David Letterman, Ronnie and Johnny Van Zant, Brian “Head” Welch of KoRn, The Edge and Al Sharpton are included in this competition of films about music, musicians and the impact music has on our lives.

	Nashville Film Festival Artistic Director Brian Owens said of the selection, “With ‘Music City’ as host of its longstanding film festival, we feel an inordinate responsibility to honor the impact of music as depicted through film. We are excited to bring six world premieres to the 2018 festival, beginning with Steven Tyler, and continuing with some of the biggest names in music and their most fervent fans. The world premiere of Steven Tyler’s documentary is an incredible way to open the festival and we’re also excited for seven Southeast US premieres and one Tennessee premiere among the nine selected.”

	Below are the 2018 selections for Music Films/Music City Competition: 

		Bathtubs Over Broadway (Southeast US Premiere) – Comedy writer Steve Young’s assignment to scour bargain-bin vinyl for a Late Show segment becomes an unexpected, decades-spanning obsession when he stumbles upon the strange and hilarious world of industrial musicals in this musical-comedy-documentary. Cast: Steve Young, Chita Rivera, Martin Short,  David Letterman, Florence Henderson, Susan Stroman, Director: Dava Whisenant. Producer: Dava Whisenant, Amanda Spain, Susan Littenberg (USA)
	

		Fatherhood (Southeast US Premiere) – In this documentary feature, young people from Memphis, LA, New York and London talk about absent fathers and perform music videos of original songs they wrote for the film. Then we meet some absent fathers, explore the reasons why, and find an innovative way forward. Cast: Patrick Dailey,  Flohio,  Sunny War,  Kids of STAX Music Academy, Kids of APCH, Kids of THE DOOR LA and NYC, Director: Ben Gregor. Producer: Ben Gregor (United Kingdom)
	

		If I Leave Here Tomorrow: A Film About Lynyrd Skynyrd (Tennessee Premiere) – IF I LEAVE HERE TOMORROW explores the music and backstory of the legendary American band, Lynyrd Skynyrd. Cast: Ronnie Van Zant, Johnny Van Zant, Gary Rossington, Director: Stephen Kijak. Producers: John Battsek, Diane Becker (USA)
	

		Industrial Accident – The Story of Wax Trax! Records (Southeast US Premiere) – Two men take a family of punks, queers and artists on a ride through the 1980s underground. Through their independent Chicago record store and label, Wax Trax! Records accidentally creates a new kind of dance music that begins to gain global recognition. Cast: Al Jourgensen, Groovie Mann, Richard 23, Trent Reznor, Jello Biafra, Ian MacKaye, Director: Julia Nash. Producers: Julia Nash, Vicki Chase (USA)
	

		Loud Krazy Love (Southeast US Premiere – At the downbeat of the new millennium there was no bigger, darker, or more deeply influential hard rock band in the world than KoRn. But for lead guitarist Brian Head Welch, a dream come true was giving way to a raging nightmare of self-loathing and addiction. Cast: Brian “Head” Welch, Jennea Welch, Reginald “Fieldy” Arizu, Jonathan Davis, Ray Luzier, James “Munky” Shaffer, Directors: Trey Hill, Scott Mayo, Producers: Sam Ditore, John Humphrey (USA)
	

		The Potential of Noise – Conny Plank (Southeast US Premiere) – "Conny” Plank is undoubtedly one of the most innovative sound designers of his time. The recordings realized in his sound studio near Cologne between the 60s and 80s, revolutionized the music world. He was the pioneer of "Krautrock” and paved the way for the revolutions of electronic and pop music respectively. Cast: Gianna Nannini, Annette Humpe, Conny Plank, Directors: Stephan Plank, Reto Caduff, Producers: Milena Fessmann, Stephan Plank, Paul Zischler (Germany)
	

		SATAN & ADAM (Southeast US Premiere) – One was a demon on guitar; the other was fresh out of school and no slouch on harmonica. SATAN & ADAM is a rousing celebration of friendship and the blues comprised of documentary footage shot over the course of two decades. Cast: The Edge, Harry Shearer, Al Sharpton, Director: V. Scott Balcerek. Producers: V. Scott Balcerek, Frank Marshall,  J.R. Mitchell,  Ryal Suffern (USA)
	

		Stay Human. Southeast (US Premiere) – During these turbulent times, the feeling of hopelessness is an epidemic. In a quest to hold on to humanity in the craziness of the world we live in today, STAY HUMAN takes us on an experiential journey through music and stories of some of the most inspiring people on the planet, who have chosen to overcome cynicism with optimism and hope —and remind us all what it means to STAY HUMAN. Cast: Michael Franti, Director: Michael Franti (USA)
	

	As previously announced, Steven Tyler’s documentary STEVEN TYLER: OUT ON A LIMB will kick off the 49th Annual Nashville Film Festival with its opening night would premiere.

	The Nashville Film Festival offers individual screening tickets, membership prices as low as $45 and more. To learn more, and to see the most updated agenda including available panels and events with these music supervisors, visit https://nashvillefilmfestival.org.

#### 49th Annual USA Film Festival – Interview with Filmmaker Frederic Tcheng
The 49th Annual USA Film Festival flickers to life tonight at the Angelika Film Center Dallas.  Over the next five days the festival will highlight features, shorts and documentaries that look at the world around us.  The festival has over 50% of it’s screenings open to free admission.  Each evening the festival will have filmmakers take part in Q&As about their work.  Here is a link to the full festival breakdown, but I’d like to share with you a few picks I think you’ll fully enjoy.
For tonight I’ll recommend the opening night movie by filmmaker Frederic Tcheng.  Frederic returns to our fair city with really intriguing look into mysterious fashion figure Roy Halston.  Tcheng’s latest and most ambitious work uses reenactments, unique effects, and never-before-seen footage to highlight this unique figure, HALSTON.  It was a real pleasure to chat with Frederic about his masterful work on the film.
 
https://seligfilmnews.com/wp-content/uploads/2019/04/Frederic-Tcheng-USAFF.mp3
 
And for another treat here is our sit down Interview with Fred back in 2014 for the press tour of his film DIOR & I.
Here are a few more films you should put on your must see list for the 49th Annual USA Film Festival.
FAMILY – Don’t miss the directorial debut of Laura Steinel!  David Gordon Green’s charming and witty RED OAKS show was my introduction to the writing talents of Steinel.  The movie is a hilarious look at a business-minded woman’s wild journey to babysitting her niece and is one of the year’s funniest films.
SHOWCASE SHORT FILMS – I’m a little biased with this pick.  I happen to have been a short film juror for the festival for the last few years.  So yeah I do think you need to check out the shorts!  I mean most of the other films will have releases outside their festival life.  Honestly though I’m picking this specific showcase because of Lisa McFadden’s genius look at Jason Voorhees midlife (or death) crisis.  Besides the filmmakers and some talent will be in attendance.
SURVIVING BOKATOR – I caught this gem of a doc at another local fest, but it’s unique tale still inspires me.  A film that triumphally introduces you to a part of modern Cambodia.  The documentary filmmakers and the lead actress/Bokator expert Tharoth Sam Oum will be at the FREE screening on Saturday at 2:45pm.  That evening you can pick your choice of a terrific trio of tribute showcases for Ed Asner, Constance Tower, Timothy Busfield and Melissa Gilbert, but start your day with a delightful coming of age martial arts doc.
SHATTER THE SILENCE – Filmmaker Cheryl Allison dives directly into the #MeToo movement by taking a North Texas centric view of the issues embattling women all around the world.  With former Texas State Senator Wendy Davis in attendance this event is a must see for anyone that believes in equality.  Don’t let history pass you by but instead be apart of it.
Once again the 49th Annual USA Film Festival begins tonight.  For more information please visit, HERE.

#### 5 Lbs Of Pressure – Interview with Filmmaker Phil Allocco
Filmmaker Phil Allocco joined our Gadi Elkon to discuss the feature film 5 Lbs of Pressure!

In this gripping action-thriller, Adam (Luke Evans), an ex-con back in his old neighborhood after serving a 16-year stretch for murder, walks a rocky path of forgiveness toward the son who grew up without him, while the bitter, volatile brother of the youth he killed looms in the background. Meanwhile, Mike (Rory Culkin), sick of doing the bidding of his drug-dealing uncle (Alex Pettyfer), is desperate to leave his sordid life behind. When Adam and Mike’s paths converge, inescapable destiny will give way to violence…and a final, fleeting shot at redemption.
Phil talked with Gadi about the significance of the title, his amazing cast, and making Manchester England his New York City!
Here is our interview with Filmmaker Phil Allocco:

The film is out in theaters, on-demand and available digitally this Friday March, 8th.
For more info, 5 Lbs Of Pressure.

 

#### 50/50
50/50
 
By Gary Murray 
 
Starring Joseph Gordon-Levitt, Seth Rogen, Anna Kendrick and Bryce Dallas Howard
 
Written by Will Reiser
 
Directed by Jonathan Levine
 
Running time 99 min 
 
MPAA Rating R
 
Selig Film Rating FULL PRICE
 
There are some subjects that are strictly taboo for comedy.  One of those is cancer.  A disease that affects not just the individual but the extended family, cancer is just one of those things that don’t seem to have any comedy elements.  But in the 21st century, the only rule for comedy is that there are no rules.  The dreaded ‘Big C’ becomes a very heartfelt romp in the new Jonathan Levine film 50/50.
 
The story is of Adam (Joseph Gordon-Levitt) a young man who works for the local NPR station.  His doctor gives him an examination and some very bad news—he has cancer.  The young man tells both his best buddy Kyle (Seth Rogen) and his girlfriend Rachael (Bryce Dallas Howard).  Kyle is a horn-dog who looks for any and every angle to copulating and Rachael is a flippant artist.  
 
As Adam goes through chemotherapy, his perspectives change.  He finds common ground with some of his fellow patients and a deeper friendship with Kyle, who has secured much weed for the nausea.  He also finds that both his slightly estranged mother (a brilliant Anjelica Huston) and girlfriend Rachael are not exactly the people he thought them to be.  Adam is also assigned a therapist Katherine (Anna Kendrick), a grad student who has the book smarts but not of the real world experience.
 
The film follows Adam from basic medical procedures to the inevitable operation.  Along the way, we see some of the more absurd aspects of both the disease and the people who react to it.  Along the road to recovery, Adam gets both high as a kite and down and dirty with sympatric young ladies.
 
Seth Rogen gives one of his funniest performances as Kyle.  Though his character has some rough edges in a basal id, he still finds some sincere moments to show real, sincere friendship.  He is as heartwarming as he is crass. 
 
 Bryce Dallas Howard is becoming one of the strongest new actresses to come out of Hollywood.  Even though she is Hollywood royalty (her dad is Ron Howard), the young performer has been building a solid career in smaller roles.  She has been doing both drama and comedy, delivering memorable parts in high level flicks.  Here she is the woman in over her head, trying to show support while being totally freaked by the finality of what may await Adam.  Her reactions are much truer than one would expect which makes them all that much more brilliant.   
 
I have been a strong advocate for Anna Kendrick since Rocket Science.  The recent Oscar nominee is given the weakest of the three female roles but still manages to find both some comedy and pathos in the delivery.  
 
This film is a showcase for Joseph Gordon-Levitt and the actor does not disappoint.  This little role should vault him into the A-list of actors.  He shows the absurdity of the situation with a sly smile and shrug.  His Adam is such a non-confrontational individual that we never have to see those morose bits of overacting that these kind of films usually product.  His downplay is what makes it work. 
 
The script is by Will Reiser and is based on his personal battle with cancer.  From the opening frame, it feels honest and true.   Director Jonathan Levine doesn’t’ pull any punches in 50/50, laying out all that one has to deal with in trying to fight a major disease.  
 
While some may be put off by the subject of 50/50, the film never panders down a maudlin path.  It is a refreshing bit of film making that shows promise in the fact that not all of Hollywood wants to remake the films of their childhood.  There are some fresh voices in La-La Land and 50/50 is the kind of movie that promises hope.  
 
 
 
 
 
 

#### 50th Anniversary of In the Heat of the Night To Open 2017 TCM Classic Film Festival
 

	Turner Classic Movies (TCM) will kick off the 8th annual TCM Classic Film Festival on Thursday, April 6th with a 50th anniversary screening of the Sidney Poitier and Rod Steiger classic In the Heat of the Night (1967). The iconic actor Sidney Poitier, who will attend the screening, broke stereotypes and new ground when he starred in this five time Academy Award winner about a black detective from the north who finds himself investigating a murder in a small-town in Mississippi. Producer Walter Mirisch and Director Norman Jewison along with actress Lee Grant and composer Quincy Jones will be on hand to discuss the film which is considered to be a landmark.

	The festival, set to take place April 6 – April 9 in Hollywood, will also include tributes to the following industry legends:

		Actress Lee Grant will be feted with a tribute featuring a screening of her debut film Detective Story (1951), along with The Landlord (1970) and a conversation in Club TCM
	

		Actor-director Peter Bogdanovich will be celebrated with screenings of The Last Picture Show (1971) and What’s Up, Doc? (1972) as well as a conversation in Club TCM
	

		Actresses Debbie Reynolds and Carrie Fisher will be honored with screenings of Singin’ In The Rain (1952) and Postcards from the Edge (1990) with family members Todd Fisher and Billie Lourd hosting extended conversations at both screenings
	

	This year’s festival will include a multitude of special anniversary films, poolside screenings and talent appearances including:

		Mel Brooks on hand to introduce a 40th anniversary screening of his Alfred Hitchcock spoof High Anxiety (1977)
	

		Actor and screenwriter Buck Henry introducing the 50th anniversary world premiere restoration from Rialto Pictures of the seminal classic The Graduate (1967)
	

		40th anniversary world premiere restoration from Paramount Pictures screening of Saturday Night Fever (1977) including appearances by director John Badham and actress Donna Pescow
	

		75th anniversary screening of the Oscar® winning classic Casablanca (1942)
	

		Opening night poolside screening at the Hollywood Roosevelt Hotel featuring Willy Wonka & The Chocolate Factory (1971)
	

	TCM is pleased to announce the return of the Academy Museum of Motion Pictures as an official festival partner as well as the co-host of the opening night screening and party. Returning as the Festival's exclusive founding partner, Delta Air Lines will again serve as the official airline of the TCM Classic Film Festival. Additionally, Citi returns as the official card of the TCM Classic Film Festival and Bonhams returns as an official sponsor.

	To view the latest festival spot and for complete bios for each of the artists appearing at the 2017 TCM Classic Film Festival, please visit filmfestival.tcm.com

	2017 TCM Classic Film Festival – Newly Added Films

	In the Heat of the Night (1967)
	A 50th anniversary screening of Norman Jewison’s landmark drama (and Best Picture winner) starring Sidney Poitier and Rod Steiger. Poitier broke stereotypes and new ground for his leading role as a black northern cop who finds himself investigating a murder in small-town Mississippi.

	Willy Wonka and the Chocolate Factory (1971)
	You’ve got a Golden Ticket to enter a world of pure imagination as you relive the magic of this whimsical fantasy film that celebrates the bliss of being young at heart. Gene Wilder stars as the quirky candy tycoon Willy Wonka, who opens the doors of his factory to five lucky children from around the world.

	Detective Story (1951) – Featuring an appearance by Lee Grant
	Lee Grant earned a Best Supporting Actress nomination for her film debut as a shoplifter, who finds herself in the hot seat of an angry, hard-nosed detective (Kirk Douglas) obsessed with getting justice. William Wyler directs this day-in-the-life police drama that received three other Oscar nominations, including Eleanor Parker for Best Actress.

	The Landlord (1970) – Featuring an appearance by Lee Grant
	Hal Ashby made his directorial debut with this film about a wealthy young man (Beau Bridges) who buys a tenement in a Brooklyn neighborhood and attempts to evict the current black tenants, only to have his life changed when he gets to know them. Lee Grant co-stars in a scene-stealing role as Bridges’ well-to-do mother.

	The Graduate (1967) – Featuring an appearance by Buck Henry
	A 50th anniversary screening of Mike Nichols’ iconic film that made a star out of Dustin Hoffman and become a pop culture milestone due to its highly quotable dialogue and memorable soundtrack from Simon & Garfunkel. Hoffman stars as Benjamin Braddock, a college graduate who has an affair with a neighbor’s wife, Mrs. Robinson (Anne Bancroft), then finds himself falling for the woman’s daughter (Katherine Ross).

	Saturday Night Fever (1977) – Featuring appearances by John Badham and Donna Pascow
	John Travolta danced his way to superstardom with his iconic performance as Tony Manero, a young Brooklyn man who finds success and love at the local disco. With its infectious soundtrack from the Bee Gees and iconic dance sequences, the film brought disco into mainstream and became an instant classic still much loved by audiences 40 years later.

	The Last Picture Show (1971) – Featuring an appearance by Peter Bogdanovich
	Director Peter Bogdanovich left his mark with this eight-time Academy Award-nominated coming-of-age story about love, loss and boredom in a tiny Texas town set in 1951. The film was the screen debut of Cybil Sheperd and stars Jeff Bridges, with Cloris Leachman and Ben Johnson both garnering Oscar wins for their roles in the film. 

	What’s Up, Doc? (1972) – Featuring an appearance by Peter Bogdanovich
	In Peter Bogdanovich’s homage to classic screwball comedy starring Ryan O’Neal and Barbra Streisand, four identical, plaid overnight bags cause a slew of zany misadventures for four strangers in San Francisco. This film earned a Golden Globe nomination for Madeline Kahn and cemented her onscreen comedic persona.

	Singin’ in the Rain (1952) – Featuring an appearance by Todd Fisher and Billie Lourd
	TCM honors the late Debbie Reynolds with this 65th anniversary screening of the film often called the greatest musical ever made. Reynolds and Gene Kelly star as an ingénue and silent film star, respectively, who fall in love as Hollywood transitions from silent films into talkies.

	Postcards From The Edge (1990) – Featuring an appearance by Todd Fisher and Billie Lourd
	The late Carrie Fisher adapted the screenplay of this dramatic comedy from her semi-autobiographical novel of the same name. Meryl Streep stars as a recovering drug addict whose acting career is jeopardized when her famous mother (Shirley MacLaine) moves in. An all-star cast rounds out this Mike Nicolas directed picture featuring Dennis Quaid, Rob Reiner, Gene Hackman, Richard Dreyfuss and Annette Bening.

	High Anxiety (1977) – Featuring an appearance by Mel Brooks
	The master of suspense, Alfred Hitchcock, is the inspiration (and co-writer) of this 40th anniversary genre spoof, where Mel Brooks plays a doctor who must overcome his diagnosis of “high anxiety” to prove he was framed for murder. A number of Brooks’ repertory company returns including Madeline Kahn, Harvey Korman, Cloris Leachman and Ron Carey.

	Casablanca (1942)
	Celebrate the 75th anniversary screening of one of Hollywood’s most beloved romantic drama, starring Humphrey Bogart as Rick Blaine, the owner of a nightclub in Vichy-controlled Casablanca, whose life changes forever when his lost love, Ilsa (Ingrid Bergman), walks into his club and back into his life.

#### 51st USA Film Festival – Interview with MESSAGE FROM THE FUTURE Director Dano Johnson
The 51st Annual USA FILM FESTIVAL kicks off tonight.  The festival will run through Sunday the 25th at the Angelika Film Center Dallas.  The long standing staple in the festival world is adhering to contact-free social distancing and will require the wearing of masks.  The sponsors to the festival have once again made all screenings FREE-admission.  You merely need to contact USA Film Festival at 214-821-6300.  The festival will not accept walk-ups but a quick reservation phone call isn’t to hard to ask for FREE tix.
USA Film Festival continues to highlight feature and short films.  We were able to chat with one of the TEXAS Short Film representatives.  MESSAGE FROM THE FUTURE Director Dano Johnson spoke with Selig Film News about his award-winning alumni status at USAFF, his UT Austin days and so much more!
Here is our interview with Director and Animator Dano Johnson:
https://seligfilmnews.com/wp-content/uploads/2021/04/Dano-Johnson.mp3
Message From The Future is apart of the Texas Short Films screening on Friday, 4/23 at 6:45pm
For more information about – USA FILM FESTIVAL
For more information about – DANO JOHNSON
For more information about – ATOMIC ABE
 

DANO JOHNSON

#### 52nd Annual Saturn Awards to Showcase Continued Fundraising Efforts to Benefit those Affected by Los Angeles Wildfires
The Academy of Science Fiction, Fantasy & Horror Films is proud to unveil the initial recipients of special tribute and honorary awards at the upcoming 52nd Annual Saturn Awards, including William Shatner, the cast of “Back to the Future,” and the Amazon series “Fallout.” This year’s ceremony is being held Sunday, February 2 at The Hilton Universal City Hotel.  In light of the catastrophic fires and the urgent need for support in the community, the Academy is using this platform to celebrate achievements in genre entertainment and to provide viewers nationwide and attending the event with information on how to donate and support the rebuilding efforts in Los Angeles. This new initiative aims to raise awareness and provide vital contact information to help the city recover. The Saturn Awards will be live-streamed for FREE on both Electric Entertainment’s premium OTT app and FAST channel, ElectricNOW and The Roku Channel.
Academy President Robert Holguin, alongside Saturn producers Bradley and Kevin Marcus, comment, “We hope that this year’s Saturn Awards will celebrate our vibrant community and genre family, just as it did after the Covid crisis. Coming together with old and new friends is essential during challenging times. The Saturn Awards have always been about more than just winning or losing; it’s a celebration of the movies, shows, and people we cherish. In tough times, we often seek refuge in fantastical worlds of imagination. This event is also an opportunity to unite, offering hope and exploring the many ways we can support one another as we rebuild our lives and our beloved Los Angeles.”
Attendees and viewers at home will be encouraged to donate to relief efforts via QR codes throughout the event itself and via on-screen promos through streaming partners, ElectricNOW and The Roku Channel.
The Lifetime Achievement Award is reserved for individuals in either film and/or television for their outstanding work, to honor their illustrious careers as artists and icons and those who’ve helped further genre entertainment in the industry and beyond. And there’s no one more deserving than the living legend and iconic Captain Kirk himself, William Shatner. No stranger to the Saturn Awards, Mr. Shatner has hosted two of the first televised Saturn Awards shows in the late-70s, won Best Actor for “Star Trek II: The Wrath of Khan,” and presented last year’s Robert Forster Artist’s Award to Seth MacFarlane.
The George Pal Memorial Award is usually presented to someone who has shown exemplary work in the respective film genres. It is named in honor of George Pal, a Hungarian-born American animator and film producer, principally associated with the science fiction genre, such as the classic “War of the Worlds,” “The Time Machine,” among many others. This year, The Saturn Awards celebrate the 40th anniversary of the all-time classic time-travel adventure “Back to the Future” by bestowing this honor on its filmmakers and stars. Representing the film will be Christopher Lloyd, Lea Thompson, writer/producer Bob Gale and composer Alan Silvestri.
The Amazon series “Fallout” and its cast and creators will receive The Spotlight Award, presented by Ron Perlman. The award is given to a film or series that the Academy deems worthy of special recognition and accolades. “Fallout” not only lived up to and exceeded gamers’ expectations but also welcomed millions of new science fiction fans into its world of post-apocalyptic adventure, retro-futuristic intrigue, and darkly comedic survival.

#### 5B – A Review by Cynthia Flores
 
5B – A Review by Cynthia Flores
It’s not often you get such a well-known writer and director of such critically acclaimed award-winning films like Crash to direct a documentary.  So, you know it’s topic has got to have a certain level of interesting or unknown story to entice a man of his qualifications.  Well, the documentary 5B has both.  It’s an inspirational film about the staff and patients of the San Francisco General Hospital’s infamous AIDS Ward during the early years of the epidemic.
The director has given a fitting tribute through the use of footage of the patients, and first-person testimony of the nurses, doctors, and caregivers that did the groundbreaking work of building Ward 5B in 1983.  These people created practices based on humanity and holistic well-being during a time of considerable uncertainty.  When AIDS first hit America and the world, no one knew how this “Gay Cancer” was spread.  So, at first, hospital staff would treat patients dressed head to foot in what they called “spacesuits” for fear of contracting the illness.  Orderlies would refuse to service their rooms, and the patients would be suffering as they lay dying.
5B shows how radical the nurses and doctors were who made a place for the victims of the AIDS virus and did it without the spacesuits.  As one nurse who worked in the ward says in the film, “We were encouraged to touch and love our patients.”  In the end, heads of state and hospital wards from all over the world came to learn and review the techniques that they employed.  Hayley Pappas, head of RYOT Films at Verizon Media who made this film said, “Some stories have the special ability to remind us of the best in humanity and push us to find the best in ourselves and one another — 5B is one of those stories.”
5B is an uplifting yet candid and bittersweet film about a pivotal moment in American history.  It’s also a celebration of quiet heroes that deserve this renewed recognition.  So hug a nurse, and go see this documentary that I give an A rating.
 
Directed by Paul Haggis, Dan Krauss
Rated PG-13
Selig Rating A
Running Time 1hr 34min
Documentary
Limited Release June 14th AMC Dine in Mesquite 30 & Grapevine Mills 30
Starring: Alison Moed Paolercio, Cliff Morrison, David Denmark, Hank Plante
 
The Selig Rating Scale:
A – Excellent movie, well worth the price.
B – Good movie
C – OK movie
D – No need to rush. Save it for a rainy day.
F – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### 7 BEATS PER MINUTE – Interview with Filmmaker Yuqi Kang
SXSW 2024 begins this Thursday March 7th and runs through March 16th.  Our Gadi Elkon talked with multiple filmmakers having their world premieres at the Austin based festival.  Here is our Interview with 7 BEATS PER MINUTE Writer/Director Yuqi Kang.

Freediving champion Jessea Lu nearly died during a world-record attempt. She revisits the site of her near-death in this documentary, facing past traumas and struggling back to life.
7 BEATS PER MINUTE is a documentary spotlight feature at SXSW 24′ and marks a return to Austin for Filmmaker Yuqi Kang.  Yuqi and Gadi talked about how important Austin and SXSW are to her, how she is connected to freediving, connecting with Jessea, and so much more!
Here is our in depth chat with Filmmaker Yuqi Kang:

7 BEATS PER MINUTE has its World Premiere on Thursday March 7th at the Alamo Lamar!
For more info on Yuqi Kang.
For more info about 7 BEATS PER MINUTE at SXSW.

#### 7 Features Advance In Race For Makeup And Hairstyling Oscar®
 

	The Academy of Motion Picture Arts and Sciences today announced that seven films remain in competition in the Makeup and Hairstyling category for the 86th Academy Awards®.

	The films are listed below in alphabetical order:

	    "American Hustle"
	    "Dallas Buyers Club"
	    "The Great Gatsby"
	    "Hansel & Gretel Witch Hunters"
	    "The Hunger Games: Catching Fire"
	    "Jackass Presents: Bad Grandpa"
	    "The Lone Ranger"

	On Saturday, January 11, 2014, all members of the Academy's Makeup Artists and Hairstylists Branch will be invited to view 10-minute excerpts from each of the seven shortlisted films. Following the screenings, members will vote to nominate three films for final Oscar consideration.

	The 86th Academy Awards nominations will be announced live on Thursday, January 16, 2014, at 5:30 a.m. PT in the Academy's Samuel Goldwyn Theater.

	Academy Awards for outstanding film achievements of 2013 will be presented on Oscar Sunday, March 2, 2014, at the Dolby Theatre® at Hollywood & Highland Center® and televised live on the ABC Television Network. The presentation also will be televised live in more than 225 countries and territories worldwide.

#### 75 Original Songs Tune Up For 2013 Oscar®
 

	Seventy-five songs from eligible feature-length motion pictures released in 2013 are in contention for nominations in the Original Song category for the 86th Oscars®, the Academy of Motion Picture Arts and Sciences announced today.

	The original songs, along with the motion picture in which each song is featured, are listed below in alphabetical order by film title and song title:

	     "Amen" from "All Is Lost"
	     "Alone Yet Not Alone" from "Alone Yet Not Alone"
	     "Doby" from "Anchorman 2: The Legend Continues"
	     "Last Mile Home" from "August: Osage County"
	     "Austenland" from "Austenland"
	     "Comic Books" from "Austenland"
	     "L.O.V.E.D.A.R.C.Y" from "Austenland"
	     "What Up" from "Austenland"
	     "He Loves Me Still" from "Black Nativity"
	     "Hush Child (Get You Through This Silent Night)" from "Black Nativity"
	     "Test Of Faith" from "Black Nativity"
	     "Forgiveness" from "Brave Miss World"
	     "Lullaby Song" from "Cleaver's Destiny"
	     "Shine Your Way" from "The Croods"
	     "Happy" from "Despicable Me 2"
	     "Gonna Be Alright" from "Epic"
	     "Rise Up" from "Epic"
	     "What Matters Most" from "Escape from Planet Earth"
	     "Bones" from "For No Good Reason"
	     "Going Nowhere" from "For No Good Reason"
	     "Gonzo" from "For No Good Reason"
	     "The Courage To Believe" from "Free China: The Courage to Believe"
	     "Let It Go" from "Frozen"
	     "100$ Bill" from "The Great Gatsby"
	     "A Little Party Never Killed Nobody (All We Got)" from "The Great Gatsby"
	     "Over The Love" from "The Great Gatsby"
	     "Together" from "The Great Gatsby"
	     "Young and Beautiful" from "The Great Gatsby"
	     "The Moon Song" from "Her"
	     "I See Fire" from "The Hobbit: The Desolation of Smaug"
	     "Bite Of Our Lives" from "How Sweet It Is"
	     "Try" from     "How Sweet It Is"
	     "Atlas" from "The Hunger Games: Catching Fire"
	     "Better You, Better Me" from "The Inevitable Defeat of Mister & Pete"
	     "Bring It On" from "Jewtopia"
	     "Aygiri Nadani" from "Kamasutra 3D"
	     "Har Har Mahadeva" from "Kamasutra 3D"
	     "I Felt" from "Kamasutra 3D"
	     "Of The Soil" from "Kamasutra 3D"
	     "Sawariya" from "Kamasutra 3D"
	     "In The Middle Of The Night" from "Lee Daniels' The Butler"
	     "You And I Ain't Nothin' No More" from "Lee Daniels' The Butler"
	     "Let's Take A Trip" from "Live at the Foxes Den"
	     "Pour Me Another Dream" from "Live at the Foxes Den"
	     "The Time Of My Life" from "Live at the Foxes Den"
	     "Ordinary Love" from "Mandela: Long Walk to Freedom"
	     "Monsters University" from "Monsters University"
	     "When The Darkness Comes" from "The Mortal Instruments: City of Bones"
	     "Sacrifice (I Am Here)" from "Murph: The Protector"
	     "The Muslims Are Coming" from "The Muslims Are Coming!"
	     "Oblivion" from "Oblivion"
	     "Sweeter Than Fiction" from "One Chance"
	     "Nothing Can Stop Me Now" from "Planes"
	     "We Both Know" from "Safe Haven"
	     "Get Used To Me" from "The Sapphires"
	     "Stay Alive" from "The Secret Life of Walter Mitty"
	     "So You Know What It's Like" from "Short Term 12"
	     "There's No Black Or White" from "Somm"
	     "Cut Me Some Slack" from "Sound City"
	     "You Can't Fix This" from "Sound City"
	     "Let It Go" from "Spark: A Burning Man Story"
	     "We Ride" from "Spark: A Burning Man Story"
	     "Becomes The Color" from "Stoker"
	     "Younger Every Day" from "3 Geezers!"
	     "Here It Comes" from "Trance"
	     "Let The Bass Go" from "Turbo"
	     "The Snail Is Fast" from "Turbo"
	     "Speedin'" from "Turbo"
	     "My Lord Sunshine (Sunrise)" from "12 Years a Slave"
	     "Make It Love" from "Two: The Story of Roman & Nyro"
	     "One Life" from "The Ultimate Life"
	     "Unfinished Songs" from "Unfinished Song"
	     "For The Time Being" from "The Way, Way Back"
	     "Go Where The Love Is" from "The Way, Way Back"
	     "Bleed For Love" from "Winnie Mandela"

	During the nominations process, all voting members of the Music Branch will receive a Reminder List of works submitted in the category and a DVD copy of the song clips.  Members will be asked to watch the clips and then vote in the order of their preference for not more than five achievements in the category.  The five achievements receiving the highest number of votes will become the nominations for final voting for the award.  A maximum of two songs may be nominated from any one film.

	To be eligible, a song must consist of words and music, both of which are original and written specifically for the film.  A clearly audible, intelligible, substantive rendition of both lyric and melody must be used in the body of the film or as the first music cue in the end credits.

	The 86th Academy Awards® nominations will be announced live on Thursday, January 16, 2014, at 5:30 a.m. PT in the Academy’s Samuel Goldwyn Theater.

	Academy Awards for outstanding film achievements of 2013 will be presented on Oscar Sunday, March 2, 2014, at the Dolby Theatre® at Hollywood & Highland Center®, and televised live on the ABC Television Network.  The Oscar presentation also will be televised live in more than 225 countries and territories worldwide.

#### 7500 – A Review by Cynthia Flores
7500 – A Review by Cynthia Flores
7500 is the distress code. It’s used by pilots to alert ground control to the fact that they’ve been hijacked. The film 7500 opens with a black slate and the words, “An eye for an eye just leaves the world blind.” This movie is a parable of that well-known saying.
The German-born director / co-writer Patrick Vollrath gives you almost a fly-on-the-wall feeling for his feature film debut. That’s the signature of his unique style of storytelling, first seen in his 2016 Academy Award-nominated short Everything Will Be Okay. In fact, his star Joseph Gordon-Levitt stated in interviews that he loved the script, but what sold him on the idea of doing the film was watching the short film. “All the performances felt so natural,” he said.
The director Vollrath describes his unconventional process of filmmaking that archives this style and gives his films an intimate look and feel. On the set, he requires a lot of improvisation on the part of the actors and the camera. He will let the camera roll for 20, 30, or even 40 minutes at a time. Just letting the actors become the characters and live the situation.
The story for 7500 is relatively straightforward. It looks like a routine day at work for Tobias (Joseph Gordon-Levitt), a soft-spoken young American copilot on a flight from Berlin to Paris. As he runs through the preflight checklist with Michael (Carlo Kitzlinger), the captain, he chats with Gökce (Aylin Tezel), his flight-attendant girlfriend and mother to his young son. But shortly after takeoff, terrorists armed with makeshift knives made from broken liquor bottles purchased past security checkpoints in the duty-free stores suddenly storm the cockpit. They manage to severely wound the captain and slash Tobias’ arm as he manages to get the door closed and locked to the cockpit. He then knocks out and ties up the lead terrorist Kalkan (Passar Hariky) that attacked his captain. A terrified Tobias contacts ground control to plan an emergency landing. But when the hijackers kill a passenger and threaten to murder more innocent people if he doesn’t let them back into the cockpit, this ordinary man faces an excruciating test.
This film feels real and will have you sitting on the edge of your sofa, yelling at the screen, coaching Tobias, and telling him what to do. That’s all due to the director Vollrath’s style and commitment to authenticity. He was lucky that his producers, the award-winning producing duo of Jonas Katzenstein and Maximilian Leo, had his back and understood his vision. The producers made an ambitious choice since most of the film takes place in the cockpit. “We had to buy a real airplane because none of Europe’s mock-up planes could convince Patrick.” Leo is quoted as saying, “Not one of them looked exactly like a real A320 or a Boeing. Instead, they all looked like a combination of the two. So, we bought a real one, cut it, and used the front third of the plane. In the end, it was worth it because it feels more real than anything I have ever seen on screen.”
7500 is a brilliant film, and Joseph Gordon-Levitt is at the top of his game as a man put in an impossible situation. I can’t wait to see what this writer/director Vollrath does next.
I give 7500 a 5-star rating. It’s a tense thriller that was robbed of debuting on the big screen due to COVID 19 restrictions. However, I know a lot of people have a big screen set up in their homes, so crank up the sound, settle into your sofa, and prepare to experience this wild flight.
 
Directed by: Patrick Vollrath
Written by: Patrick Vollrath, Senad Halilbasic
Rated R
Running Time: 1hr 32min
Drama / Thriller
On-Demand Release: Amazon Prime June 18th
Starring: Joseph Gordon-Levitt, Omid Memar, Murathan Muslu, Carlo Kitzlinger, Aylin Tezel
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### 7500 – A Review By Gadi Elkon
Amazon Studios’ 7500, starring Joseph Gordon-Levitt, is heading to Prime Video on June 19th. When terrorists try to seize control of a Berlin-Paris flight, a mild-mannered young American co-pilot struggles to save the lives of the passengers and crew.
Here is Gadi Elkon’s review of 7500.

German filmmaker Patrick Vollrath’s feature debut is a heart-pounding look into the worst case scenario for a pilot.  Vollrath showcases tremendous ability to apply his bold filmmaking choices into this tightly wounded anxiety thriller.  The pacing is perfectly ebbed and flowed with the many procedures and duties pilots undertake to take passengers across the globe.  The film’s title comes from a safety procedure that allows for ground crews to know a plane has been or is being hijacked.  Vollrath seems in complete control when the film is in a state of voyeur to the action.  The opening title sequence goes a long way in highlighting Vollrath’s distant but intrusive filmmaking style.  Not only is the film tense it also is stylish enough to help give Vollrath a potential calling card.
The film rarely leaves the cockpit of our Berlin-Paris flight that is co-piloted by tempered American Tobias Ellis.  As an audience we must live through the performance of Joseph Gordon-Levitt as Tobias.  It is this tremendous performance that the merit of the film really stands.  The film’s other performances are realistic and well done but lack the attention we are given to Tobias.  Every emotional connection revolves around Gordon-Levitt’s portrayal.  As much as Vollrath is showcasing his talents so to is JGL expanding his range as a dramatic actor.  A nice stepping piece that should garner award recognition for both JGL and Vollrath.
The film reminded me a lot of Paul Greengrass’ CAPTAIN PHILLIPS starring Tom Hanks and Barkhad Abdi.  Now both films showcase bold choices in point of view and amp up the tension perfectly well.  The real major difference is Hanks got to work off Abdi’s performance.  That film allowed it’s hijacker to have a real depth and Abdi’s performance was justly recognized as much as Hanks amazing emotional roller coaster of a portrayal.  7500 does have a sympathetic character in Vedat played by Omid Memar.  I won’t spoil his unique character shift and how it impacted the plot, but unlike Captain Phillips we aren’t given a real connecting element to Vedat’s world.  Other than the lack of a fleshed out hijacker the film is easily one of the year’s real gems.
Joseph Gordon-Levitt and Patrick Vollrath both should be highly applauded for bringing us this spine-tingling film.
I give the film a 4 out of 5 stars and hope you will jump on board this wild ride.
 
7500
Directed by: Patrick Vollrath
Written by: Patrick Vollrath, Senad Halilbasic
Rated R
Running Time: 1hr 32min
Drama / Thriller
On-Demand Release: Amazon Prime Now.
Starring: Joseph Gordon-Levitt, Omid Memar, Murathan Muslu, Carlo Kitzlinger, Aylin Tezel
Selig Rating: 4 Stars
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### 7500 – A Review by John Strange
7500 – A Review by John Strange
Some fears in our world affect everyone equally.  The plane you are flying on getting hijacked is one of them.  This is the heart of the new film, 7500 (the code pilots use to tell flight controllers that the plane is being hijacked), that is premiering on Amazon Prime.  What is a new spin on the story is we see it “fly on the wall-style” from the cockpit as First Officer Tobias Ellis (Joseph Gordon-Levitt) endures what is hopefully the worst day of his life.
Tobias is a young American, flying for a European airline, with a girlfriend who is a flight attendant (and mother of his young son) and working in the main cabin on this flight.  With ten years on the job, this 31-year-old pilot has enough time in the air to be a calm professional.  But nothing prepares you for two armed men bursting into the cockpit.
The pilots manage to subdue their assailants and get the door closed and sealed but at a high cost.  Tobias, with a damaged arm, tries to help the captain, Michael Lutzmann (Carlo Kitzlinger), and then he must tie up the unconscious terrorist in the passenger seat at the back of the cabin.
After he gets the plane on course for the closest airport, Tobias must then deal with the Captain’s condition and the two remaining terrorists still in the main cabin.  The situation is extremely tense as the terrorist tire of banging on the cockpit door and decide to escalate to threats to kill passengers.
This film is dark and gritty.  Tobias must endure would break most people.  The acting in this film is very good, especially the flight crew and flight attendants.
The main set is actually pretty minimal, only the cockpit and the hall area immediately outside (we see people coming in and in their seats, but only the first few rows).  The cool part is that this set IS a real airplane.  To get their set visually correct, the producers bought a jet and cut off the front third to us for their set!
Add in the early set-up scenes showing the terrorists walking through the airport, then through security, a few views out the cockpit windows (that could have been shot at any decent-sized airport) and you have the film’s “world”.
This is a really good movie, one that will make you take a second look at the flight crews of any future flights you take.  I give 7500 a strong 5-star rating.
 
Directed by: Patrick Vollrath
Cast: Joseph Gordon-Levitt, Omid Memar, Murathan Muslu, Carlo Kitzlinger, Aylin Tezel
MPAA Rating: R (for violence/terror and language)
Selig Rating: 5 Stars
Runtime: 92 Min.
Trailer: https://www.youtube.com/watch?v=Z5Vz9nPw2lg
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### 76 Countries In Competition For 2013 Foreign Language Film Oscar®
A record 76 countries have submitted films for consideration in the Foreign Language Film category for the 86th Academy Awards®.  Moldova and Saudi Arabia are first-time entrants; Montenegro is submitting for the first time as an independent country.

	The 2013 submissions are:

		Afghanistan, "Wajma – An Afghan Love Story," Barmak Akram, director;
	

		Albania, "Agon," Robert Budina, director;
	

		Argentina, "The German Doctor," Lucía Puenzo, director;
	

		Australia, "The Rocket," Kim Mordaunt, director;
	

		Austria, "The Wall," Julian Pölsler, director;
	

		Azerbaijan, "Steppe Man," Shamil Aliyev, director;
	

		Bangladesh, "Television," Mostofa Sarwar Farooki, director;
	

		Belgium, "The Broken Circle Breakdown," Felix van Groeningen, director;
	

		Bosnia and Herzegovina, "An Episode in the Life of an Iron Picker," Danis Tanovic, director;
	

		Brazil, "Neighboring Sounds," Kleber Mendonça Filho, director;
	

		Bulgaria, "The Color of the Chameleon," Emil Hristov, director;
	

		Cambodia, "The Missing Picture," Rithy Panh, director;
	

		Canada, "Gabrielle," Louise Archambault, director;
	

		Chad, "GriGris," Mahamat-Saleh Haroun, director;
	

		Chile, "Gloria," Sebastián Lelio, director;
	

		China, "Back to 1942," Feng Xiaogang, director;
	

		Colombia, "La Playa DC," Juan Andrés Arango, director;
	

		Croatia, "Halima’s Path," Arsen Anton Ostojic, director;
	

		Czech Republic, "The Don Juans," Jiri Menzel, director;
	

		Denmark, "The Hunt," Thomas Vinterberg, director;
	

		Dominican Republic, "Quien Manda?" Ronni Castillo, director;
	

		Ecuador, "The Porcelain Horse," Javier Andrade, director;
	

		Egypt, "Winter of Discontent," Ibrahim El Batout, director;
	

		Estonia, "Free Range," Veiko Ounpuu, director;
	

		Finland, "Disciple," Ulrika Bengts, director;
	

		France, "Renoir," Gilles Bourdos, director;
	

		Georgia, "In Bloom," Nana Ekvtimishvili and Simon Gross, directors;
	

		Germany, "Two Lives," Georg Maas, director;
	

		Greece, "Boy Eating the Bird’s Food," Ektoras Lygizos, director;
	

		Hong Kong, "The Grandmaster," Wong Kar-wai, director;
	

		Hungary, "The Notebook," Janos Szasz, director;
	

		Iceland, "Of Horses and Men," Benedikt Erlingsson, director;
	

		India, "The Good Road," Gyan Correa, director;
	

		Indonesia, "Sang Kiai," Rako Prijanto, director;
	

		Iran, "The Past," Asghar Farhadi, director;
	

		Israel, "Bethlehem," Yuval Adler, director;
	

		Italy, "The Great Beauty," Paolo Sorrentino, director;
	

		Japan, "The Great Passage," Ishii Yuya, director;
	

		Kazakhstan, "Shal," Yermek Tursunov, director;
	

		Latvia, "Mother, I Love You," Janis Nords, director;
	

		Lebanon, "Blind Intersections," Lara Saba, director;
	

		Lithuania, "Conversations on Serious Topics," Giedre Beinoriute, director;
	

		Luxembourg, "Blind Spot," Christophe Wagner, director;
	

		Mexico, "Heli," Amat Escalante, director;
	

		Moldova, "All God’s Children," Adrian Popovici, director;
	

		Montenegro, "Ace of Spades – Bad Destiny," Drasko Djurovic, director;
	

		Morocco, "Horses of God," Nabil Ayouch, director;
	

		Nepal, "Soongava: Dance of the Orchids," Subarna Thapa, director;
	

		Netherlands, "Borgman," Alex van Warmerdam, director;
	

		New Zealand, "White Lies," Dana Rotberg, director;
	

		Norway, "I Am Yours," Iram Haq, director;
	

		Pakistan, "Zinda Bhaag," Meenu Gaur and Farjad Nabi, directors;
	

		Palestine, "Omar," Hany Abu-Assad, director;
	

		Peru, "The Cleaner," Adrian Saba, director;
	

		Philippines, "Transit," Hannah Espia, director;
	

		Poland, "Walesa. Man of Hope," Andrzej Wajda, director;
	

		Portugal, "Lines of Wellington," Valeria Sarmiento, director;
	

		Romania, "Child’s Pose," Calin Peter Netzer, director;
	

		Russia, "Stalingrad," Fedor Bondarchuk, director;
	

		Saudi Arabia, "Wadjda," Haifaa Al Mansour, director;
	

		Serbia, "Circles," Srdan Golubovic, director;
	

		Singapore, "Ilo Ilo," Anthony Chen, director;
	

		Slovak Republic, "My Dog Killer," Mira Fornay, director;
	

		Slovenia, "Class Enemy," Rok Bicek, director;
	

		South Africa, "Four Corners," Ian Gabriel, director;
	

		South Korea, "Juvenile Offender," Kang Yi-kwan, director;
	

		Spain, "15 Years Plus a Day," Gracia Querejeta, director;
	

		Sweden, "Eat Sleep Die," Gabriela Pichler, director;
	

		Switzerland, "More than Honey," Markus Imhoof, director;
	

		Taiwan, "Soul," Chung Mong-Hong, director;
	

		Thailand, "Countdown," Nattawut Poonpiriya, director;
	

		Turkey, "The Butterfly’s Dream," Yilmaz Erdogan, director;
	

		Ukraine, "Paradjanov," Serge Avedikian and Olena Fetisova, directors;
	

		United Kingdom, "Metro Manila," Sean Ellis, director;
	

		Uruguay, "Anina," Alfredo Soderguit, director;
	

		Venezuela, "Breach in the Silence," Luis Alejandro Rodríguez and Andrés Eduardo Rodríguez, directors.
	

	The 86th Academy Awards nominations will be announced live on Thursday, January 16, 2014, at 5:30 a.m. PT in the Academy’s Samuel Goldwyn Theater.

	Academy Awards for outstanding film achievements of 2013 will be presented on Oscar Sunday, March 2, 2014, at the Dolby Theatre® at Hollywood & Highland Center® and televised live on the ABC Television Network.  The presentation also will be televised live in more than 225 countries and territories worldwide.

#### 78/52 – A Review by Cynthia Flores
 

	78/52 – A Review by Cynthia Flores

	 

	 

	Calling all Hitchcock fans, groupies, or wannabe film makers, the new documentary from director Alexandre O. Philippe, 78/52: Hitchcock’s Shower Scene is here and you will not want to miss it.  The tagline for the film is “78 shots and 52 cuts that changed cinema forever.”  This documentary is an educational, entertaining, and fun look at all the work that went behind the iconic shower scene in Alfred Hitchcock’s 1960 film Psycho.  The scene that yielded the sudden, violent, waterlogged demise of Marion Crane (Janet Leigh) profoundly changed the course and language of world cinema.  Its influences and style are still seen in films today.  Hitchcock, in an interview with Francois Truffaut, stated: "It took us seven days to shoot that scene, and there were 70 camera setups for 45 seconds of footage. We had a torso specially made up for that scene, with the blood that was supposed to spurt away from the knife, but I didn't use it. I used a live girl instead, a naked model who stood in for Janet Leigh.  Naturally, the knife never touched the body; it was all done in the montage."

	 

	Even moviegoers who know Psycho backward and forward and consider it a sacred thing or who have read Stephan Rebello’s excellent book “Alfred Hitchcock and the Making of ‘Psycho’” are bound to learn something new from this documentary that addresses the shower scene from critical, historical, theoretical and technical angles, down to the particular version of “Susanna and the Elder's” painting that hung over Norman Bates’s peephole.

	 

	The interviews with people like Marli Renfro, the pinup model who served as Janet Leigh’s body double, or Jamie Lee Curtis are really cool.  I  loved the way they cut between current directors, film editors, and people like Danny Elfman that score films.  Some of them were just sitting together on a sofa and you watch as they light up like little kids watching the scene play out on a TV in front of them, geeking out about what part of Alfred Hitchcock’s artistry most spoke to them.

	 

	I give 78/52: Hitchcock’s Shower Scene a solid A rating. It’s an excellent movie, well worth the price. I hope you seek it out and enjoy this gem of a documentary.

	 

	Directed by Alexandre O. Philippe

	Written By Alexandre O. Philippe

	Rated NR

	Selig Rating A

	Running Time 91min

	Documentary

	Limited Release Oct 27th Alamo Drafthouse Cedars

	Starring: Alan Barnette, Justin Benson, Peter Bogdanovich, Marco Calavita, Jamie Lee Curtis, Tere Carrubba, Guillermo del Toro, Danny Elfman

	 

	 

	The Selig Rating Scale:

	 

	A – Excellent movie, well worth the price.

	B – Good movie

	C – OK movie

	D – No need to rush. Save it for a rainy day.

	F – Good that I saw it on the big screen but wish I hadn't paid for it.

#### 7th Annual Israel Film Center Festival – Interview with Filmmaker Avi Nesher
https://vimeo.com/283720820
For over four decades, Avi Nesher has been one of the leading voices in Israeli cinema. Both pioneering and impactful, Nesher’s films are not only some of Israel’s biggest hits, but they opened the door for Israeli films to succeed in international markets as well.
The 7th Annual Israel Film Center Festival wanted to honor Avi with a retrospective of his career as well as showcasing his latest film, The Other Story.  Avi Nesher was awesome enough to chat with us about the film, his process and so much more.  Here is our chat with legendary Israeli filmmaker Avi Nesher!

His latest, The Other Story was one of this year’s most successful Israeli films. We will honor Nesher with two films from his extensive filmography. Turn Left at the End of the World (2004) Nesher’s biggest box office success in Israel that brought new energy to Israeli cinema. Next, the newly restored Rage and Glory (1984) follows a cell of the Stern Gang that begins to fall apart during an attempt to assassinate a senior British officer in pre-state Israel.  From 7th Annual Israel Film Center Festival website.
And here is our chat with filmmaker Avi Nesher.
 
https://seligfilmnews.com/wp-content/uploads/2019/06/Avi-Nesher.mp3
 
For more information about the rest of the festival please go to the 7th Annual Israel Film Center Festival.

 

#### 7th Annual Israel Film Center Festival – Interview with REDEMPTION Co-Director and Cinematographer Boaz Yehonatan Yaacov
Tonight a sold out crowd watching Israeli film REDEMPTION gave a wonderful kick off to the 7th annual Israel Film Center Festival.  Yesterday we highlighted our interview with the movie’s Co-Director Joseph “Yossi” Madmoni, and here is our chat with his Co-Director and long time cinematographer and friend Boaz Yehonatan Yaacov.

The festival’s Opening Night selection will be Joseph Madmony and Boaz Yehonatan Yacov’s thought-provoking film REDEMPTION (“Geula”). The story of a devout Chassid who must return to his rockstar lifestyle in order to pay for his daughter’s medical bills explores the issue of how to balance one’s religious devotion with art, family, and friendship, all while making peace with the past. The film won both the Ecumenical Jury Prize and Best Actor award (for star Moshe Folkenflik) at the 2018 Karlovy Vary Film Festival, and the Audience Award at the 2018 Jerusalem Film Festival.
Here is our chat with Co-Director and Cinematographer – Boaz Yehonatan Yaacov.
Sadly the first half of our interview had technical difficulty.  Boaz explained to me that he approached Yossi with this idea a few years prior.  The two cultivated a story of a man having to confront his emotional struggles of pain by embracing the work that had brought him happiness in his life.  The dive for this religious man into the world of music was only the device that allowed him to find the truth in his life.  Yossi let us in the secret that Boaz’ actual apartment was used for the film and that not much was changed inside. Boaz mentioned to me that he allows audiences to see his world and this film holds a unique place for himself.  As he so poetically put it, as a cinematographer would, he compared the film to being a photobook of his own life.  But for him this story is not about Redemption but discover.  In real life Boaz was married just prior to shooting of the film and now the loving couple has a young son.  Boaz now has stepped into the Director’s chair for the first time because of this passion project he set out with his longtime collaborator and friend Yossi.  I was utterly moved to hear just how amazing a connection to his film Boaz has and his way to articulate how the movie hopefully touches folks to the point of wanting to be better human beings.  I am glad to now share with you the second half of our chat where I think Boaz beautiful explanation on the film are fully showcased.  In this second part we also got to chat about the fact that Boaz also has his cinematic work showcased by tonight’s screening of Red Cow, in which he was also DP.  The two films’ also share the wonderful acting of Avigail Kovari.  She is Sarah in Redemption and in Red Cow she is the lead Benni.  Enjoy my interview with Boaz Yehonatan Yaacov.
 
https://seligfilmnews.com/wp-content/uploads/2019/06/Boaz-Yaacov-Pt.-2.mp3
 
New York’s leading Israeli film festival is celebrating its 7th edition this June with a powerful lineup of diverse, award-winning, and cutting-edge films and television programs from Israel. The Marlene Meyerson JCC Manhattan (located at 334 Amsterdam Avenue at 76th Street) will present feature films and two television series, including New York premieres, at the 7th Annual Israel Film Center Festival. Showcasing the best new films from Israel’s booming film industry and Q&As with acclaimed Israeli filmmakers after select screenings, the festival will run from June 3-12. Visit israelfilmcenter.org/festival for more information and to purchase tickets.
Check back through out the week for more interviews with filmmakers from the festival’s selections.

#### 7th Annual Israel Film Center Festival – Interview with REDEMPTION Co-Director Co-Writer Joseph Madmoni
The 7th annual Israel Film Center Festival kicks off tonight and runs through June 12th.  Ten films and 2 TV series will be spotlighted at the festival and will showcase the diversity of Israeli filmmaking.  The opening night film, REDEMPTION (GEULA), is from Directors Joseph Madmoni and Boaz Yehonatan Yacov.  Here is our interview with Yossi Madmoni.

A devout Chassid must return to his rockstar lifestyle in order to pay for his daughter’s medical bills in this rousing and affecting story of faith, love, and making peace with the past.  IFCF 2019.
Here is our interview with Co-Director/Co-Writer Joseph (Yossi) Madmoni.
https://seligfilmnews.com/wp-content/uploads/2019/06/Yossi-Madmoni.mp3
 
The festival’s Opening Night selection will be Joseph Madmony and Boaz Yehonatan Yacov’s thought-provoking film REDEMPTION (“Geula”). The story of a devout Chassid who must return to his rockstar lifestyle in order to pay for his daughter’s medical bills explores the issue of how to balance one’s religious devotion with art, family, and friendship, all while making peace with the past. The film won both the Ecumenical Jury Prize and Best Actor award (for star Moshe Folkenflik) at the 2018 Karlovy Vary Film Festival, and the Audience Award at the 2018 Jerusalem Film Festival. “Redemption” screens Monday, June 3 at 7 p.m., followed by a Q&A with director Boaz Yehonatan Yacov.
New York’s leading Israeli film festival is celebrating its 7th edition this June with a powerful lineup of diverse, award-winning, and cutting-edge films and television programs from Israel. The Marlene Meyerson JCC Manhattan (located at 334 Amsterdam Avenue at 76th Street) will present feature films and two television series, including New York premieres, at the 7th Annual Israel Film Center Festival. Showcasing the best new films from Israel’s booming film industry and Q&As with acclaimed Israeli filmmakers after select screenings, the festival will run from June 3-12. Visit israelfilmcenter.org/festival for more information and to purchase tickets.
Check back through out the week for more interviews with filmmakers from the festival’s selections.

 
 

#### 7th Annual Israel Film Center Festival – Interview with The Dive (Hatzlila) Director Yona Rozenkier
Set within a ramshackle kibbutz community on the northern border separating Israel from Lebanon, the film follows a trio of brothers who reunite to bury their father’s body before the youngest heads off to battle.
Here is our chat with THE DIVE‘s Writer/Director/Actor Yona Rozenkier.

Screening tomorrow night, Thursday at 8:30PM EST, at the 7th Annual Israel Film Center Festival is Yona Rozenkier’s THE DIVE.
Here is our Interview with Writer/Director/Actor Yona Rozenkier:
The Dive – Email Questionnaire for Yona Rozenkier:
1. Can you share with us how you heard your film would be a part of the 7th Israel Film Center Festival?
My friends told me that! I was also alerted by my sales agent and we are thrilled to be screening there! I’m just sorry I won’t be able to come.
2. As the youngest of a three brother family who lived briefly on a Kibbutz I must admit I was blown away by your film. My father’s military duties were on the borders, granted we all left before our age of military service. Please expand on where this plot came from and any personal connections you have to this film? Were the punches between you bros real?
The film is very personal indeed. When I thought about what film to make as my first feature I knew I would have to choose a personnal subject. Something that is planted deep in my heart. I knew it would be dealing with the PTSD from war – a condition which I endured when I just started to write. I knew it would be about the relationship between broithers since I am very close to my three brothers and I knew I wanted to let them act in it. Two of them have the main roles and our eldest, has a small role as well. The punches weren’t real even though our very close relationship allowed us to be more physical with each other – more than “normal” actors can.
3. I love the film nods in the film. How much fun was to:
A. Blame all the family troubles on Clint Eastwood (or was he specifically calling out Josey Wales?)
In that scene I wanted to talk about the role cinema has on portraying men and masculinity. I think that sometimes, cinema can create a masculinity which is almost impossible to be and I believe it impacts people who try to imitate something impossible. This is why the Blade Runner poster is there too. The brothers are surrounded by heroes of film that are unattainable. Those heroes also have a role in creating the toxic masculinity the film talks about.
B. Have a Blade Runner Poster? I love the set design choices. A Roberto Baggio Poster!!
Roberto Baggio was my biggest idol growing up. i knew i would place that poster somewhere!
4. For the jump to feature you kept your DP and Editor. Can you talk about the visual style your were looking to capture and of course the pacing elements of the film? Did any of the ideas for this film come from experiences gained from your previous shorts?
I knew I would work with them because I wanted to share the opportunity with them as well as obviously thinking they were extremely talented. I wanted to grow with them: Oded Askenzi, the DOP and Or Lee-tal, the editor. I believe that working with your friends and not with people with a lot of experience allows you to take more risks in your artistic decisions. I also think that because they knew it is there shot too, they brought all their hearts into the film. I couldn’t be more happy with the way we worked together.
5. What was the casting process like for those folks not actually related to you?
All the extras are from my kibbutz and I personally know them. The whole Kibbutz helped with an unbelievable energy and will. It was incredible. I couldn’t be more proud than to come from that Kibbutz which I truly love. The role of Private was written for Daniel Sabag who is an actor and my best friend since the age of 13. The others were cast through a casting agent.
6. What was it like shooting the water/cave scenes? Camera used?
It was extremely dangerous to tell you the truth… bordering on crazy. Yoel dove without equipment and with weights 8 meters deep and 20 meters long. We had two friends from the kibbutz who are diving instructors who were also there but there obviously wasn’t a real “belt” of security. Just us and the camera. We were really afraid to dive there – just like the characters of the film. The water was very cold: 19 degrees and it took us 10 hours to shoot while we almost didn’t exit the water to warm up. Micha almost had hypothermia. It really was scary. The camera was a mark 2 and the operator, an ex-Israeli navy seal said it was the hardest day of shooting he had and said that no actors would have done what Yoel did nor what Micha. I was proud!
7. Can you talk about the importance of this being a film shot on a Kibbutz?
It is my Kibbutz and I knew we could bring a production value relatively easy but mostly it was because of the story. I wanted to talk about a macho society and I think the Kibbutz is one. I love being a Kibbutznik but there are traits that bother me because I love it.
8. The film was at TIFF and enjoyed a nice festival run and now being in NYC what do you hope viewers gain? How impactful has the festival circuit been for you as a filmmaker, any specific moments that stand out?
I hope people will enjoy the ride and hope it will make them think afterwards. We had many amazing moments, but I think the biggest one was at the Jerusalem Film Festival when at the awards ceremony we were put in the back of the hall, but then we were the big winners of the festival with 4 awards: Best Film, Best Debut film, Best Male Actors for the THREE of us, and Best Cinematography. Another amazing moment was our premiere in Locarno where we won two other awards, our TIFF screening and also the screening in the Chinese theater in Hollywood as part of the AFI.
9. I really enjoyed The Dive and can’t wait to see what’s next? Speaking of…???
I have a dramatic comedy of a road trip of a drunken father and his depressed alienated son on a tractor from their northern Kibbutz to Eilat. We are in financing so if any of your readers can help us out with it, we would be more than happy!!!
 
For more information about the festival please go to the 7th Annual Israel Film Center Festival.

#### 8 Doc Shorts On Oscar’s 2013 Shortlist
The Academy of Motion Picture Arts and Sciences today announced that the field of Documentary Short Subject contenders for the 86th Academy Awards® has been narrowed to eight films, of which three to five will earn Oscar® nominations.

	Voters from the Academy’s Documentary Branch viewed this year’s 40 eligible entries and submitted their ballots to PricewaterhouseCoopers for tabulation.

	The eight films are listed below in alphabetical order by title, with their production companies:

		“CaveDigger,” Karoffilms
	

		“Facing Fear,” Jason Cohen Productions, LLC
	

		“Jujitsu-ing Reality,” Sobini Films
	

		“Karama Has No Walls,” Hot Spot Films
	

		“The Lady in Number 6: Music Saved My Life,” Reed Entertainment
	

		“Prison Terminal: The Last Days of Private Jack Hall,” Prison Terminal LLC
	

		“Recollections,” notrac productions
	

		“SLOMO,” Big Young Films and Runaway Films
	

	Academy Awards for outstanding film achievements of 2013 will be presented on Oscar Sunday, March 2, 2014, at the Dolby Theatre® at Hollywood & Highland Center® and televised live on the ABC Television Network.  The presentation also will be televised live in more than 225 countries and territories worldwide.

#### 8 films with UCLA ties named to National Film Registry for 2022
When Harry Met Sally
 
“When Harry Met Sally,” directed by UCLA alumnus Rob Reiner, as well as three student-made movies, a film produced by a UCLA alumnus, and four others that were preserved and restored by the UCLA Film & Television Archive are among the 25 films entering the National Film Registry of the Library of Congress in 2022.
“Few academic institutions have made their mark on filmmaking as strongly as UCLA,” said UCLA Chancellor Gene Block. “It is a point of pride that so many of the films selected for the National Film Registry this year have UCLA ties, and we commend these Bruins for their artistry and excellence.”
The four films that were preserved by the Film & Television Archive, a division of UCLA Library, are “Behind Every Good Man” (1967), “Cyrano de Bergerac” (1950), “Scorpio Rising” (1963) and “Word is Out: Stories of Some of Our Lives” (1977).
Also chosen for the registry was “The Ballad of Gregorio Cortez” (1982), which was produced by UCLA alumnus Moctesuma Esparza. Esparza earned a bachelor’s degree in 1971 and an MFA in 1973, both from the UCLA School of Theater, Film and Television.
Reiner’s “When Harry Met Sally” premiered in 1989, decades after he attended UCLA, from 1964 to 1966. But three of the selected movies were made during the 1970s by filmmakers who were then pursuing master’s degrees at TFT:
“Behind Every Good Man” (1967), directed by Nikolai Ursin, who earned an MFA in 1971.
“Bush Mama” (1975), directed by Haile Gerima, who earned an MFA in 1976.
“Manzanar” (1972), directed by Bob Nakamura, who earned an MFA in 1975.
“Today’s announcement is a testament to the rich, diverse stories told by talented UCLA filmmakers, and to the significance of extending their legacies through conservation and preservation,” said May Hong HaDuong, director of the Film & Television Archive. “The Archive is honored to have preserved four films from this impressive list.”
HaDuong also is a member of the National Film Preservation Board, which since its founding in 1988, has convened each year to recommend films to the Librarian of Congress for inclusion in the registry. Movies are selected titles for their significance to the nation’s cultural heritage.
About the selected films:
“The Ballad of Gregorio Cortez,” directed by Robert M. Young, stars Edward James Olmos as a Mexican American farmer who becomes a folk hero as he evades a manhunt by the Texas Rangers. Esparza, a producer of the movie, was born and raised in East Los Angeles and became an award-winning filmmaker, producer, businessman and promoter of Latino-created films.
“Behind Every Good Man” focuses on the aspirations of a Black transgender woman in Los Angeles. For its time, the movie was uniquely honest, offering insight into the experiences of transgender and queer people prior to the Stonewall Uprising in New York. It was preserved by the Archive with funds from the National Film Preservation Foundation on behalf of the Outfest UCLA Legacy Project.
“Bush Mama” was presented by Gerima as his UCLA thesis film. The film follows a protagonist named Dorothy who, in living through poverty, unemployment and the abuse of power by institutions, becomes radicalized to take action for herself. Gerima is now an independent filmmaker and professor of film at Howard University.
“Cyrano de Bergerac” was directed by Michael Gordon and stars José Ferrer as the title character who helps another man win the affection of the woman he is in love with. Ferrer won an Academy Award for the role, marking the first win for a Hispanic actor. The movie was restored and preserved from the 35 mm nitrate original camera negative and acetate fine grain master by the UCLA Film & Television Archive, with assistance from Paramount Pictures. The restoration was funded by UCLA alumna Myra Teitelbaum Reinhard.
“Manzanar” is a 16-minute documentary shot on Super 8 film capturing the experiences of Japanese Americans unjustly incarcerated by the U.S. government during World War II, with Nakamura looking back on his own childhood at the Manzanar concentration camp.
“Scorpio Rising” is a short film with no dialogue — only the sounds of a rock-and-roll soundtrack —  that explores themes such as masculinity and the idolization of rebel icons of the era. Directed by Kenneth Anger, the film was the subject of numerous protests upon its release due to its queer content and perceived obscenity. It was preserved from the original handpainted 16 mm Ektachrome color reversal A/B rolls and from the 16 mm original magnetic track by the UCLA Film & Television Archive, with funding from The Film Foundation.
“When Harry Met Sally” humorously explores the complexities of male-female friendships and love, with title characters based on Reiner and the writer Nora Ephron. It is now recognized as a classic of the romantic comedy genre and is the only romantic comedy among the registry’s 2022 selections.
“Word is Out: Stories of Some of Our Lives,” directed by the Mariposa Film Group (Peter Adair, Nancy Adair, Veronica Selver, Andrew Brown, Robert Epstein and Lucy Massie Phenix), features interviews with 26 queer men and women as they discuss their experiences as queer individuals in America. The pioneering documentary examines struggles with identity, love and homophobia. The film was preserved by the UCLA Film & Television Archive with funds from the David Bohnett Foundation, the Andrew J. Kuehn Jr. Foundation and Outfest.
Among the numerous other films with UCLA ties that were previously chosen for the registry are Francis Ford Coppola’s “The Godfather” (1972) and “The Godfather Part II” (1974), Jeff Margolis’ “Richard Pryor, Live in Concert” (1979), Penelope Spheeris’ “The Decline of Western Civilization” (1981), Gregory Nava’s “El Norte” (1983) and “Selena” (1997), Julie Dash’s “Daughters of the Dust” (1991) and Curtis Hanson’s “L.A. Confidential” (1997).

#### 83 Countries In Competition For 2014 Foreign Language Film Oscar®
A record 83 countries have submitted films for consideration in the Foreign Language Film category for the 87th Academy Awards®.  Kosovo, Malta, Mauritania and Panama are first-time entrants.

	The 2014 submissions are:

	Afghanistan, "A Few Cubic Meters of Love," Jamshid Mahmoudi, director;
	Argentina, "Wild Tales," Damián Szifrón, director;
	Australia, "Charlie's Country," Rolf de Heer, director;
	Austria, "The Dark Valley," Andreas Prochaska, director;
	Azerbaijan, "Nabat," Elchin Musaoglu, director;
	Bangladesh, "Glow of the Firefly," Khalid Mahmood Mithu, director;
	Belgium, "Two Days, One Night," Jean-Pierre Dardenne and Luc Dardenne, directors;
	Bolivia, "Forgotten," Carlos Bolado, director;
	Bosnia and Herzegovina, "With Mom," Faruk Lončarevič, director;
	Brazil, "The Way He Looks," Daniel Ribeiro, director;
	Bulgaria, "Bulgarian Rhapsody," Ivan Nitchev, director;
	Canada, "Mommy," Xavier Dolan, director;
	Chile, "To Kill a Man," Alejandro Fernández Almendras, director;
	China, "The Nightingale," Philippe Muyl, director;
	Colombia, "Mateo," María Gamboa, director;
	Costa Rica, "Red Princesses," Laura Astorga Carrera, director;
	Croatia, "Cowboys," Tomislav Mršić, director;
	Cuba, "Conducta," Ernesto Daranas Serrano, director;
	Czech Republic, "Fair Play," Andrea Sedláčková, director;
	Denmark, "Sorrow and Joy," Nils Malmros, director;
	Dominican Republic, "Cristo Rey," Leticia Tonos, director;
	Ecuador, "Silence in Dreamland," Tito Molina, director;
	Egypt, "Factory Girl," Mohamed Khan, director;
	Estonia, "Tangerines," Zaza Urushadze, director;
	Ethiopia, "Difret," Zeresenay Berhane Mehari, director;
	Finland, "Concrete Night," Pirjo Honkasalo, director;
	France, "Saint Laurent," Bertrand Bonello, director;
	Georgia, "Corn Island," George Ovashvili, director;
	Germany, "Beloved Sisters," Dominik Graf, director;
	Greece, "Little England," Pantelis Voulgaris, director;
	Hong Kong, "The Golden Era," Ann Hui, director;
	Hungary, "White God," Kornél Mundruczó, director;
	Iceland, "Life in a Fishbowl," Baldvin Zophoníasson, director;
	India, "Liar's Dice," Geetu Mohandas, director;
	Indonesia, "Soekarno," Hanung Bramantyo, director;
	Iran, "Today," Reza Mirkarimi, director;
	Iraq, "Mardan," Batin Ghobadi, director;
	Ireland, "The Gift," Tom Collins, director;
	Israel, "Gett, the Trial of Viviane Amsalem," Ronit Elkabetz and Shlomi Elkabetz, directors;
	Italy, "Human Capital," Paolo Virzì, director;
	Japan, "The Light Shines Only There," Mipo O, director;
	Kosovo, "Three Windows and a Hanging," Isa Qosja, director;
	Kyrgyzstan, "Kurmanjan Datka Queen of the Mountains," Sadyk Sher-Niyaz, director;
	Latvia, "Rocks in My Pockets," Signe Baumane, director;
	Lebanon, "Ghadi," Amin Dora, director;
	Lithuania, "The Gambler," Ignas Jonynas, director;
	Luxembourg, "Never Die Young," Pol Cruchten, director;
	Macedonia, "To the Hilt," Stole Popov, director;
	Malta, "Simshar," Rebecca Cremona, director;
	Mauritania, "Timbuktu," Abderrahmane Sissako, director;
	Mexico, "Cantinflas," Sebastián del Amo, director;
	Moldova, "The Unsaved," Igor Cobileanski, director;
	Montenegro, "The Kids from the Marx and Engels Street," Nikola Vukčević, director;
	Morocco, "The Red Moon," Hassan Benjelloun, director;
	Nepal, "Jhola," Yadav Kumar Bhattarai, director;
	Netherlands, "Accused," Paula van der Oest, director;
	New Zealand, "The Dead Lands," Toa Fraser, director;
	Norway, "1001 Grams," Bent Hamer, director;
	Pakistan, "Dukhtar," Afia Nathaniel, director;
	Palestine, "Eyes of a Thief," Najwa Najjar, director;
	Panama, "Invasion," Abner Benaim, director;
	Peru, "The Gospel of the Flesh," Eduardo Mendoza, director;
	Philippines, "Norte, the End of History," Lav Diaz, director;
	Poland, "Ida," Paweł Pawlikowski, director;
	Portugal, "What Now? Remind Me," Joaquim Pinto, director;
	Romania, "The Japanese Dog," Tudor Cristian Jurgiu, director;
	Russia, "Leviathan," Andrey Zvyagintsev, director;
	Serbia, "See You in Montevideo," Dragan Bjelogrlić, director;
	Singapore, "Sayang Disayang," Sanif Olek, director;
	Slovakia, "A Step into the Dark," Miloslav Luther, director;
	Slovenia, "Seduce Me," Marko Šantić, director;
	South Africa, "Elelwani," Ntshavheni Wa Luruli, director;
	South Korea, "Haemoo," Shim Sung-bo, director;
	Spain, "Living Is Easy with Eyes Closed," David Trueba, director;
	Sweden, "Force Majeure," Ruben Östlund, director;
	Switzerland, "The Circle," Stefan Haupt, director;
	Taiwan, "Ice Poison," Midi Z, director;
	Thailand, "The Teacher’s Diary," Nithiwat Tharathorn, director;
	Turkey, "Winter Sleep," Nuri Bilge Ceylan, director;
	Ukraine, "The Guide," Oles Sanin, director;
	United Kingdom, "Little Happiness," Nihat Seven, director;
	Uruguay, "Mr. Kaplan," Álvaro Brechner, director;
	Venezuela, "The Liberator," Alberto Arvelo, director.

	The 87th Academy Awards nominations will be announced live on Thursday, January 15, 2015, at 5:30 a.m. PT in the Academy’s Samuel Goldwyn Theater.

	The Oscars® will be held on Sunday, February 22, 2015, at the Dolby Theatre® at Hollywood & Highland Center® in Hollywood, and will be televised live by the ABC Television Network.  The Oscar presentation also will be televised live in more than 225 countries and territories worldwide.

#### 85th Academy Awards® Nominations Announced
Beverly Hills, CA (January 10, 2013) – Nominations for the 85th Academy Awards® were announced today (Thursday, January 10) by this year's Oscar host, Seth MacFarlane, and actress Emma Stone.

	MacFarlane and Stone announced the nominees at a 5:38 a.m. PT live news conference attended by more than 400 international media representatives. For a complete list of nominees, visit the official Academy Awards website, www.oscar.com.

	Academy members from each of the branches vote to determine the nominees in their respective categories – actors nominate actors, film editors nominate film editors, etc. In the Animated Feature Film and Foreign Language Film categories, nominees are selected by vote of multi-branch screening committees. All voting members are eligible to select the Best Picture nominees.

	Official screenings of all motion pictures with one or more nominations will begin for members on Saturday, January 19, at the Academy's Samuel Goldwyn Theater. Screenings will also be held at the Academy's Linwood Dunn Theater in Hollywood and in London, New York and the San Francisco Bay Area.

	Active members of the Academy are eligible to vote for the winners in all categories.

	Academy Awards for outstanding film achievements of 2012 will be presented on Sunday, February 24, 2013, at the Dolby Theatre™ at Hollywood & Highland Center®, and televised live on the ABC Television Network. The Oscar presentation also will be televised live in more than 225 countries worldwide.

	 

	———————————————————

	Actor in a Leading Role

	Bradley Cooper in "Silver Linings Playbook"
	Daniel Day-Lewis in "Lincoln"
	Hugh Jackman in "Les Misérables"
	Joaquin Phoenix in "The Master"
	Denzel Washington in "Flight"

	Actor in a Supporting Role

	Alan Arkin in "Argo"
	Robert De Niro in "Silver Linings Playbook"
	Philip Seymour Hoffman in "The Master"
	Tommy Lee Jones in "Lincoln"
	Christoph Waltz in "Django Unchained"

	Actress in a Leading Role

	Jessica Chastain in "Zero Dark Thirty"
	Jennifer Lawrence in "Silver Linings Playbook"
	Emmanuelle Riva in "Amour"
	Quvenzhané Wallis in "Beasts of the Southern Wild"
	Naomi Watts in "The Impossible"

	Actress in a Supporting Role

	Amy Adams in "The Master"
	Sally Field in "Lincoln"
	Anne Hathaway in "Les Misérables"
	Helen Hunt in "The Sessions"
	Jacki Weaver in "Silver Linings Playbook"

	Animated Feature Film

	"Brave" Mark Andrews and Brenda Chapman
	"Frankenweenie" Tim Burton
	"ParaNorman" Sam Fell and Chris Butler
	"The Pirates! Band of Misfits" Peter Lord
	"Wreck-It Ralph" Rich Moore

	Cinematography

	"Anna Karenina" Seamus McGarvey
	"Django Unchained" Robert Richardson
	"Life of Pi" Claudio Miranda
	"Lincoln" Janusz Kaminski
	"Skyfall" Roger Deakins

	Costume Design

	"Anna Karenina" Jacqueline Durran
	"Les Misérables" Paco Delgado
	"Lincoln" Joanna Johnston
	"Mirror Mirror" Eiko Ishioka
	"Snow White and the Huntsman" Colleen Atwood

	Directing

	"Amour" Michael Haneke
	"Beasts of the Southern Wild" Benh Zeitlin
	"Life of Pi" Ang Lee
	"Lincoln" Steven Spielberg
	"Silver Linings Playbook" David O. Russell

	Documentary Feature

	"5 Broken Cameras"
	Emad Burnat and Guy Davidi
	"The Gatekeepers"
	Nominees to be determined
	"How to Survive a Plague"
	Nominees to be determined
	"The Invisible War"
	Nominees to be determined
	"Searching for Sugar Man"
	Nominees to be determined

	Documentary Short Subject

	"Inocente"
	Sean Fine and Andrea Nix Fine
	"Kings Point"
	Sari Gilman and Jedd Wider
	"Mondays at Racine"
	Cynthia Wade and Robin Honan
	"Open Heart"
	Kief Davidson and Cori Shepherd Stern
	"Redemption"
	Jon Alpert and Matthew O'Neill

	Film Editing

	"Argo" William Goldenberg
	"Life of Pi" Tim Squyres
	"Lincoln" Michael Kahn
	"Silver Linings Playbook" Jay Cassidy and Crispin Struthers
	"Zero Dark Thirty" Dylan Tichenor and William Goldenberg

	Foreign Language Film

	"Amour" Austria
	"Kon-Tiki" Norway
	"No" Chile
	"A Royal Affair" Denmark
	"War Witch" Canada

	Makeup and Hairstyling

	"Hitchcock"
	Howard Berger, Peter Montagna and Martin Samuel
	"The Hobbit: An Unexpected Journey"
	Peter Swords King, Rick Findlater and Tami Lane
	"Les Misérables"
	Lisa Westcott and Julie Dartnell

	Music (Original Score)

	"Anna Karenina" Dario Marianelli
	"Argo" Alexandre Desplat
	"Life of Pi" Mychael Danna
	"Lincoln" John Williams
	"Skyfall" Thomas Newman

	Music (Original Song)

	"Before My Time" from "Chasing Ice"
	Music and Lyric by J. Ralph
	"Everybody Needs A Best Friend" from "Ted"
	Music by Walter Murphy; Lyric by Seth MacFarlane
	"Pi's Lullaby" from "Life of Pi"
	Music by Mychael Danna; Lyric by Bombay Jayashri
	"Skyfall" from "Skyfall"
	Music and Lyric by Adele Adkins and Paul Epworth
	"Suddenly" from "Les Misérables"
	Music by Claude-Michel Schönberg; Lyric by Herbert Kretzmer and Alain Boublil

	Best Picture

	"Amour" Nominees to be determined
	"Argo" Grant Heslov, Ben Affleck and George Clooney, Producers
	"Beasts of the Southern Wild" Dan Janvey, Josh Penn and Michael Gottwald, Producers
	"Django Unchained" Stacey Sher, Reginald Hudlin and Pilar Savone, Producers
	"Les Misérables" Tim Bevan, Eric Fellner, Debra Hayward and Cameron Mackintosh, Producers
	"Life of Pi" Gil Netter, Ang Lee and David Womark, Producers
	"Lincoln" Steven Spielberg and Kathleen Kennedy, Producers
	"Silver Linings Playbook" Donna Gigliotti, Bruce Cohen and Jonathan Gordon, Producers
	"Zero Dark Thirty" Mark Boal, Kathryn Bigelow and Megan Ellison, Producers

	Production Design

	"Anna Karenina"
	Production Design: Sarah Greenwood; Set Decoration: Katie Spencer
	"The Hobbit: An Unexpected Journey"
	Production Design: Dan Hennah; Set Decoration: Ra Vincent and Simon Bright
	"Les Misérables"
	Production Design: Eve Stewart; Set Decoration: Anna Lynch-Robinson
	"Life of Pi"
	Production Design: David Gropman; Set Decoration: Anna Pinnock
	"Lincoln"
	Production Design: Rick Carter; Set Decoration: Jim Erickson

	Short Film (Animated)

	"Adam and Dog" Minkyu Lee
	"Fresh Guacamole" PES
	"Head over Heels" Timothy Reckart and Fodhla Cronin O'Reilly
	"Maggie Simpson in "The Longest Daycare"" David Silverman
	"Paperman" John Kahrs

	Short Film (Live Action)

	"Asad" Bryan Buckley and Mino Jarjoura
	"Buzkashi Boys" Sam French and Ariel Nasr
	"Curfew" Shawn Christensen
	"Death of a Shadow (Dood van een Schaduw)" Tom Van Avermaet and Ellen De Waele
	"Henry" Yan England

	Sound Editing

	"Argo" Erik Aadahl and Ethan Van der Ryn
	"Django Unchained" Wylie Stateman
	"Life of Pi" Eugene Gearty and Philip Stockton
	"Skyfall" Per Hallberg and Karen Baker Landers
	"Zero Dark Thirty" Paul N.J. Ottosson

	Sound Mixing

	"Argo"
	John Reitz, Gregg Rudloff and Jose Antonio Garcia
	"Les Misérables"
	Andy Nelson, Mark Paterson and Simon Hayes
	"Life of Pi"
	Ron Bartlett, D.M. Hemphill and Drew Kunin
	"Lincoln"
	Andy Nelson, Gary Rydstrom and Ronald Judkins
	"Skyfall"
	Scott Millan, Greg P. Russell and Stuart Wilson

	Visual Effects

	"The Hobbit: An Unexpected Journey"
	Joe Letteri, Eric Saindon, David Clayton and R. Christopher White
	"Life of Pi"
	Bill Westenhofer, Guillaume Rocheron, Erik-Jan De Boer and Donald R. Elliott
	"Marvel's The Avengers"
	Janek Sirrs, Jeff White, Guy Williams and Dan Sudick
	"Prometheus"
	Richard Stammers, Trevor Wood, Charley Henley and Martin Hill
	"Snow White and the Huntsman"
	Cedric Nicolas-Troyan, Philip Brennan, Neil Corbould and Michael Dawson

	Writing (Adapted Screenplay)

	"Argo" Screenplay by Chris Terrio
	"Beasts of the Southern Wild" Screenplay by Lucy Alibar & Benh Zeitlin
	"Life of Pi" Screenplay by David Magee
	"Lincoln" Screenplay by Tony Kushner
	"Silver Linings Playbook" Screenplay by David O. Russell

	Writing (Original Screenplay)

	"Amour" Written by Michael Haneke
	"Django Unchained" Written by Quentin Tarantino
	"Flight" Written by John Gatins
	"Moonrise Kingdom" Written by Wes Anderson & Roman Coppola
	"Zero Dark Thirty" Written by Mark Boal

#### 86th Oscars® Nominations Announced
 

	Actor Chris Hemsworth and Academy President Cheryl Boone Isaacs announced the nominations for the 86th Academy Awards® today (January 16).

	Hemsworth and Boone Isaacs announced the nominees at a 5:38 a.m. PT live news conference attended by more than 400 international media representatives.  For a complete list of nominees, visit the official Academy Awards website, www.oscar.com.  

	Academy members from each of the branches vote to determine the nominees in their respective categories – actors nominate actors, film editors nominate film editors, etc.  In the Animated Feature Film and Foreign Language Film categories, nominees are selected by a vote of multi-branch screening committees.  All voting members are eligible to select the Best Picture nominees. 

	Official screenings of all motion pictures with one or more nominations will begin for members on Saturday, January 25, at the Academy's Samuel Goldwyn Theater.  Screenings also will be held at the Academy’s Linwood Dunn Theater in Hollywood and in London, New York and the San Francisco Bay Area. 

	Active members of the Academy are eligible to vote for the winners in all categories.

	Academy Awards for outstanding film achievements of 2013 will be presented on Oscar® Sunday, March 2, 2014, at the Dolby Theatre® at Hollywood & Highland Center® and televised live on the ABC Television Network.  The Oscars, produced by Craig Zadan and Neil Meron, also will be televised live in more than 225 countries and territories worldwide.

	 

	 

	Nominations for the 86th Academy Awards

	 

	Performance by an actor in a leading role

		Christian Bale in “American Hustle”
	

		Bruce Dern in “Nebraska”
	

		Leonardo DiCaprio in “The Wolf of Wall Street”
	

		Chiwetel Ejiofor in “12 Years a Slave”
	

		Matthew McConaughey in “Dallas Buyers Club”
	

	 

	Performance by an actor in a supporting role

		Barkhad Abdi in “Captain Phillips”
	

		Bradley Cooper in “American Hustle”
	

		Michael Fassbender in “12 Years a Slave”
	

		Jonah Hill in “The Wolf of Wall Street”
	

		Jared Leto in “Dallas Buyers Club”
	

	 

	Performance by an actress in a leading role

		Amy Adams in “American Hustle”
	

		Cate Blanchett in “Blue Jasmine”
	

		Sandra Bullock in “Gravity”
	

		Judi Dench in “Philomena”
	

		Meryl Streep in “August: Osage County”
	

	 

	Performance by an actress in a supporting role

		Sally Hawkins in “Blue Jasmine”
	

		Jennifer Lawrence in “American Hustle”
	

		Lupita Nyong’o in “12 Years a Slave”
	

		Julia Roberts in “August: Osage County”
	

		June Squibb in “Nebraska”
	

	 

	Best animated feature film of the year

		“The Croods” Chris Sanders, Kirk DeMicco and Kristine Belson
	

		“Despicable Me 2” Chris Renaud, Pierre Coffin and Chris Meledandri
	

		“Ernest & Celestine” Benjamin Renner and Didier Brunner
	

		“Frozen” Chris Buck, Jennifer Lee and Peter Del Vecho
	

		“The Wind Rises” Hayao Miyazaki and Toshio Suzuki
	

	 

	Achievement in cinematography

		“The Grandmaster” Philippe Le Sourd
	

		“Gravity” Emmanuel Lubezki
	

		“Inside Llewyn Davis” Bruno Delbonnel
	

		“Nebraska” Phedon Papamichael
	

		“Prisoners” Roger A. Deakins
	

	 

	Achievement in costume design

		“American Hustle” Michael Wilkinson
	

		“The Grandmaster” William Chang Suk Ping
	

		“The Great Gatsby” Catherine Martin
	

		“The Invisible Woman” Michael O’Connor
	

		“12 Years a Slave” Patricia Norris
	

	 

	Achievement in directing

		“American Hustle” David O. Russell
	

		“Gravity” Alfonso Cuarón
	

		“Nebraska” Alexander Payne
	

		“12 Years a Slave” Steve McQueen
	

		“The Wolf of Wall Street” Martin Scorsese
	

	 

	Best documentary feature

		“The Act of Killing”Joshua Oppenheimer and Signe Byrge Sørensen
	

		“Cutie and the Boxer” Zachary Heinzerling and Lydia Dean Pilcher
	

		“Dirty Wars” Richard Rowley and Jeremy Scahill
	

		“The Square” Jehane Noujaim and Karim Amer
	

		“20 Feet from Stardom” Nominees to be determined
	

	 

	Best documentary short subject

		“CaveDigger” Jeffrey Karoff
	

		“Facing Fear” Jason Cohen
	

		“Karama Has No Walls” Sara Ishaq
	

		“The Lady in Number 6: Music Saved My Life” Malcolm Clarke and Nicholas Reed
	

		“Prison Terminal: The Last Days of Private Jack Hall” Edgar Barens
	

	 

	Achievement in film editing

		“American Hustle” Jay Cassidy, Crispin Struthers and Alan Baumgarten
	

		“Captain Phillips” Christopher Rouse
	

		“Dallas Buyers Club” John Mac McMurphy and Martin Pensa
	

		“Gravity” Alfonso Cuarón and Mark Sanger
	

		“12 Years a Slave” Joe Walker
	

	 

	Best foreign language film of the year

		“The Broken Circle Breakdown” Belgium
	

		“The Great Beauty” Italy
	

		“The Hunt” Denmark
	

		“The Missing Picture” Cambodia
	

		“Omar” Palestine
	

	 

	Achievement in makeup and hairstyling

		“Dallas Buyers Club” Adruitha Lee and Robin Mathews
	

		“Jackass Presents: Bad Grandpa” Stephen Prouty
	

		“The Lone Ranger” Joel Harlow and Gloria Pasqua-Casny
	

	 

	Achievement in music written for motion pictures (Original score)

		“The Book Thief” John Williams
	

		“Gravity” Steven Price
	

		“Her” William Butler and Owen Pallett
	

		“Philomena” Alexandre Desplat
	

		“Saving Mr. Banks” Thomas Newman
	

	 

	Achievement in music written for motion pictures (Original song)

		“Alone Yet Not Alone” from “Alone Yet Not Alone”
		Music by Bruce Broughton; Lyric by Dennis Spiegel
	

		“Happy” from “Despicable Me 2”
		Music and Lyric by Pharrell Williams
	

		“Let It Go” from “Frozen”
		Music and Lyric by Kristen Anderson-Lopez and Robert Lopez
	

		“The Moon Song” from “Her”
		Music by Karen O; Lyric by Karen O and Spike Jonze
	

		“Ordinary Love” from “Mandela: Long Walk to Freedom”
		Music by Paul Hewson, Dave Evans, Adam Clayton and Larry Mullen; Lyric by Paul Hewson
	

	 

	Best motion picture of the year

		“American Hustle” Charles Roven, Richard Suckle, Megan Ellison and Jonathan Gordon, Producers
	

		“Captain Phillips” Scott Rudin, Dana Brunetti and Michael De Luca, Producers
	

		“Dallas Buyers Club” Robbie Brenner and Rachel Winter, Producers
	

		“Gravity” Alfonso Cuarón and David Heyman, Producers
	

		“Her” Megan Ellison, Spike Jonze and Vincent Landay, Producers
	

		“Nebraska” Albert Berger and Ron Yerxa, Producers
	

		“Philomena” Gabrielle Tana, Steve Coogan and Tracey Seaward, Producers
	

		“12 Years a Slave” Brad Pitt, Dede Gardner, Jeremy Kleiner, Steve McQueen and Anthony Katagas, Producers
	

		“The Wolf of Wall Street” Nominees to be determined
	

	 

	Achievement in production design

		“American Hustle” Production Design: Judy Becker; Set Decoration: Heather Loeffler
	

		“Gravity” Production Design: Andy Nicholson; Set Decoration: Rosie Goodwin and Joanne Woollard
	

		“The Great Gatsby” Production Design: Catherine Martin; Set Decoration: Beverley Dunn
	

		“Her” Production Design: K.K. Barrett; Set Decoration: Gene Serdena
	

		“12 Years a Slave” Production Design: Adam Stockhausen; Set Decoration: Alice Baker
	

	 

	Best animated short film

		“Feral” Daniel Sousa and Dan Golden
	

		“Get a Horse!” Lauren MacMullan and Dorothy McKim
	

		“Mr. Hublot” Laurent Witz and Alexandre Espigares
	

		“Possessions” Shuhei Morita
	

		“Room on the Broom” Max Lang and Jan Lachauer
	

	 

	Best live action short film

		“Aquel No Era Yo (That Wasn’t Me)” Esteban Crespo
	

		“Avant Que De Tout Perdre (Just before Losing Everything)” Xavier Legrand and Alexandre Gavras
	

		“Helium” Anders Walter and Kim Magnusson
	

		“Pitääkö Mun Kaikki Hoitaa? (Do I Have to Take Care of Everything?)” Selma Vilhunen and Kirsikka Saari
	

		“The Voorman Problem” Mark Gill and Baldwin Li
	

	 

	Achievement in sound editing

		“All Is Lost” Steve Boeddeker and Richard Hymns
	

		“Captain Phillips” Oliver Tarney
	

		“Gravity” Glenn Freemantle
	

		“The Hobbit: The Desolation of Smaug” Brent Burge
	

		“Lone Survivor” Wylie Stateman
	

	 

	Achievement in sound mixing

		“Captain Phillips” Chris Burdon, Mark Taylor, Mike Prestwood Smith and Chris Munro
	

		“Gravity” Skip Lievsay, Niv Adiri, Christopher Benstead and Chris Munro
	

		“The Hobbit: The Desolation of Smaug” Christopher Boyes, Michael Hedges, Michael Semanick and Tony Johnson
	

		“Inside Llewyn Davis” Skip Lievsay, Greg Orloff and Peter F. Kurland
	

		“Lone Survivor” Andy Koyama, Beau Borders and David Brownlow
	

	 

	Achievement in visual effects

		“Gravity” Tim Webber, Chris Lawrence, Dave Shirk and Neil Corbould
	

		“The Hobbit: The Desolation of Smaug” Joe Letteri, Eric Saindon, David Clayton and Eric Reynolds
	

		“Iron Man 3” Christopher Townsend, Guy Williams, Erik Nash and Dan Sudick
	

		“The Lone Ranger” Tim Alexander, Gary Brozenich, Edson Williams and John Frazier
	

		“Star Trek Into Darkness” Roger Guyett, Patrick Tubach, Ben Grossmann and Burt Dalton
	

	 

	Adapted screenplay

		“Before Midnight” Written by Richard Linklater, Julie Delpy, Ethan Hawke
	

		“Captain Phillips” Screenplay by Billy Ray
	

		“Philomena” Screenplay by Steve Coogan and Jeff Pope
	

		“12 Years a Slave” Screenplay by John Ridley
	

		“The Wolf of Wall Street” Screenplay by Terence Winter
	

	 

	Original screenplay

		“American Hustle” Written by Eric Warren Singer and David O. Russell
	

		“Blue Jasmine” Written by Woody Allen
	

		“Dallas Buyers Club” Written by Craig Borten & Melisa Wallack
	

		“Her” Written by Spike Jonze
	

		“Nebraska” Written by Bob Nelson

#### 88th Oscars® Nominations Announced
Actor John Krasinski (left) and Academy President Cheryl Boone Isaacs announced the nominees for the 88th Annual Academy Awards in the Academy's Samuel Goldwyn Theater.

	 

	Academy President Cheryl Boone Isaacs, Guillermo del Toro, John Krasinski and Ang Lee announced the 88th Academy Awards® nominations today (January 14).

	Del Toro and Lee announced the nominees in 11 categories at 5:30 a.m. PT, followed by Boone Isaacs and Krasinski for the remaining 13 categories at 5:38 a.m. PT, at the live news conference attended by more than 400 international media representatives.

	Academy members from each of the 17 branches vote to determine the nominees in their respective categories – actors nominate actors, film editors nominate film editors, etc. In the Animated Feature Film and Foreign Language Film categories, nominees are selected by a vote of multi-branch screening committees. All voting members are eligible to select the Best Picture nominees.

	Official screenings of all motion pictures with one or more nominations will begin for members on Saturday, January 23, at the Academy’s Samuel Goldwyn Theater. Screenings also will be held at the Academy’s Linwood Dunn Theater in Hollywood and in London, New York and the San Francisco Bay Area.

	Active members of the Academy are eligible to vote for the winners in all 24 categories.

	The 88th Oscars will be held on Sunday, February 28, 2016, at the Dolby Theatre® at Hollywood & Highland Center® in Hollywood, and will be televised live by the ABC Television Network at 7 p.m. ET/4 p.m. PT. The Oscar® presentation also will be televised live in more than 225 countries and territories worldwide.

	 

	Nominations for the 88th Academy Awards

	Performance by an actor in a leading role

		Bryan Cranston in “Trumbo”
	

		Matt Damon in “The Martian”
	

		Leonardo DiCaprio in “The Revenant”
	

		Michael Fassbender in “Steve Jobs”
	

		Eddie Redmayne in “The Danish Girl”
	

	 

	Performance by an actor in a supporting role

		Christian Bale in “The Big Short”
	

		Tom Hardy in “The Revenant”
	

		Mark Ruffalo in “Spotlight”
	

		Mark Rylance in “Bridge of Spies”
	

		Sylvester Stallone in “Creed”
	

	 

	Performance by an actress in a leading role

		Cate Blanchett in “Carol”
	

		Brie Larson in “Room”
	

		Jennifer Lawrence in “Joy”
	

		Charlotte Rampling in “45 Years”
	

		Saoirse Ronan in “Brooklyn”
	

	 

	Performance by an actress in a supporting role

		Jennifer Jason Leigh in “The Hateful Eight”
	

		Rooney Mara in “Carol”
	

		Rachel McAdams in “Spotlight”
	

		Alicia Vikander in “The Danish Girl”
	

		Kate Winslet in “Steve Jobs”
	

	 

	Best animated feature film of the year

		“Anomalisa” Charlie Kaufman, Duke Johnson and Rosa Tran
	

		“Boy and the World” Alê Abreu
	

		“Inside Out” Pete Docter and Jonas Rivera
	

		“Shaun the Sheep Movie” Mark Burton and Richard Starzak
	

		“When Marnie Was There” Hiromasa Yonebayashi and Yoshiaki Nishimura
	

	 

	Achievement in cinematography

		“Carol” Ed Lachman
	

		“The Hateful Eight” Robert Richardson
	

		“Mad Max: Fury Road” John Seale
	

		“The Revenant” Emmanuel Lubezki
	

		“Sicario” Roger Deakins
	

	 

	Achievement in costume design

		“Carol” Sandy Powell
	

		“Cinderella” Sandy Powell
	

		“The Danish Girl” Paco Delgado
	

		“Mad Max: Fury Road” Jenny Beavan
	

		“The Revenant” Jacqueline West
	

	 

	Achievement in directing

		“The Big Short” Adam McKay
	

		“Mad Max: Fury Road” George Miller
	

		“The Revenant” Alejandro G. Iñárritu
	

		“Room” Lenny Abrahamson
	

		“Spotlight” Tom McCarthy
	

	 

	Best documentary feature

		“Amy” Asif Kapadia and James Gay-Rees
	

		“Cartel Land” Matthew Heineman and Tom Yellin
	

		“The Look of Silence” Joshua Oppenheimer and Signe Byrge Sørensen
	

		“What Happened, Miss Simone?” Liz Garbus, Amy Hobby and Justin Wilkes
	

		“Winter on Fire: Ukraine’s Fight for Freedom” Evgeny Afineevsky and Den Tolmor
	

	 

	Best documentary short subject

		“Body Team 12” David Darg and Bryn Mooser
	

		“Chau, beyond the Lines” Courtney Marsh and Jerry Franck
	

		“Claude Lanzmann: Spectres of the Shoah” Adam Benzine
	

		“A Girl in the River: The Price of Forgiveness” Sharmeen Obaid-Chinoy
	

		“Last Day of Freedom” Dee Hibbert-Jones and Nomi Talisman
	

	 

	Achievement in film editing

		“The Big Short” Hank Corwin
	

		“Mad Max: Fury Road” Margaret Sixel
	

		“The Revenant” Stephen Mirrione
	

		“Spotlight” Tom McArdle
	

		“Star Wars: The Force Awakens” Maryann Brandon and Mary Jo Markey
	

	 

	Best foreign language film of the year

		“Embrace of the Serpent” Colombia
	

		“Mustang” France
	

		“Son of Saul” Hungary
	

		“Theeb” Jordan
	

		“A War” Denmark
	

	 

	Achievement in makeup and hairstyling

		“Mad Max: Fury Road” Lesley Vanderwalt, Elka Wardega and Damian Martin
	

		“The 100-Year-Old Man Who Climbed out the Window and Disappeared” Love Larson and Eva von Bahr
	

		“The Revenant” Siân Grigg, Duncan Jarman and Robert Pandini
	

	 

	Achievement in music written for motion pictures (Original score)

		“Bridge of Spies” Thomas Newman
	

		“Carol” Carter Burwell
	

		“The Hateful Eight” Ennio Morricone
	

		“Sicario” Jóhann Jóhannsson
	

		“Star Wars: The Force Awakens” John Williams
	

	 

	Achievement in music written for motion pictures (Original song)

		“Earned It” from “Fifty Shades of Grey” Music and Lyric by Abel Tesfaye, Ahmad Balshe, Jason Daheala Quenneville and Stephan Moccio
	

		“Manta Ray” from “Racing Extinction” Music by J. Ralph and Lyric by Antony Hegarty
	

		“Simple Song #3” from “Youth” Music and Lyric by David Lang
	

		“Til It Happens To You” from “The Hunting Ground” Music and Lyric by Diane Warren and Lady Gaga
	

		“Writing’s On The Wall” from “Spectre” Music and Lyric by Jimmy Napes and Sam Smith
	

	 

	Best motion picture of the year

		“The Big Short” Brad Pitt, Dede Gardner and Jeremy Kleiner, Producers
	

		“Bridge of Spies” Steven Spielberg, Marc Platt and Kristie Macosko Krieger, Producers
	

		“Brooklyn” Finola Dwyer and Amanda Posey, Producers
	

		“Mad Max: Fury Road” Doug Mitchell and George Miller, Producers
	

		“The Martian” Simon Kinberg, Ridley Scott, Michael Schaefer and Mark Huffam, Producers
	

		“The Revenant” Arnon Milchan, Steve Golin, Alejandro G. Iñárritu, Mary Parent and Keith Redmon, Producers
	

		“Room” Ed Guiney, Producer
	

		“Spotlight” Michael Sugar, Steve Golin, Nicole Rocklin and Blye Pagon Faust, Producers
	

	 

	Achievement in production design

		“Bridge of Spies” Production Design: Adam Stockhausen; Set Decoration: Rena DeAngelo and Bernhard Henrich
	

		“The Danish Girl” Production Design: Eve Stewart; Set Decoration: Michael Standish
	

		“Mad Max: Fury Road” Production Design: Colin Gibson; Set Decoration: Lisa Thompson
	

		“The Martian” Production Design: Arthur Max; Set Decoration: Celia Bobak
	

		“The Revenant” Production Design: Jack Fisk; Set Decoration: Hamish Purdy
	

	 

	Best animated short film

		“Bear Story” Gabriel Osorio and Pato Escala
	

		“Prologue” Richard Williams and Imogen Sutton
	

		“Sanjay’s Super Team” Sanjay Patel and Nicole Grindle
	

		“We Can’t Live without Cosmos” Konstantin Bronzit
	

		“World of Tomorrow” Don Hertzfeldt
	

	 

	Best live action short film

		“Ave Maria” Basil Khalil and Eric Dupont
	

		“Day One” Henry Hughes
	

		“Everything Will Be Okay (Alles Wird Gut)” Patrick Vollrath
	

		“Shok” Jamie Donoughue
	

		“Stutterer” Benjamin Cleary and Serena Armitage
	

	 

	Achievement in sound editing

		“Mad Max: Fury Road” Mark Mangini and David White
	

		“The Martian” Oliver Tarney
	

		“The Revenant” Martin Hernandez and Lon Bender
	

		“Sicario” Alan Robert Murray
	

		“Star Wars: The Force Awakens” Matthew Wood and David Acord
	

	 

	Achievement in sound mixing

		“Bridge of Spies” Andy Nelson, Gary Rydstrom and Drew Kunin
	

		“Mad Max: Fury Road” Chris Jenkins, Gregg Rudloff and Ben Osmo
	

		“The Martian” Paul Massey, Mark Taylor and Mac Ruth
	

		“The Revenant” Jon Taylor, Frank A. Montaño, Randy Thom and Chris Duesterdiek
	

		“Star Wars: The Force Awakens” Andy Nelson, Christopher Scarabosio and Stuart Wilson
	

	 

	Achievement in visual effects

		“Ex Machina” Andrew Whitehurst, Paul Norris, Mark Ardington and Sara Bennett
	

		“Mad Max: Fury Road” Andrew Jackson, Tom Wood, Dan Oliver and Andy Williams
	

		“The Martian” Richard Stammers, Anders Langlands, Chris Lawrence and Steven Warner
	

		“The Revenant” Rich McBride, Matthew Shumway, Jason Smith and Cameron Waldbauer
	

		“Star Wars: The Force Awakens” Roger Guyett, Patrick Tubach, Neal Scanlan and Chris Corbould
	

	 

	Adapted screenplay

		“The Big Short” Screenplay by Charles Randolph and Adam McKay
	

		“Brooklyn” Screenplay by Nick Hornby
	

		“Carol” Screenplay by Phyllis Nagy
	

		“The Martian” Screenplay by Drew Goddard
	

		“Room” Screenplay by Emma Donoghue
	

	Original screenplay

		“Bridge of Spies” Written by Matt Charman and Ethan Coen & Joel Coen
	

		“Ex Machina” Written by Alex Garland
	

		“Inside Out” Screenplay by Pete Docter, Meg LeFauve, Josh Cooley; Original story by Pete Docter, Ronnie del Carmen
	

		“Spotlight” Written by Josh Singer & Tom McCarthy
	

		“Straight Outta Compton” Screenplay by Jonathan Herman and Andrea Berloff; Story by S. Leigh Savidge & Alan Wenkus and Andrea Berloff

#### 8th Annual DFW South Asian Film Festival Unveils Opening, Centerpiece & Closing Night Films
 
Presented by Toyota Motor North America for the third time, the 8th annual Dallas/Fort Worth South Asian Film Festival (DFW SAFF), produced by Texas-based media conglomerate, JINGO Ventures, occupies a new home at Grandscape in The Colony from May 20 to 22, 2022.
“After two years of virtual festivals and a COVID-conscious, socially-distanced, scaled-down festival, we are excited to be BACK and BIGGER than ever,” said Founder and Festival Director Jitin Hingorani. “To celebrate our complete return to live events, we have chosen to host our opening night screening on the Stage and outdoor Lawn, followed by our Saturday and Sunday screenings in the world-class Galaxy Theatres, at the newest shopping, dining and entertainment destination in Northwest Dallas.”
*The movies that have garnered prime slots at DFW SAFF 2022 are:
OPENING
Texas premiere of Iman Zawahary’s Pakistani rom-com AMERICANISH
CENTERPIECE
North American premiere of Sushrut Jain’s Bollywood drama THE TENANT
CLOSING
Dallas premiere of Pan Nalin’s flight LAST FILM SHOW
 
“We are excited to continue our partnership with Jitin and his team to support the DFW SAFF again this year” said Jacob Zuk, Sponsorship, Integration, Activation, Toyota Motor North America. “As the festival moves to its new home down the road from our North American Headquarters, we look forward to attending the festival in person to support the growing South Asian community here in Dallas.”
The 8th annual DFW SAFF, presented by Toyota Motor North America and supported by AARP Texas, is taking place from Friday, May 20 to Sunday, May 22, 2022, at 5752 Grandscape Blvd., The Colony, TX 75056. The complete festival lineup, along with trailers, synopses and ticket information, tickets are on sale NOW on the festival’s website, www.dfwsaff.com.

#### 9 BULLETS – Interview with Writer Director Gigi Gaston
Writer/Director Gigi Gaston talked with our Gadi Elkon about her latest feature film, 9 Bullets.

A former burlesque dancer turned author (Lena Headey) discovers a second chance at life and redemption when she risks everything to rescue her young neighbor after he witnesses his parents’ murder. Now on the run from the local crime boss (Sam Worthington), who happens to be her longtime ex, she makes a desperate attempt to get the boy to safety.
In their conversation, Gigi and Gadi talk about Lena, Sam and youngster Dean Scott Vasquez.
Here is our full interview with Writer and Director Gigi Gaston:

In theaters and On Demand April 22nd.
For more info – 9 Bullets.

#### 9 Eleven: Bollywood Movie – First Look
The film portrays the life of 10 people who belong to different walks of life. Though each individual has achieved a measure of success in their individual lives, their darkest secrets come out in the open when all of them are given some time for introspection, when they meet each other in a bizarre twist of events. They realize that their lives are inter-woven and this literally shakes up their peaceful lives. Terrorized to the core by an unknown entity in an unfamiliar place, each individual is petrified and is hesitant to talk or take each other into confidence for one simple reason….The Fear of the Unknown.
	The film "9-Eleven" is a fast paced thriller with undertones of terrorism. Terrorism need not be political ,"ideologically" generated or xenophobic. Terrorism can also be a great motivator for conflict resolution or revenge. The question is how does one survive collectively in meeting this growing phenomenon…….head on?
 
httpv://www.youtube.com/watch?v=7mFjXlfaVyk
 
Text From Filmmakers

#### 9 to 5–The Musical
9 TO 5
 
Starring Dee Hoty, Mamie Parris, Joseph Mahowald, Kristine Zbornik and Diana DeGarmo
 
Music and lyrics by Dolly Parton
 
Book by Particia Resnick
 
9 to 5 was a very successful movie a few decades ago.  The story was about a trio of women with a horrible boss.  After the ladies befriend each other, they talk of their fantasy to kill the bane of their office horror.  The next day, one accidentally gives the boss some coffee filled with rat poison.  In trying to explain their mistake, the ladies kidnap the boss.  After they realize that no one notices he is gone, they begin to change the office in ways that make the place more productive.  The story of female empowerment and equal rights rang the right tone in 1980. 
 
The idea that old movies make new Broadway plays (The Wedding Singer, Spamalot and all the Disney converts) brings another new musical from an old source for the Dallas Summer Musical Series at Fair Park.  9 to 5 The Musical is a winning combination of songs and talent. 
 
The play follows the basic plot of the movie.   Via video screen, Dolly Parton introduces us to both the time and the characters.   With a rousing ensemble of the song ‘9 to 5’, the stage opens with Judy Bernly (Mamie Parris) being thrown into the world of work, a male dominated place where sexual innuendos live as part of the norm.  Judy is recently separated from her husband and has never done anything more than being a wife and mother.  
 
Soon she befriends office manager (Dee Hoty) who has been struggling to make it up the corporate ladder and keeps hitting the glass ceiling.  We also meet the boss Franklin Hart Jr. (Joseph Mahowald) and his secretary Doralee Rhodes (Diana DeGarmo).  She is the office pariah due to the idea that she is sleeping with the boss.  Doralee is a happily married woman with a loving husband.  She despised Hart just as much as the rest of the office.
 
It has to be noted the amazing performance that Diana DeGarmo gives as Doralee.  She has perfect comic timing and delivers each and every line with a vicious glee.  The biggest laughs come from her performance.  She sings “Backwoods Barbie” to rousing applause.  She takes on the “Dolly Parton” accent, a hard country tang that just works on every level.
 
The biggest part of Act One is the trio of fantasies where the women describe how they would get rid of Hart the boss.  “The Dance of Dance” becomes a seedy film noir with some great dancing by the ensemble.  “Cowgirl’s Revenge” is Doralee in all her country vengeance hilarity.  The biggest laughs come with “Potion Notion” and the little puppets that are singing and dancing Disney Style.
 
The second act is where we finally get some outstanding vocals.  The act opens with Violet doing her big number “One of the Boys” where she imagines what life would be like if she were CEO.  The turn goes to old style Broadway and in her white suit Dee Hoty commands the stage.  It is also the big dance number.  
 
The second act also has “Get Out and Stay Out” the number where Judy asserts her independence from her ex-husband.  When Mamie Parris lets her vocal instrument fly, it rattles every part of the Music Hall.  Her moment on stage is a show-stopper and almost worth the price of admission.  The second act just zips along to the ending that just wraps up all the lose ends.  The play ends with Dolly telling the ‘future’ of all our characters.  We get another rendition of ‘9 to 5’ with the entire cast taking their bows.
 
9 to 5 is not a kid’s show in any way.  There are swear words and adult situations.  But, it certainly was a crowd pleaser.   The songs just keep flowing and the pace never lets up.  This is a great little work and a nice addition to the Dallas Summer Musical season.   

#### 90th Academy Awards – Dear Oscars 2018
Tonight is the 90th Academy Awards presentation.  The oscars website showcased 90 incredible stories from the awards shows over the decades.  We wanted to highlight specific years.  Here are our 9 favorite/important oscar years and also our who should win and who will win picks for each award.

	

	9 Best Oscar Years  – Chronlogically.

	https://www.youtube.com/watch?v=vPVA2-mDJ4w

	1939 –  The Wizard of Oz, Gone With The Wind, Wuthering Heights, Dark Victory, Goodbye, Mr. Chips, Love Affair, Mr. Smith Goes To Washington, Ninotchka, Of Mice and Men, Stagecoach.

	An iconic year back in the major studio run Hollywood.  Capra to Ford to Wyler to Wood and a banner year in the history of film.  The Wizard Of Oz premiered in LA at Grauman's Chinese Theater, Mr. Smith of course premiered in the D.C, and Gone With The Wind (Best Picture winner) premiered in the Atlanta at a festival.

	1967 – In Heat of The Night, Bonnie and Clyde, Doctor Dolittle, The Graduate, and Guess Who's Coming To Dinner.

	The 40th Oscars happened mere days after the assassination of Dr. Martin Luther King Jr.  A year that saw incredible groundbreaking films but also showcased the horrible racism entrenched in the academy.  Sidney Poitier was shockingly not nomiated for either In Heat of the Night or Guess Who's Coming to Dinner.  Amazing year in film regardless with other films like The Jungle Book, Cool Hand Luke, To Sir With Love, The Dirty Dozen, The Taming of The Screw and Camelot.

	1974 – Godfather Part II, Chinatown, Lenny, The Conversation, The Towering Inferno.

	Big year for Francis Ford Coppola even though he lost the Golden Globe and Bafta to Roman Polanski for Chinatown.  Shockingly Jack Nicholson pulled off the exact opposite award season losing the oscar to Harry and Tonto's Art Carney.  Also in 74' we saw Blazing Saddles, The Longest Yard, The Great Gatsby, Murder on the Orient Express and Young Frankenstein.  

	1976 – Rocky, All The President's Men, Bound For Glory, Network, and Taxi Driver.

	Richard Pryor was one of the four hosts and Muhammad Ali made an apperance fighting Sly Stallone.  Barbara Kopple's groundbreaking documentary Harlen County took home the Oscar.

	1982 – Gandhi, E.T. The Extra-Terrestrial, Missing, Tootsie, and The Verdict.

	Gandhi swept a majority of it's nominees while waves were made when Officer and a Gentleman Louis Gossett Jr. becoming the first African-American actor to win for Supporting Actor.  Oh and some lady, Meryl Streep, took home her first Oscar.

	1992 – Unforgiven, The Crying Game, Howard's End, A Few Good Men, and Scent of a Woman.

	Al Pacino lost Best Supporting Actor (Glengarry Glen Ross) to Gene Hackman (French Connection) but beat out Denzel Washington (Malcolm X), Cline Eastwood (Unforgiven), Robert Downey Jr. (Charlie Chapman) and Stephen Rea (The Crying Game).  Also out that year A River Runs Through It (Won Best Cinematoraphy for Phillippe Rousselot), Toys, Hoffa, Aladden, Bram Stoker's Dracula, Wayne's World, The Bodyguard, Basic Instinct and My Cousin Vinny (epic win for my gal Marisa Tomei)

	1994 – Forrest Gump, Four Weddings and A Funeral, Pulp Fiction, Quiz Show, The Shawshank Redemption.

	My pick for the greatest year in film period.  The Lion King came out this year and took over all the world that Sun shone upon.  Roger Deakins (Shawshank Redemption) lost to John Toll's work on Legends of the Fall.  Some other films – Dumb and Dumber, True Lies, Speed, The Mask, Interview With the Vampire, and Clear and Present Danger.

	1999 – American Beauty, The Cider House Rules, The Green Mile, The Insider, The Sixth Sense

	What a wild year with it being the return of Star Wars with Phantom Menance, Kubrick's final film Eyes Wide Shut, Fight Club, Magnolia, All About My Mother, Being John Malkovich, The Hurricane, Girl, Interrupted, Man on The Moon, Boys Don't Cr, Election, and THE MATRIX!  The great Conrad Hall took home best cinematographer for American Beauty!

	2015 – Spotlight, Bridge of Spies, The Big Short, Brooklyn, Mad Max: Fury Road, The Martian, The Revenant, Room. 

	Tom McCarthy makes the year's most important film with Spotlight but lost Best Director to Alejandro!.  Beasts of No Nation kicks off Netflix's intro into the Academy Awards.  Star Wars The Force Awakens, Creed, Carol, The Hateful Eight, Sicario, Ex-Machina and Son of Saul won Best Foreign Film.  

	90th Academy Awards – Oscars 2018 Category Picks:

	Original Screenplay – Lady Bird, Get Out, The Big Sick, 3 Billboards, Shape of Water.

	Should Win:  3 Billboards

	Will Win:  3 Billboards

	Adapted Screenplay – Logan ,Molly's Game, Mudbound, The Disaster Artist, and Call Me By Your Name.

	Should Win: Mudbound

	Will Win: Call Me By Your Name 

	Visual Effects – Kong: Skull Island, Guardians of The Galaxy Vol 2, War For The Planet of The Apes, Blade Runner 2049, Star Wars: The Last Jedi

	Should Win:  War For The Planet of The Apes

	Will Win:  Blade Runner 2049

	Sound Mixing – Baby Driver, Dunkirk, Blade Runner 2049, Star Wars and Shape Of Water

	Should Win: Baby Driver

	Will Win: Dunkirk

	Sound Editing – Baby Driver, Dunkirk, Blade Runner 2049, Star Wars and Shape Of Water

	Should Win: Baby Driver

	Will Win: Dunkirk

	Short Film (Live Action) – Dekalb Elementary, The Silent Child, Wata Wote/ All of Us, My Nephew Emmett, The Eleven O'Clock

	Should Win:  The Eleven O'Clock

	Will Win:  My Nephew Emmett

	Short Film (Animated) – Lou, Dear Basketball, Garden Party, Negative Space, Revolting Rhymes

	Should Win:  Garden Party

	Will Win: Revolting Rhymes

	Short Film (Documentary) –  Knife Skills, Heaven Is a Traffic Jam on The 405, Edith + Eddie, Heroin(e), Traffic Stop

	Should Win: Heroin(e)

	Will Win: Edith + Eddie

	Production Design – Shape of Water, Dunkirk, Blade Runner 2048, Darkest Hour, Beauty and The Beast,

	Should Win: Dunkirk

	Will Win:  Shape of Water

	Music (Original Song) – Mystery of Love (Call Me By Your Name), This Is Me (The Greatest Showman), Stand Up For Something (Marshall), Remember Me (Coco), Mighty River (Mudbound)

	Should Win: Mighty River 

	Will Win: Remember Me

	Music (Original Score) –  Phantom Thread, Star Wars, 3 Billboards, Shape of Water, Dunkirk

	Should Win: 3 Billboards

	Will Win: Shape of Water

	Costume Design – Shape of Water, Beauty and The Beast, Darkest Hour, Phantom Thread, Victoria & Abdul

	Should Win:  Victoria & Abdul

	Will Win: Shape of Water

	MakeUp and Hairstyling – Wonder, Darkest Hour, Victoria & Abdul

	Should Win: Darkest Hour

	Will Win: Darkest Hour

	Foreign Language Film – The Square, The Insult, A Fantastic Woman, Loveless, On Body and Soul

	Should Win: The Insult

	Will Win: The Square

	Documentary Film – Icarus, Abacus, Last Man in Aleppo, Faces Places, Strong Island

	Should Win: Strong Island

	Will Win: Faces Places

	Animated Film –  Coco, The Boss Baby, Ferdinand, The Bread Winner, Loving Vincent

	Should Win: Loving Vincent

	Will Win:  Coco

	Film Editing – Dunkirk, I, Tonya, Baby Driver, The Shape of Water, 3 Billboards

	Should Win: I, Tonya

	Will Win:  The Shape of Water

	Cinematographer – Darkest Hour, Dunkirk, Mudbound, The Shape of Water, Blade Runner 2049

	Should Win: Mudbound (I want to see Deakins win too, but Rachel's work on Mudbound is AMAZING!)

	Will Win:  Blade Runner 2049

	Directing – Dunkirk Christopher Nolan, Get Out Jordan Peele, Lady Bird Greta Gerwig, Phantom Thread Paul Thomas Anderson, Shape of Water Guillermo Del Toro

	Should Win: Martin McDonagh (for reals WTF!, but I'd say Nolan or Gerwig is deserved too)

	Will Win:  Del Toro

	Actor in Supporting Role – Christopher Plummer (All The Money In The World), Woody Harrelson (3 Billboards), Sam Rockwell (3 Billboards), William Defoe (Florida Project), Richard Jenkins (Shape of Water)

	Should Win: Sam Rockwell

	Will Win: Sam Rockwell

	Actress in Supporting Role – Allison Janney (I, Tonya), Octavia Spencer (Shape of Water), Lesley Manville (Phantom Thread), Laurie Metcalf (Lady Bird), Mary J. Blige (Mudbound)

	Should Win: Allison Janney

	Will Win: Allison Janney

	Actor –  Daniel Kaluuya (Get Out), Daniel Day-Lewis (Phantom Thread), Denzel Washington (Roman J. Israel), Timothee Chalamet (Call Me By Your Name), Gary Oldman (Darkest Hour)

	Should Win:  Timothee Chalamet

	Will Win: Gary Oldman

	Actress – Meryl Streep (The Post), Sally Hawkins (Shape of Water), Margot Robbie (I, Tonya), Saorise Ronan (Lady Bird), Frances McDormand (3 Billboards)

	Should Win: Frances McDormand

	Will Win: Frances McDormand

	Film –  Get Out, Three Billboards Outside Ebbing Missouri, Shape Of Water, Lady Bird, The Post, Dunkirk, Call Me By Your Name, Darkest Hour, Phantom Thread

	Should Win: Three Billboards

	Will Win: Shape of Water

	

	 

	 

	 

	 

	 

	 

	 

#### A BAD IDEA GONE WRONG – A Review by Cynthia Flores
 

	A BAD IDEA GONE WRONG – A Review by Cynthia Flores

	 

	You know you’re watching an indie film when there are only three other people seen in the movie with the three lead actors.  I don’t count the people that are referred to in the story that only make appearances via photographs.  You also know you’re watching an indie movie if there are just three locations for the entire film.  Small budget films don’t leave a lot of room for extras like special effects or exotic locales.  This one was shot entirely in Fort Worth Texas.  Hell most indies are lucky to be able to feed the cast and crew during production.  What indie filmmaking does have going for it is its heart and the ability to tell a story without using Hollywood cookie cutter methods.  It also gives unknown actors a chance to shine on the big screen if the script is good and the director has the chops to deliver a coherent story.  Lucky for us A Bad Idea Gone Wrong is one of the good indie flicks that have both.

	 

	The film follows the ill-prepared plans of two best friends, Marlon (Matt Jones) and Leo (Will Rogers), that are a pair of wannabe thieves.  They think they can carry out one big job and then get outta town.  The house that Leo picks out to rob is in a gated community and supposed to be empty for a week.  They think they have all the time in the world to find the valuables and quietly leave.  So, imagine their surprise when, after they accidentally trap themselves in the house by arming the home security system, they find out there’s a house sitter asleep in the master bedroom.

	 

	I love the inventive way Marlon and Leo choose to hide their identities when they have to wake up the young woman named Darcy (Eleanore Pienta) to duct tape her down.  I won’t ever look at saran wrap and aluminum foil the same way again.  Once Darcy realizes that the two guys aren’t hardened criminals, she comes clean and lets them know that she’s not the house sitter and does not know the code to the alarm system.  She’s actually from the dog taxi service, that's how she also knew the house would be empty.  She picked the lock and broke in, not to steal anything but just to hang out in such a fancy house.  So now all of them are trapped.  Did I forget to mention that the house belongs to Leo’s ex-fiancée who he’s still in love with?  Yeah, this just got a whole lot messier.

	 

	A Bad Idea Gone Wrong is not a perfect film, but it is really, really good.  The chemistry between Leo, Marlon, and Darcy is natural and not forced.  The script is funny and smart without being coy or cute.  Matt Jones who plays Marlon steals the show with his upbeat glass is half full attitude, his vast knowledge of trivia, and his obsession with a call in radio show that does a crazy quiz challenge each day at 11:11 am and pm.    

	 

	Watching this film I got the same joy as I did when I watched the 1994 Indie classic Clerks that also revolved around a solid script and good casting.  The difference here is a wider audience can watch this movie because there is only one brief nude scene and not a lot of foul language.  This is writer/director Jason Headley's feature film debut.  He is known for the shorts he created on the Internet… until now that is.  I can’t wait to see what he does next.  That’s why I give A Bad Idea Gone Wrong a solid B+ rating and hope that it finds its audience like any good indie film should.

	 

	Directed by Jason Headley

	Written By Jason Headley

	Rated NR

	Selig Rating B+

	Running Time 1hr 25 min

	Comedy

	Limited Release Nov 30th Studio Movie Grill – Spring Valley and VOD Dec 1st

	Starring: Matt Jones, Will Rogers, Eleanore Pienta

	 

	 

	The Selig Rating Scale:

	 

	A – Excellent movie, well worth the price.

	B – Good movie

	C – OK movie

	D – No need to rush. Save it for a rainy day.

	F – Good that I saw it on the big screen but wish I hadn't paid for it.

#### A BEAUTIFUL DAY IN THE NEIGHBORHOOD – A Review by Cynthia Flores
 
A BEAUTIFUL DAY IN THE NEIGHBORHOOD – A Review by Cynthia Flores
Tom Hanks is fantastic portraying Mr. Rogers in A Beautiful Day in the Neighborhood.  This is the new film from director Marielle Heller who brought us last year’s dramatic hit Can You Ever Forgive Me.  She does such an excellent job of honoring Mr. Rodgers’s legacy with this timely story of kindness triumphing over cynicism.
The film is based on a true story of the real-life friendship between Fred Rogers and a magazine writer named Tom Junod.  In this movie, the jaded writer is named Lloyd Vogel (Matthew Rhys).  His editor, Ellen (Christine Lahti), feels he needs to learn to be more balanced in his stories.  He needs to learn not to always do such a hatchet job on everyone.  So to help his reputation, he’s assigned to do a small piece as part of a bigger story on Heroes.  Much to Lloyd’s dismay, he is tasked to do a profile on Fred Rogers.  One of the best lines in the film is when Lloyd’s wife Andrea (Susan Kelechi Watson) finds out and tells him to be nice.  “Please don’t ruin my childhood,” she tells Lloyd as he leaves to start his interview.
A Beautiful Day in the Neighborhood shows us Fred Rogers through Lloyd’s eyes.  We get to know Fred slowly as he relates to Lloyd and the world around him.  Wherever he goes, Lloyd sees how his brand of kindness and love affects the world around him.  The world responds back with such affection that Lloyd must come to terms with Fred as an iconic figure, as America’s most beloved neighbor.  Knowing Fred changes Lloyd in ways he would never have imagined.  He faces the fact that he must overcome his skepticism and learn about forgiveness.
A Beautiful Day in the Neighborhood takes the unconventional way of telling Fred Rogers’ story by telling us Lloyd’s instead.  We get to see behind the camera and sets of the show as Mr. Rogers tapes his episodes because Lloyd is there to do his interview.  We understand that Fred Rogers is as good as his TV persona because Lloyd is watching his every move.  And we are touched to the point of tears as Fred Rogers befriends this damaged man.
I give A Beautiful Day in the Neighborhood an A rating because of it continuing Fred Rogers’ legacy of loving thy neighbor in a world that needs it now more than ever.
 
Directed by: Marielle Heller
Written by: Micah Fitzerman-Blue, Noah Harpster
Rated PG
Selig Rating A
Running Time: 1hr 48min
Drama / Biography
Wide Release: November 22nd
Starring: Tom Hanks, Matthew Rhys, Chris Cooper, Susan Kelechi Watson, Enrico Colantoni, Maryann Plunkett
 
The Selig Rating Scale:
A – Excellent movie, well worth the price.
B – Good movie
C – OK movie
D – No need to rush. Save it for a rainy day.
F – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### A BETTER LIFE
A BETTER LIFE
 
By Gary Murray 
 
Starring Demian Bichir, Delores Heredia, Jose Julian, Joaquin Cosio and Carlos Limares
 
Written by Eric Easton 
 
Directed by Chris Weitz
 
Running time 98 min 
 
MPAA Rating PG 13
 
Selig Film Rating FORGET IT!
 
Films about the Hispanic experience have been around for decades.  Yet, they all seem to run with the same political bend.  It is always about the strong, stoic worker just trying to make it in a foreign land.  The latest to pull at the heart strings of guilt-ridden white America is A Better Life.
 
The story of A Better Life is the story of Carlos (Demian Bichir).  He is one of those guys one sees hanging around the Home Depot looking for any kind of day labor job.  But, he has a permanent gig with Blasco (Joaquin Cosio), a landscaping illegal who has his own truck.   Blasco, having made his money in California, is sneaking back to Mexico to buy his own pig farm and he wants to sell the truck to his trusted second.  Problem is that Carlos doesn’t have the money.
 
His son Luis (Jose Julian) is a kid in high school just trying to get through life.  The gangs are all around the campus and the neighborhood.  The family of his girl lives in the gang world and his best buddy wants to join up.  All Luis wants to do is play soccer.  He feels the pressure to join with the underworld as a way to prosperity.
 
Carlos takes a giant leap of faith and borrows the twelve grand from his sister, who has been hiding away her own money.  He is now the boss.  He takes a second leap of faith by taking on as his second an old man who was kind to him.  This backfires when the old man steals the truck.  
 
Now, Carlos must play detective and find his truck and the rotten laborer who stole the vehicle.  This takes him into some of the darkest parts of the illegal immigrant experience, with ‘twenty to a room’ flop houses and the Mexican drug gangs that rule the streets.
 
Let’s see.  Carlos is here illegally.  His boss Blasco lies about being bonded and insured which is a punch line in the film.  He buys a truck and has no license, no registration and no insurance.  When it gets stolen, Carlos cannot go to the police because he has broken law after law after law.  It is difficult to feel sorry for him because basically he is a criminal.   That is the fundamental ‘rub me the wrong way’ part of the film. If your country is so bad, fix it.  If you want to come here, come here legally and obey the laws.  
 
As deplorable the situation of A Better Life reflects, one just has to admire Demian Bichir as Carlos.  This is the first Oscar caliber performance of 2011.  He gives such a subtle reading to the character.  All he appears to be is a guy trying to make life better for his son and becomes the face of the entire illegal immigration problem. The irony of the role is that in California (where the film was shot), Demian Bichir not only had to be a legal performer but he had to be a part of the Screen Actors Guild to make the movie.  Illegal aliens need not apply in La-La Land movies. 
 
America is a welcoming country where anybody can make it if they try, you just don’t do it by breaking all our laws.  We have a huge influx of immigrants from India and Viet Nam who are obeying the State Department laws.  Just because one lives next door doesn’t mean they can walk into your house.  A Better Life is another in a long series of ‘liberal bias’ cinema, movies with an agenda pushed in the audience face.  What they all seem to have in common is the massive failure at the box office and the lauding by the Academy.   A Better Life should follow that trend. 

#### A BIG BOLD BEAUTIFUL JOURNEY – A Review by Jenn Rohm
Life is messy, and dating is even more so.  What would happen if you could experience specific moments in your life that shape your relationships?  What if the person you want to date (and who wants to date you) was able to share that experience?  This is the central theme in Kogonada’s latest release, A Big Bold Beautiful Journey.
David, Colin Farrell, attends a friend’s wedding, where he meets Sarah, Margot Robbie.  The two of them find each other attractive, but they don’t take it further than those initial conversations.  The next day, while on the way home, they cross paths again and go on a journey together. The summary from SONY pictures is on spot without giving much away:
Some doors bring you to your past. Some doors lead you to your future. And some doors change everything. Sarah (Margot Robbie) and David (Colin Farrell) are single strangers who meet at a mutual friend’s wedding and soon, through a surprising twist of fate, find themselves on A Big Bold Beautiful Journey – a funny, fantastical, sweeping adventure together where they get to re-live important moments from their respective pasts, illuminating how they got to where they are in the present…and possibly getting a chance to alter their futures.
The audience is taken on a cinematic journey through a variety of movie styles. At times, the visual choices and narrative rhythm evoke the whimsical precision of Wes Anderson’s The Grand Budapest Hotel. In other moments, the story dips into the surreal, reminiscent of Eternal Sunshine of the Spotless Mind. One sequence exploring David’s past even unfolds as a high school musical, adding a playful layer to the storytelling.
A personal favorite of mine is a series of scenes staged in minimalist theater—barebones and raw, down to the dusty floor that left the actors’ feet visibly dirty. These moments strip away spectacle and focus on emotion.
It’s not just the script or the set design that transports us—the cinematography plays a vital role. The deliberate use of crisp or grainy visuals mirrors the aesthetic of the TV shows and films from the eras we’re dropped into, grounding the segments in its own time and texture.
The opinions on this film appear to be polar extremes; I happen to be on the like it/enjoyed it side of the scale.  I suggest checking it and deciding where you land on the scale.  I also recommend choosing the GPS package option the next time you rent a car.
 
Director: Kogonada
Cast: Colin Farrell, Margot Robbie, Kevin Kline
MPAA Rating: Rated R for language.
Selig Rating: 4 stars
Runtime: 1h 39m
Release Date: September 19, 2025
Genre(s): Drama, Fantasy, Romance
Movie Site: A Big Bold Beautiful Journey website
Trailer: A Big Bold Beautiful Journey trailer
 
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### A BILLION COLOUR STORY – A Review By Nick Askam
 

	As far as directorial debuts go, I would say this is a solid start for Padmakumar Narasimhamurthy (Paddy). There’s so much that goes into the process of making a movie especially when your budget is severally limited as in this case. I think it is so good that a movie of this type was even made in the first place. I think the conversations that are started in this film are necessary to be had in India and in the world. I think in a time where we are so divided, we need a message of people coming together.

	Unfortunately, I’m not able to find a cast/ character listing, so I’ll have to use generic terms to describe the characters.

	The story of this film is about a kid who’s colorblind and his parents are struggling filmmakers who have just recently returned to India. His dad is of Muslim heritage and his mom is of Hindi heritage. So together, they are a combination that isn’t that well-liked by most of the people that they came back to. A series of unfortunate events forces the family to move from their home into an apartment. This whole process reveals who racist or what is perceived to be racism felt by the family. The movie that is being made goes through even more budget cuts and eventually loses all its funding.

	The father is an idealistic figure in this film. Almost too idealistic in my opinion. There were moments when he was tested and his views were changed. That was my favorite part of the film. The constant battle in his mind made his character super interesting. On one hand, you were rooting for him to be proven right. On the other, the cynical parts of your brain were saying, “Oh, I knew it”. It put his problem in full frame and was super interesting to see. As someone who is not familiar with what is going on, it was nice to see both sides and the way that the father character was used made it easier to understand.

	The color in this film is interesting. It was nice to see that the lack of color was used to show that we don’t know what a Muslim color is or what color the characters are. After the film Paddy said that the lack of color was also used to explain that children don’t see the color. They can’t understand it like adults do. With the perspective being in the child’s point of view, I think it was nice to see the shift.

	I think a problem was the lack of dramatic effect in the end of the film. I thought that it was building to something. Then I felt like the film ending with an element that I thought was a little too fake. I just felt like it left me with a feeling of wanting something more. Maybe it is the cultural difference between South Asian films and American films. I’m not quite sure.

	The pacing is what holds this film back. It’s something that I think takes time. This film feels long. I hate to complain about the length, but it’s only 105 minutes. I straight up thought this was over 2 hours long. I must fault the constant feeling that the movie is ending soon, while trudging forward. The pacing needs to be addressed. Unfortunately, it takes away from the message of the film because the audience is more concerned about when the film is wrapping up rather than the message.

	Overall, I think this is a good first attempt at directing a movie. I think there’s some obvious problems, but over time, they will all be resolved. I’m excited to see how Paddy grows and develops a director.

	 

	Grade: B-

#### A CHRISTMAS CAROL
A CHRISTMAS CAROL
Dallas Theater Center
Kalita Humphreys Theater, 3636 Turtle Creek Boulevard, Dallas, TX 75204
 
John Strange
 
    This fresh telling of Charles Dickens’ A Christmas Carol utilizes the theater’s revolving stage to bring scene changes as well as different looks at scenes as they played out.  The director, Joel Ferrell, choreographed the action in all three dimensions which included a character on stilts and an ensemble approach to the songs.
    Kurt Rhoads portrays Ebenezer Scrooge with a deft touch to his mannerisms and style as the crotchety old man has his eyes opened by the ghosts of Christmas Past, Present, and Future.  The costuming of the three ghosts was very interesting.  The Ghost of Christmas Past was played by a woman in a gentleman’s gentry-inspired outfit, in silver with her hair and make-up also in silver.  The Ghost of Christmas Present was in colorful outfit (possibly Druid-inspired) as the ensemble sang of wassailing (drinking hot mulled cider).  The Ghost of Christmas Future is a classic Grim-reaper-inspired outfit complete with stilts but with a huge pen instead of the traditional scythe.
    The rest of the cast are excellent; standouts include Steven Michael Walters (Fred, Scrooge’s nephew), Abby Siegworth (Ghost of Christmas Past), David Ryan Smith (Ghost of Christmas Present), Vanessa Gibens (Belle) and Kuran Patel (Tiny Tim).  The ensemble cast’s songs were the glue that tied the scenes together.
    The play is a good investment for the family.  The Kalita Humphreys Theater’s acoustics and sightlines make all of the worth the money spent.  
    
 
Directed and Choreographed by: Joel Ferrell
 
Starring: 
Kurt Rhoads as Ebenezer Scrooge 
and 
Brierley Resident Acting Company members: 
Lee Trull
Abbey Siegworth
Steven Michael Walters
SMU Meadows School of the Arts students 
Wendy Blackburn
Vanessa Gibens
Jason Moody
and
Tatiana Angustia
Jonathan Brooks
Trey Cheatham
Drew Favors
Mark Fisher
Emily Gray
Ashley Puckett Gonzales
Brian Gonzales
Nathan May
Marlhy Murphy
Kuran Patel
Paloma Renteria
Lauren Riley
Alex Ross
Joanna Schellenberg
David Ryan Smith
Ben Villaseñor
 
 
Show Dates and Times: 
    November 25th – December 24th
        Wed-Sat: 7:30pm (plus Sunday, 12/11 and 12/18; Tuesday, 12/20)
        Matinees: 
            Sat-Sun: 2pm 
         Student Matinee Dates: Nov 29, 30, and Dec 2, 6, 7, 8, 13, 14, and 15 at 10:30am
 
Ticket Prices: $15.00-$85.00
 
Website: http://www.dallastheatercenter.org/show_details.php?sid=42
 
Music Direction: Lindy Heath Cabe
Scenic Design: Bob Lavallee
Costume Design: Wade Laboissonniere
Lighting Design: Matthew Richards
Lighting Design Associate: Aaron Johansen
Sound Design: Curtis Craig
Dialect Coach: Emily Gray
Production Manager: David Lee Kelting
Stage Manager: Caron Gitelman Grant
Assistant Stage Manager: Korey Kent
Casting: Lee Trull
 
 
 

#### A CHRISTMAS STORY – A Review by Gadi Elkon
“Set in 1940s Indiana, a young and bespectacled Ralphie Parker schemes his way toward the holiday gift of his dreams, an official Red Ryder® Carbine-Action 200-Shot Range Model Air Rifle. An infamous leg lamp, outrageous pink bunny pajamas, a maniacal department store Santa, and a triple-dog-dare to lick a freezing flagpole are just a few of the distractions that stand between Ralphie and his Christmas wish.”
Here is my review of ATTPAC’s A CHRISTMAS STORY.

American Humorist and radio announcer Jean Shepherd gave us “In God We Trust:  All Others Pay Cash”, to tell the tale of youth in a world on the brink of war.  His work would be adapted into the 1980’s classic film, A Christmas Story.  The overall narration into a young boy’s Xmas wish for a scoped rifle have been now shown for decades and touched numerous generations.  The elements are a bit out dated or you may call it nostalgia.  The story isn’t changed or manipulated in this touring production.  You will see all the classic scenes and feel all the same emotions Ralphie felt.
This production is a quality night out with the family and allows for you to tell the youngsters about your crazy Christmas tales.  Paul Nobrega’s take on “The Old Man” aka pops is one of the real highlight performances.  The kids are well rehearsed and depending on your day you may see Michael Norman or Ian Shaw as your Ralphie.  The role is going to be spot on to Peter Billingsley movie performance.  Though Peter’s famous physicality is hard to replicate on stage.  The kid performers do stand out in the tap dancing numbers in the two acts.  I was amazed about how on point the ensemble was during those crazy fast feet numbers.  A special shout out to Hoss and Stella the two bumpus hounds!  They hit their marks and devour The Old Man’s turkey with a real gusto.
The stage design as a giant snow globe was either a real moment of genius or me just looking at the stage weirdly.
In the end you’ll keep your tongue off icy poles and make sure to not shoot your eye out as Ralphie tells his tale.
A Christmas Story runs through this weekend so grab the kids and get your holiday fix!
For more info – ATTPAC’s A CHRISTMAS STORY.

#### A CHRISTMAS STORY, THE MUSICAL
A CHRISTMAS STORY—THE MUSICAL

	 

	By Gary Murray

	Starring Evan Gray, Chris Carsten, Christopher Swan, Savannah Jones and Cal Alexander

	Book by Joseph Robinette

	Music and lyrics by Benj Pasek and Justin Paul

	Directed by Matt Lenz

	 

	A Christmas Story was a film from 1983 that got a very large second life on cable TV.  Showing it for 24 hours straight on Christmas on basic cable has turned it into a holiday tradition.  It has gone from an almost totally forgotten slice of nostalgia to one of the big 10 Christmas films of all time.  Since nothing breeds success much like success, the movie has been turned into a Broadway musical.  A Christmas Story, The Musical takes the boards of the holiday season at Fair Park for part of the Summer Musical Season.

	The story is told as a radio program on Christmas.  Our narrator Jean Shepherd (Chris Carsten) is reminiscing about his life and his father.  The basic plot stays the same from the movie.  Ralphie is a young kid who wants that perfect Christmas present, a Red Ryder B.B. gun.  Every time it is mentioned, he’s told “You’ll shoot your eye out.”  But, a boy’s wish is a boy’s wish and Ralphie wants that weapon. 

	The play is about dropping subtle hints to everyone about that ultimate present.  In doing so, we meet Ralphie’s family.  There is the loud, foul-mouthed The Old Man (Christopher Swan), the sweet stay-at-home mother (Susanna Jones) and little brother Randy (Cal Alexander).  They live in a modest home in the middle of Middle America, Indiana.    

	More than that, it is about remembering your childhood and that innocent time before the world closes in.  It is the end of the great the Depression and the time before WWII.  It was a time of historical misery but for a young boy, it is a time of wonderment.  In a year, the entire world will be in conflict and the psyche of the country where everyone is touched by death and conflict.  But, it is about those last moments of innocence, those moments when having dad mad at you was the worst thing that could happen to you and mom was always there to be a family comfort and support.  It is about the unique warmth that is home. 

	Ralphie has twenty-five days to the big day and has different schemes to get his message to the right people.  There is a school essay he as to write entitled, ‘What I want for Christmas’ and of course seeing the Big Man himself—Santa.  None of these plans work out as planned.  He keeps hearing over and over, “You’ll shoot your eye out.”

	Added into the mix is life with the family.  There his little brother who will only eat if he imitates the Three Little Pigs.  But, it is trying to understand Dad that drives the play.  He keeps trying to win crossword contests and one day gets a letter that he won ‘a major award’.  It turns out to be a leg lamp.  Under the direction of director Matt Lenz, it becomes a Busby Berkeley style musical. 

	For those expecting an exact representation of the movie, this is not for them. This is a musical and has many original songs and a few minor scenes that are excised.  It is not an exact copy of the film.

	Young Evan Gray gets so many moments to shine during the production.  When he sings, “It All Comes Down to Christmas” one wonders how such a powerful voice can come from such a small source.  The entire play hinges on this young performer and he does not disappoint.  There should be a long and successful career for this very talented kid. 

	Another voice that strikes with the audience in a major way is that of Susannah Jones.  She gets a moment in the Second Act with “Just Like That” and she hits the performance to the back walls of the Music Hall.  It is the kind of performance that makes the audience wishing there were more solo moments with the actress.  It is warm and melancholy all within the same phrases. 

	A Christmas Story, The Musical has an incredibly large cast full of adults and children.  There is a big tap dance number in the Second Act where these junior league hoofers get to dance with their teacher.  These kids show some major dance talents and a treated to a roar of applause by the audience. 

	The point of the story is honed to a very fine point.  Ralphie finds out that his dad loves him and cares.  That is truly the message behind A Christmas Story.  Christmas isn’t about presents so much as it is behind the thought behind the gift, the gesture to show the right emotion. 

	There is rumor going around that A Christmas Story, The Musical is going to be a resident musical experience here in Dallas every year for the next decade or so.  That could make it like The Radio City Music Hall Christmas Show.  No one could imagine a greater tradition to share with the family year after year.  We can all hope it becomes that perfect Christmas present—like a Red Ryder B.B. gun.

#### A Christmas Story: The Musical – A Review by John Strange
 

	A Christmas Story: The Musical

	 

	Dallas Summer Musicals

	 

	John Strange

	 

	In 1983, MGM/UA Entertainment Company premiered A Christmas Story on the big screen.  People fell in love with Ralphie’s drive to receive the object of his desire for Christmas, a Red Ryder Range Shot 200 BB gun.  The Dallas Summer Musicals bring us the tour of A Christmas Story: The Musical direct from Broadway where it was nominated for three 2013 Tony Awards® including Best Musical.

	 

	The show opens with a man who will be our narrator throughout the show beginning his narration from a very imaginative setup reminiscent of a 1940’s radio story.  I love the “On Air” light!  Jean Shepherd (Chris Colton) walks through the story filling us in the background of each scene. 

	 

	Our hero, Ralphie (Colton Maurer), has only one desire, one Christmas goal, that BB gun.  With it he feels he can do amazing things.  But how can he convince his parents that he is old enough to handle the gun.  The common thread, no, the common threat, throughout the show is that he can’t handle the BB gun because he will shoot his eye out!

	 

	The show introduces us to his father, the “Old Man” (Christopher Swan), his Mother (Susannah Jones), and his little brother, Randy (Cal Alexander).  The family dynamic with this cast has a feel that is very true to the original movie even when you watch them break into song. 

	 

	I must say at this point that I loved the songs.  They give a depth to the story that the film didn’t have.  When Ralphie’s teacher, Miss Shields (Avital Asuleen), returns his paper on what he wanted for Christmas with a C+, the young man’s reaction incites a dance number with an awesome tap routine.  The tap routine brought to my mind a vision of the old musicals with Fred Astaire and Gene Kelly.  Ms. Asuleen as the teacher certainly seemed to be channeling Esther Williams and Ginger Rogers during her dance routine.  The kids who danced with her blew my mind with their ability to really bring it, especially the young man who does the solo during the number.

	 

	This story is so well known that I know I am not giving anything away when I say that seeing Ralphie get the object of his desires, his beloved Red Ryder Range Shot 200 BB gun, is great!  Even when he nearly shoots his eye out!

	 

	The bottom line on this story is that you have the well-known story of Ralphie enhanced with song and dance numbers giving us a wonderful 2 hours and 20 minutes of entertainment.  It is a story that is family friendly and full of warmth, well worth the price of your ticket.  This, the first show of the 75th season of the Dallas Summer Musicals, is a must see.

	   

	 

	Directed by: Matt Lenz

	 

	Starring: Chris Carsten, Colton Maurer, Susannah Jones, Cal Alexander, Christopher Swan, Avital Asuleen

	 

	Dallas Show Dates and Times: 

		    December 2nd – 13th
	

		         7:30pm:
	

		               Tues-Sun (December 2-7)
	

		               Tues-Sat (December (9-13)
	

		         1:30pm Matinees:
	

		               Sat-Sun (December 6 & 7)
	

		               Thurs (December 11)
	

		               Sat-Sun (December 13 & 14)
	

		 
	

	Run Time: 2 hours 20 minutes, 1 Intermission (15 min.)

	 

	Website: http://dallassummermusicals.org/shows_christmasstory.shtm

#### A CINDERELLA STORY: CHRISTMAS WISH – A Blu-ray/DVD and Digital HD Review by John Strange
 
A CINDERELLA STORY: CHRISTMAS WISH – A Blu-ray/DVD and Digital HD Review by John Strange
Warner Bros. Home Entertainment provided me with a free copy of the Blu-raytm I reviewed in this Blog Post.  The opinions I share are my own.
This is the fifth installment in the A Cinderella Story film series.  The first starred Hilary Duff, the second starred Selena Gomez, the third starred Lucy Hale, and the fourth starred Sofia Carson.  Number five,  For A Cinderella Story: Christmas Wish, Laura Marano stars as Kat Decker in an update of the Cinderella story with a Christmas theme.
Kat’s father was a rich world traveler who remarried and then, sadly, died.  The movie begins an undetermined time after the father’s death and a few months short of Kat’s 18th birthday.  The birthday when Kat is scheduled to come into her inheritance.
This is a story that has been told in many ways by many filmmakers, including both animated and live-action shorts and feature-length films.  Two major plot points that MUST be in the story are the good-hearted young girl and the evil step-mother and step-sisters.
Kat neatly fits the part of the good-hearted young girl.  She does all of the menial jobs (cooking, cleaning, errands)at the house she shares with her “steps” while working as an elf to make extra money, money which is always taken by the evil step-mother, Deirdre Decker (Johannah Newmarch).  The two step-sisters are the epitome of spoiled useless teenagers.
This film follows Kat during the last few days before Christmas.  The prince character in this story is the son of billionaire Terence Wintergarden (Barclay Hope), who just happens to own the Santa village where Kat works.  The son, Dominic Wintergarden (Gregg Sulkin) is following a family tradition and working as Santa.
The film is filled with some wonderful musical numbers that have good choreography and fun scenery.  Sadly, while the Kat, Terence, and Dominic characters are solid and well played, the evil trio is written/played more than a touch too over-the-top.  The film stays true to the formula but I found myself flinching more and more often as the story progressed.
The bonus extras are good.  They gave me a nice behind the scenes insight into the film.  While neither of the extras made me love the film, I did gain an appreciation of the work that went into the musical numbers, both in front and behind the cameras.  Watching musical performances by talent who professed their lack of singing and dancing skills in the featurette was eye-opening.  It raised the overall rating a full level on our scale.  Still, the best I can rate A Cinderella Story: Christmas Wish is “SECOND HAND”.
I truly wanted to enjoy the film.  I did like parts of it, but others were difficult to watch.  Some of you will love this film and wonder what the heck was he thinking?  The rest of you will be happy your remote has a pause button.  That little button got me through to the very well done and very satisfying climactic scenes.
 
Directed By:

Michelle Johnston

Cast:

Laura Marano, Gregg Sulkin, Isabella Gomez, Barclay Hope, Garfield Wilson, Keiran Bohay, Lillian Doucet-Roche, Zavien Garrett, Brittany Good, Jared Khalifa, Kiera Klassen, Sage Linder, Trezzo Mahoro, Cassandra Naud, Kane Nelson

Extras:
Digital:

The Look and Costumes of “A Christmas Wish”
The Mic and The Stage
Gallery

Blu-ray/DVD:

The Look and Costumes of “A Christmas Wish”
The Mic and The Stage

Specifications:
Runtime:
Feature:

93 Minutes

Enhanced Content:

33 Minutes

Studio:

Warner Bros. Home Entertainment Inc.

Release Date:

10/29/2019

Region:

A/1 (U.S. and Canada only)

MPAA Rating:

PG (for rude and suggestive material)

Selig Rating:
Film Rating:

SECOND HAND

Bonus Features Rating:

B

Picture Quality Rating:

A

Audio Quality Rating:

A

 
Selig Rating Scale:
BRAND NEW: Should add to your DVD collection at any cost
SALE ITEM: Worth owning, but try to catch it a sale
SECOND HAND: Plan to get it, but wait to buy it used
RENTAL: Worth taking a look at, but not owning
COASTER: Pick it up at a garage sale and use it for drinks
PULL!: Makes a great Trap Shooting target

#### A CINDERELLA STORY: STARSTRUCK – A DVD and Digital HD Review by John Strange
A CINDERELLA STORY: STARSTRUCK – A DVD and Digital HD Review by John Strange
Warner Bros. Home Entertainment provided me with a free copy of the DVD I reviewed in this Blog Post.  The opinions I share are my own.
There has been a myriad of tellings and re-imaginings of the Cinderella tale.  A Cinderella Story: Starstruck is but the latest to be presented to us.  Writer/Director Michelle Johnston has been associated with the film series since A Cinderella Story (2004) where she was a choreographer. 
Since then, she has worked, in some capacity, on all six of the films in the series.  She has been writer, director, producer, choreographer, executive producer, or co-producer in various combinations on the films (see the end of the review for specifics).
A Cinderella Story: Starstruck, the new film is told from a country point-of-view.  Finley Tremaine (Bailee Madison) is a small-town girl who lives on a farm with her stepmother Valerian (April Telek), stepbrother Kale (Richard Harmon), and stepsister Saffron (Lillian Doucet-Roche).  (Following the formula, these three are NOT decent human beings.)
A big Hollywood movie, starring Jackson Stone (Michael Evans Behling), comes to their town to film.  There is an announcement that the company is allowing the locals the opportunity to audition to appear in the film.  Of course, the “steps” have plans to be in the film!
But then again, so does Finley.  The evil stepmother refuses to give her permission to go to the auditions because she has chores to finish.  The dutiful Finley promises to get up early and finish those chores in time to audition.  The next morning the list of chores is many pages long and includes taking her pet pig to the butcher shop!
Completing all of the chores, except the butchering of her beloved pig, Finley tries to audition.  That pig is Finley’s downfall at the audition.  This debacle sets up the rest of the story, which flows well and is filled with nice humor and situations.
The story is well-written and a perfect vehicle for Miss Madison.  Bailee’s smile and charm highlight her wonderful acting talent.  The excellent chemistry between Bailee and her co-star Michael Evans Behling (Jackson Stone) is the heart of this film.
As with all of the films in this series, A Cinderella Story: Starstruck gives us a nice musical with a story we can sit back and enjoy. 
The extras, available on the DVD and the Digital HD offerings, while light on numbers are well made and quite enjoyable.  My favorite was “Finley’s Best Friends: Meet the Farm Animals”.  Bailee got to work with what equates to a nice petting zoo complete with some absolutely gorgeous horses.  She has a great time telling us about them.
The second, “Dirt Under My Nails: The Making of A Cinderella Story: Starstruck”, is one of the better “Making of” featurette’s I have seen.  It is light-hearted while giving us a nice look behind the scenes.
 
Michelle Johnston’s connections to the six films in the series:
A Cinderella Story (Choreographer) (2004);
Another Cinderella Story (Choreographer, Co-Producer) (2008);
A Cinderella Story: Once Upon a Song (Executive Producer) (2011);
A Cinderella Story: If the Shoe Fits (Video) (Director, Choreographer, Producer) (2016);
A Cinderella Story: Christmas Wish (Writer, Director, Choreographer) (2019);
A Cinderella Story: Starstruck (Writer, Director, Producer) (2021)
 
Directed By:

Michelle Johnston

Cast:

Bailee Madison, Michael Evans Behling, April Telek, Lillian Doucet-Roche, Richard Harmon

Extras:
Digital:

Finley’s Best Friends: Meet the Farm Animals
Dirt Under My Nails: The Making of A Cinderella Story: Starstruck

DVD:

Finley’s Best Friends: Meet the Farm Animals
Dirt Under My Nails: The Making of A Cinderella Story: Starstruck

Specifications:
Runtime:
Feature:

100 Minutes

Enhanced Content:

11 Minutes

Studio:

Warner Bros. Home Entertainment Inc.

DVD Release Date:

07/13/2021

Region:

A/1 (U.S. and Canada only)

Website:

A CINDERELLA STORY: STARSTRUCK Official Site

Trailer:

A CINDERELLA STORY: STARSTRUCK Trailer

MPAA Rating:

PG (for some language and suggestive material)

Selig Rating:
Film Rating:

5 Stars

Bonus Features Rating:

5 Stars

Picture Quality Rating:

5 Stars

Audio Quality Rating:

5 Stars

 
Selig Rating Scale:
5 Stars: Should add to your DVD collection at any cost
4 Stars: Worth owning, but try to catch it a sale
3 Stars: Plan to get it, but wait to buy it used
2 Stars: Worth taking a look at, but not owning
1 Star: Pick it up at a garage sale and use it for drinks
0 Stars: Makes a great Trap Shooting target

#### A CRIME ON THE BAYOU – A Review by John Strange
A CRIME ON THE BAYOU – A Review by John Strange
Desegregation in the South during the 1960s was often filled with violence as local political leaders tried to slow or halt the tide of change.  None were surer of their right to do this than Plaquemines Parish, Louisiana’s Judge Leander Perez.  The Democrat political boss (in office since 1924), had ruled his parish for some 40 years. 
On October 18, 1966, Gary Duncan, a 19-year-old black man saw his young cousin and his nephew (two of the first Black children to integrate into the parish’s only public school) possibly being harassed by four White boys.  He stopped to help his kin get away from this potentially dangerous situation.  During the fairly civil conversation, the young Gary touched one of the white boys on the elbow.
This simple innocuous act was to be blown out of proportion and involve Gary, his family, and his lawyers in a legal battle that will test the mettle of everyone involved as the court battle went round after round, including an appearance before the justices of the US Supreme Court.
The film’s pacing starts off slow (and a little overboard on the artistic look) as the filmmakers set the scene.  The story, presented with interviews and archival footage of the events of the time plus recent interviews of the principal people involved, finds it’s center about 10-15 minutes in, and the rest of it has a good steady pace. 
A Crime on The Bayou unfolds into a fascinating tale that really takes you on a deep dive inside the fight for civil rights in this southern Louisiana Parish and the lives of all involved.
This is a fascinating film and is being shown virtually during the Miami Jewish Film Festival from April 15-29, 2021 (see link below).
On a side note: music legend, John Legend, was one of the executive producers of this film.
 
Director: Nancy Buirski
Cast: Gary Duncan, Richard Sobol, Lolis Eric Elie
MPAA Rating: NR
Selig Rating: 5 Stars
Runtime: 89 Min.
Trailer: A CRIME ON THE BAYOU Trailer
Virtual Screening:  Miami Jewish Film Festival, 4/15 – 4/29/2021, https://miamijewishfilmfestival.org/
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### A CURE FOR WELLNESS – A Review by John Strange
 

	A CURE FOR WELLNESS – A Review by John Strange

	 

	When you are asked to review a film, you look at the various types of advanced information available.  You check out IMDb, YouTube and other outlets.  When I was asked to review A Cure For Wellness I was uncertain what I was walking into.  First I read the information available in the email and then I watched the trailer.  What I saw intrigued me.

	 

	We have a company whose board wants to complete a merger, only they can’t.  Why, because the man who has to sign the papers, the CEO, is in a mysterious “wellness center” in the Swiss Alps.  He has sent the company a message that he is not coming home.  He likes it there!  The first choice to bring him home isn’t available (he’s dead). 

	 

	Next in line is Lockhart.  Now Lockhart (Dane DeHaan) isn’t happy about taking time out to go get Pembroke (Harry Groener) but he figures it won’t take him long.  Well, not long if you discount the jet and train rides required to reach the spa.

	 

	Arriving at the train station, he is driven to the castle by the Slavic-looking Enrico (Ivo Nandi), a local man used by the center.  Enrico tells Lockhart that he drives a lot of people TO the center but never drives them BACK to the train station.

	 

	With this in the back of his head, Lockhart enters the center where he gets the run-around.  He is told he can see his boss the next day.  In a huff, he leaves the center but winds up back there when a stag jumps in front of the car causing a crash.

	 

	This film takes you down the rabbit hole as Lockhart tries to make sense of what is going on.  For every answer he gets, two new questions arise.  His boss is adamant that he does NOT want to leave for any reason.  In fact, NOT ONE of the patients there are willing to leave.

	 

	The story, loosely taken from Thomas Mann's The Magic Mountain, takes us deep into an enigmatic spa that does not appear to cure anyone of anything.  Instead, the patients, while happy, seem to be dying one inch at a time.  They appear to be supplying a cure for wellness!

	 

	The answers, when they come, might not be as satisfying as you might want them to be.  If that is important to you, then you need to watch comedies.  Psychological horror films don’t always tie everything up in a tidy package.  They like to make you think.  In the case of A Cure For Wellness the answers come complete with naked breasts, fires, and death.  And it does a pretty good job of granting us a nice little plot twist for its final scene (wish it made up for the previous 10 minutes).

	 

	Did I like the film?  Yes, I did, at least most of it.  I could have done with fewer views of unclothed patients (and one nurse).  These are NOT the beautiful people you assume you will find in a center like this.  These are aging men and women, well past their prime, who have not taken good care of their bodies.  Ugh.

	 

	 

	Directed by: Gore Verbinski

	 

	Cast: Dane DeHaan, Jason Isaacs, Mia Goth

	 

	MPAA Rating: R (for disturbing violent content and images, sexual content including an assault, graphic nudity, and language)

	 

	Selig Rating: C

	 

	Runtime: 146 Min.

	 

	Movie Site: http://www.foxmovies.com/movies/a-cure-for-wellness

	 

	 

	The Selig Rating Scale:

	 

	A – Excellent movie, well worth the price.

	B – Good movie

	C – OK movie

	D – No need to rush. Save it for a rainy day.

	F – Good that I saw it on the big screen but wish I hadn't paid for it.

#### A DOG’S PURPOSE – A Review by Cynthia Flores
 

	A DOG’S PURPOSE

	 

	Review by: Cynthia Flores

	 

	Directed by Lasse Hallström

	Written By W. Bruce Cameron/Cathryn Michon/ Audrey Wells/ Maya Forbes/ Wally Wolodarsky

	Rated PG

	Running time 120 min

	Family film/comedy/drama

	Wide release is Jan 27 2017

	Starring: Josh Gad, Britt Robertson, KJ Apa, John Ortiz, Juliet Rylance, Kuke Kirby, Peggy Lipton, Pooch Hall, and Dennis Quaid.

	 

	“What is the meaning of life? Are we here for a reason? Is there a point to any of this?”

	 

	When a movie literally starts out with someone asking these kinds of questions, usually you’re in for a high art, cutting edge, probably weird looking movie with subtitles or at the very least in black and white. Not here, since that someone asking those questions is a dog.

	                       

	That’s right, A Dog’s Purpose, is based on the beloved bestselling novel by W. Bruce Cameron.  The film shares the surprising story of one devoted dog (voiced by Josh Gad) who finds the meaning of his existence through his different lives and the humans he teaches to love.

	 

	This family film told from the dog's perspective is surprisingly good. It moves at a fast pace despite it’s two hour run time. The acting is great from all the dogs that are in it as well as their human counterparts.  I didn’t get sick of the many shots from the POV of the dogs. In fact, it gives the audience a new perspective of how we and the world must appear to dogs. The movie also manages to cover some pretty tough issues such as alcoholism, loneliness, and the loss of dearly held dreams without being sappy or overly simple.

	 

	Spoiler Alert: Men you may have to turn in your man card at the door, and women, bring lots of tissues because you're going to need them.  I’m not ashamed to admit I did. Hell I cried like a baby. Think back to the first time you saw Bambi and his mother gets shot, or worse, Old Yeller and his young owner having to put him down.  Yeah, I’m talking those kinds of tears. Because you see, in order for the dog to tell his stories he has to die, several times.  Then he or she will come back again as a new dog. Sometimes a great big one, and other times as a small lapdog with all the memories of it’s past lives it lived and the humans it’s loved.

	 

	Unfortunately this movie has been in the press recently because a video was leaked  that was shot behind the scenes on set during the making of the film showing one of the dogs being treated badly while filming one of the stunts.  PETA has suggested a boycott and others have jumped on the band wagon without checking the facts. I saw the video that caused the uproar and it’s obvious that it’s been edited to make the situation look bad. I’ve been on film sets, and worked with trained animals, and I can tell you they are, by law, usually treated better than the human actors are.  

	 

	That being said, I feel comfortable recommending this film to anyone that has a pet, or what me and my friends have been know to call them, a “Fur baby”.  Dogs, especially, have a way of becoming part of our families and live in our hearts long after they’re gone. This movie gives an interesting take on the idea of reincarnation for dogs and the love that keeps going on and on in the shape of our four legged friends.

#### A Faster Horse – Interview w/ Director David Gelb
A Faster Horse from Gravitas Ventures on Vimeo.  Click through for our interview with Director David Gelb.

	

	A FASTER HORSE tells the story of the Ford Mustang, one of the world's most iconic and recognizable cars.

	It follows the team entrusted with upholding the legacy of the brand in creating the 2015 model, now 50 years from the original release, while exploring the parallels that exist between past and present day.  From A Faster Horse Website

	Interview with Director David Gelb:

	

	David and I started our chat off by discussing how he got attached to this project, via Award-winning Producer Nigel Sinclair.

https://seligfilmnews.com/wp-content/uploads/2015/10/David-Gelb-Producer-Nigel-Sinclair.wav

	David explains how meeting Chief Engineer, Dave Pericak, gave him his perfect hook into the heart of the documentary.

https://seligfilmnews.com/wp-content/uploads/2015/10/David-Gelb-Dave-Pericak-to-Lee-Iacocca.wav

	The film does a great job of not only showcasing the modern Ford team, Dave Pericak and people like Kemal Curic and Hau Thai-Tang, but I was really amazed at the interviews with the original Ford developers.  Lee Iacocca is a well known name, but getting to hear Hal Sperlach, Jack Telnack, Gale Halderman and Arjay Miller was really fasinating.  David explained how John Clor was hugely impactful in this side of the epic Mustang story.

https://seligfilmnews.com/wp-content/uploads/2015/10/David-Gelb-John-Clor-and-the-Original-Team.wav

	My last question to David was about his tremendous team.  DP Will Basanta & Editor Isaac Hagy he's known since USC and recently he's found a great duo for his music composers in Danny Bensi and Saunder Jurriaans.

https://seligfilmnews.com/wp-content/uploads/2015/10/David-Gelb-Will-Basanta-Isaac-Hagy-Danny-Bensi-and-Saunder-Jurriaans.wav

	David's DP Will Basanta and a beautiful Ford Mustang.

	

	Vimeo has partnered with TheatriCast, a new demand-driven distribution and marketing initiative between ticketing company Tugg and film marketing agency Different Drummer, to release A FASTER HORSE in theaters for an exclusive one-night event on Thursday, October 8th. The special event will take place in 40+ markets and provide early access to auto and Mustang enthusiasts across the country. Following the TheatriCast release, fans across the country will be able to bring the film to their local theater with Tugg.

	A FASTER HORSE will open in theaters on October 9th.

	For us Dallas folks the TUGG event information for Oct 8th is found here.

	For all other information on the film please go, here.

#### A FATHER’S LEGACY – In Theaters for One-Night Only
 
After a great reception on the festival circuit, Cinedigm and Fathom Events announced today that the inspirational film A Father’s Legacy will arrive in theaters for a one night event on June 17, just in time for Father’s Day Weekend. After the movie, the event features a conversation with Director/Star Jason Mac and Pastor Brannon Shortt from Bayside Church about the importance of fatherhood, how the choices you make have consequences and additional key takeaways from the film.
A Father’s Legacy is an inspirational story that touches on family, redemption and loyalty as it follows a young man (Jason Mac) on the run after an armed robbery. Hiding from the law, he sets out to find the father he never knew. Venturing further away from the city streets, he finds himself at the secluded home of a stranger (Tobin Bell). As the days pass and the secrets about their past are revealed, they learn that they might not have been looking for each other…but they may have been brought together for a reason.
“This film was born out of one of the most difficult times in my life,” says Writer/Director Jason Mac. “My father was my protector; a guardian I knew would always be there, and then one day he wasn’t. The loss forced me to look inside and really explore what it was to be a father. Too many young men have no male role model growing up, so I hope that becomes a lesson and learning from this film.”
A Father’s Legacy is a fictionalized story but heavy with the emotions of Mac’s own experiences. The film stars acting legend Tobin Bell (Saw Franchise, The Firm), Jason Mac (The Vampire Diaries, Criminal Minds), Rebeca Robles (Reprisal, Ambitions) and Gregory Alan Williams (Remember the Titans). A Father’s Legacy was produced by Mac and John Lerchen, under his Forever Safe Productions banner.
“As we celebrate Father’s Day, Fathom Events is pleased to partner with Cinedigm and bring this powerful story to the big screen,” said Ray Nutt, Fathom Events CEO. “The timing could not be better to release this film with its strong themes and lessons surrounding fatherhood.”
“The theater going experience is about community, and the enjoyment that comes from experiencing stories with our friends and family,” said Yolanda Macias, Chief Content Officer at Cinedigm. “Working with Fathom has given us the opportunity to share A Father’s Legacy with audiences all over the country. It is a story of redemption and unlikely kinship, and it challenges us to look at the relationships we have built in our life. We could not think of a better way to honor Father’s Day than by sharing this film with our audiences.”
A Father’s Legacy (previously titled The Old Man & The Pond) was the Official Selection of the Heartland International Film Festival and the Official Selection of the Soho International Film Festival.
Fathom Events and Cinedigm will screen A Father’s Legacy in movie theaters nationwide on Thursday, June 17 at 7:00 p.m. local time. For a complete list of theater locations, visit the Fathom Events website (theaters and participants are subject to change).
Official Synopsis: 
An inspirational story of family, loyalty and redemption. After years of searching for his father, a young man, on the run from the law, finds his way into the life of a secluded old man in the woods. As the days go by and secrets about their past are revealed, they realize they may not have been looking for each other but they were brought together for a reason.
Purchase Tickets: https://www.fathomevents.com/events/A-Fathers-Legacy or at participating theater box offices

#### A FISH TALE – Interview with Director & Cinematographer Emmanuella Mayer
 
https://vimeo.com/348689213
 
Cinematographer Emmanuelle Mayer steps into the director chair for the first time on her powerful documentary, A FISH TALE.  The film just screened at the OTHER ISRAEL FILM FESTIVAL and Emmanuelle was kind enough to chat about the film, her background in cinematography/casting and much more!

Johnny lives in Israel, but dreams of returning to Ghana with new knowledge of modern fish-farming. His wife, Thérèse, sees little future for their children in Africa. When their visas expire, tensions rise, leading to an inevitable clash.
Interview with Director Emmanuelle Mayer:
 
https://seligfilmnews.com/wp-content/uploads/2019/11/A-Fish-Tale.mp3
 
A Fish Tale is a wonderful highlight to Emmanuelle Mayer’s work as a filmmaker.  Make sure to follow her on her site – Emmanuelle Mayer.
 

 
 
 
 
 

#### A Fortnight of Films for 2014
Click through for my Top 14 films of 2014 and a few interludes along the way.

	

	14. Locke – Directed By Steven Knight.  A tremendous acting showcase for Tom Hardy.  Wild to think he really was sick!

	

	13. American Sniper – Directed By Clint Eastwood.  A wonderful tribute to a real hero and a Texan to boot.  Cooper and Miller give great performances in this tough and tragic tale.

	

	12. Jodorowsky's Dune – Directed By Frank Pavich.  Wonderful look into the "what could have been" and to bring two men back to friendship made for a heartwarming close.

	

	11. The Babadook – Directed By Jennifer Kent.  Easily the scariest film of 2014. 

	

	Interlude #1 – Top 3 Best Short Films of 2014.

	Easy –  Directed By Daniel Laabs. Local short film that tackles a young boy's sexuality in a honest way.

	I Am Sami – Directed By Kae Bahar.  The impact of war hurts the children (future) the most.

	The Bravest, the Boldest – Directed By Moon Molson.  Subtle and striking look at a mother's grief.

	10. Fury – Directed By David Ayer.  Muddy and brutal look into the men inside the tanks.  Incredible performances all the way around.

	

	9. Calvary – Directed By John Michael McDonagh.  Beautiful landscape overlooks and engulfs the horrors of the past.  Gleeson puts on an acting clinic!

	

	8. Gone Girl – Directed By David Fincher.  Dark and mysterious = Fincher at his best.  Rosamund Pike is one bad ass lady!

	

	7. Whiplash – Directed By Damien Chazelle.  Tremendous battle of wills mixed in with some amazing jazz playing.  Can't wait to see more from Chazelle.

	

	6. Birdman – Directed By Alejandro González Iñárritu.  "Chivo" the DP is a master and this is a showcase of his homage to the old school one-shot boldness of the masters from the 30s & 40s.

	

	Interlude # 2 – Standout Actors, Actresses and First-Time Directors.

	Standout Actors:  Eddie Redmayne (The Theory of Everything) Jake Gyllenhaal (Nightcrawler), Tye Sheridan (Joe), JK Simmons (Whiplash), Brendan Gleeson (Calvary)

	Standout Actresses:  Rosamund Pike (Gone Girl), Tilda Swinton (Snowpiercer), Tessa Thompson (Dear White People), Jessica Chastain (A Most Violent Year), Agata Kulesza (Ida)

	1st-Time Directors: Jennifer Kent (The Babadook), Justin Simien (Dear White People), Dan Gilroy (Nightcrawler), Ana Lily Amirpour (A Girl Walks Home…), Charlie McDowell (The One I Love)

	5. Kids For Cash – Directed By Robert May.  Shocking look at the impact of having our jails be businesses.  Important subject that is glossed over and it shouldn't be!

	

	4. Boyhood – Directed By Richard Linklater.  Not a gimmick.  Not just a film either.  As close to showing a full life as one could think to accomplish in a fiction film.  Ethan and Patricia were amazing as the parents.

	

	Interlude # 3 – An Eye On 2015.

	Star Wars:  The Force Awakens might be the most anticipated film on a majority of lists but here are five other films to put on you MUST SEE LIST FOR NEXT YEAR:

	Tomorrowland,  Kingsman: The Secret Service, The Revenant, Ex-Machina,  Pixar's Inside Out, & Midnight Special by Jeff Nichols.

	3. A Girl Walks Home Alone At Night – Directed By Ana Lily Amirpour.  My favorite soundtrack of 2014.  Haunting and still funny at times.  Visually a real masterwork especially the beautiful cinematography.

	2.  The Grand Budapest Hotel – Directed By Wes Anderson.  His most adult work and the year's best ensemble cast brings to life this quirky world.

	1.  Ida – Directed By Pawel Pawlikowski.  No movie captures the pure agony of loss like Pawel's "holocaust" film.  Two amazing actresses give powerful performances.

#### A GATHERING 2013
Almost 200 performing artists are polishing their performances for Monday’s A Gathering 2013, a reflection on HIV/AIDS through music, dance and spoken word. The rare collaboration is a benefit event to raise funds for four local AIDS service organizations. One recent rehearsal in the Dee and Charles Wyly Theatre included well-known performers Liz Mikel, Denise Lee, Patty Breckenridge and Gary Floyd, among others. The one-night-only event will be at 7 p.m. on Monday, October 7, 2013 at the Margot and Bill Winspear Opera House in the Dallas Arts District.

	“These are amazing artists, all local, coming together for A Gathering 2013,” said Charles Santos, Executive and Artistic Director of TITAS. “Based on what we’ve seen during rehearsals, it is going to be a night of spectacular performances!”  

	This event, involving some of the finest arts organizations in Dallas, is produced by TITAS and the AT&T Performing Arts Center. The cast includes more than 175 singers, dancers and actors. 100% of the proceeds will directly benefit four Dallas AIDS service organizations: AIDS Arms, AIDS Interfaith Network, AIDS Services of Dallas and Resource Center Dallas.

	This event follows the success of the first A Gathering in 2011, which marked the devastating impact of AIDS on the arts community. It raised almost $40,000. It featured choreography from Bruce Wood, Ben Stevenson, Bree Hafen and Bridget L. Moore; and talent from TITAS, AT&T Performing Arts Center, Dallas Theater Center, The Dallas Opera, Dallas Symphony Orchestra, Turtle Creek Chorale, Texas Ballet Theater, SMU’s Meadows School of the Arts, Bruce Wood Dance Company, Booker T. Washington High School for the Performing and Visual Arts, Dallas Black Dance Theatre and charlieuniformtango.

	Tickets range from $12 to $150 and can be purchased online at www.attpac.org/gathering, by phone at 214-880-0202, in person at the AT&T Performing Arts Center Information Center, 2353 Flora Street (Monday through Sunday, 10 a.m. – 9 p.m.) or at the remote Box Office at Park Place Lexus Plano at 1025 Preston Road. All ticket proceeds are devoted to the beneficiaries.

	 

#### A GENTLEMAN’S GUIDE TO LOVE & MURDER review by Gadi Elkon
https://www.youtube.com/watch?v=MBwwEikwBz8

	What's Must-See?  2014 Tony Award® for Best Musical- A Gentleman’s Guide To Love & Murder at ATTPAC's Winspear Opera House.  Click through for Gadi Elkon's review of the Broadway Musical now playing at Winspear Opera House through August 28th.

	

	"Gentleman’s Guide tells the story of Monty, an heir to a family fortune who sets out to jump the line of succession by—you guessed it—eliminating the eight relatives (all played by one fearless man) who stand in his way. All the while, Monty has to juggle his mistress, his fiancée and the constant threat of landing behind bars! Of course, it will all be worth it if he can slay his way to his inheritance… and be done in time for tea."  From ATTPAC website.

	John Rapson's portrayal of the entire D'Ysquith Family is worth your money alone!   Rapson's constant changing elements makes for such a great continuous joke throughout the fully life of the play.  You never tire of John's new D'Ysquith family member.  Our narrator and lead actor Kevin Massey slowly but entertainingly transforms MONTY NAVARRO into the lovable supposed murderer.  He's a wonderful compliment to Rapson's over-the-top bravado.  The gents working together are the highlights of the first act completely.

	

	 

	 

	 

	 

	 

	 

	The fluid pace and non-stop laughing riot always is kicked off or closed out by either Massey or Rapson in the glorious first act.  All the main murdering throughout the opening act are perfectly thought out.  The digital projection that accompanies the moving one-piece stage mantle really helps bring to life the show.  Especially the gruesome varying ways of death being captured via the projection elements.  Blood, Bees and Blistering Ice are just a few of the killer devices.  Witty and wicked way of telling how to kill off a wealthy family. 

	

	 

	 

	 

	 

	 

	 

	The second act dives into the love triangle that is at the heart of MONTY's accent in The D'YSQUITH family.  Southern belle Kristen Beth Williams and statuesque blond beauty Adrienne Eller fully embody that characters.  Kristen's PHOEBE D'YSQUITH is a charming breath of fresh air as the tiny lady jumps into each and every moment on stage.  Her adorable factor is only heightened by her stellar voice.  Eller's sexy and sultry SIBELLA HALLWARD is such a commanding presence on stage.  Whether it's her PINK filled introduction in Act 1 or her every changing Act 2 Eller owns ever slick slide across the stage.  She not only holds court as the striking beauty, but her lavish style helps cast her perfectly in the bitchy aristocratic love interest.  Massey floats well between the two leading ladies and helps make the yin-yang feel so solid between the duo.  The above photo highlights one of the best sequences in the entire production. 

	

	 

	 

	 

	 

	 

	 

	Come for the laughs and fully enjoy the tremendous entertaining showcase that is A Gentleman's Guide to Love & Murder.  The production runs through August 28th at the Winspear and it's easily the must see show of the month! 

#### A GIRL IN THE SPIDER’S WEB – A Review by Gadi Elkon
Lisbeth Salander, the cult figure and title character of the acclaimed Millennium book series created by Stieg Larsson, will return to the screen in The Girl in the Spider’s Web, a first-time adaptation of the recent global bestseller.
	 

	Here is my full review of Fede Alvarez' A GIRL IN THE SPIDER WEB: A NEW DRAGON TATTOO STORY.

	

	Young computer hacker Lisbeth Salander and journalist Mikael Blomkvist find themselves caught in a web of spies, cyber criminals and corrupt government officials.

	There are some elements to really love about this film.  Claire Foy is captivating as the computer hacker Lisbeth Salander and she works well off every character whether it's her evil sister, the American NSA agent who may be enemy or asset, her long-time friend Mikael Blomkvist and also a young child with a hell of a knack for math.  Fede Alvarez direction is filled with enough quality action and chase sequences to make any Bond or Mission Impossible fan clap out loud.  Steven Knight's fine touch is obvious in the darker elements of the story shown in more flashback moments or the opening "look back" sequence.  The score is upbeat and still a bit haunting.  

	So you ask, what's wrong with the film?  Well the notion that this is a New Dragon Tattoo Story.  Well first of all we never got to see the ending of the original trilogy.  We don't see the full Blomkvist tale mix in with the Lisbeth story by Stieg.  Just gotta question Sony why they would scrap Fincher's dark more mysterious take for this Mission Impossible style replacement?  And you may love Claire for she is truley lovable but is she the real Lisbeth?  Rooney Mara would kick your ass and remind you just how mysterious she was in the original film working off of James Bond himself.  Oh and come on diving into a BATHTUB!?!?  What next Harrison Ford in a fridge?  This action packed thriller doesn't dive into the deep mystery of the Larsson epic and instead adds guns, explosions and of course rogue missile capabilities, but WHY?  The history of the family in the first film was so riveting and the chance to dive into the brutal world of journalism of the darker elements of our world's evil history was enough.  

	As much as I like Fede he is no where the equal of the master of darkness Fincher.  I still have nightmares because of Seven!!  I think the casting is fine, but they all could have been in the third film in Fincher's tale.  The new story mold isn't that far off Larsson's ideas it just gets into a cheesy missile tale.  I especially would have loved to have seen Lakeith Stanfield's American NSA super agent somehow mixed into the Lisbeth arc for a final film in the Fincher trilogy.  Sylvia Hoeks is diabolical and her henchman played masterfully by Claes Bang (what a name!) are the perfect foil for any super agent.  In the end the nixing of a mysterious trilogy, that had the capacity to dive into really evil darkness, for a gun battle with limited hacking and the cliche of missile technology…MEH.

	Don't get me wrong.  If you see the film it'll be enjoyable but you'll forget it by the time you make it to your car.  Where's Fincher's work buries it's ideas deep into the marrow of your bones and creeps back into your life when it feels like it.  Sony please remember to not mess up something great just for a quick money hit.   There are much more intriguing films out now and besides you should just re-watch The Crown seasons if you need a Claire Foy fix.   But with that all said I'm super glad that Fincher got to dive back into Netflix himself with THE MINDHUNTER (That is a fucking thrilling bone chilling show!!!)

	A Girl in the Spider's Web: A New Dragon Tattoo Story.         

	Directed by Fede Alvarez

	Written By Jay Basu, Fede Alvarez & Steven Knight based on book by David Lagercrantz from characters by Stieg Larsson

	Rated R

	Selig Rating C-

	Running Time 1hr 57min

	Crime, Drama, Thriller 

	Wide Release November 9th

	Starring Voices of : Claire Foy, Sylvia Hoeks, Lakeith Stanfield, Stephen Merchant, Cameron Britton, Vicky Krieps, Sverrir Gudnason, Claes Bang, and Andreja Pejic 

	 

	The Selig Rating Scale:

	 

	A – Excellent movie, well worth the price.

	B – Good movie

	C – OK movie

	D – No need to rush. Save it for a rainy day.

	F – Good that I saw it on the big screen but wish I hadn't paid for it.

#### A GOOD COUPLE – Interview with Writer Director Robert Gregson and Star Julie Ann Earls
Selig Film News got to chat with Writer/Director Robert Gregson and Actress Julie Ann Earls about their latest collaboration, A GOOD COUPLE.

A Good Couple is about the relationship between perfect and good, fantasy and reality, and what people are willing to do for love. Julia is frustrated with the reality of who she’s dating and wishes she could actually be in love, but her relationship to love is complicated by the perfection she’s imagining. Although her boyfriend changes and she gets what she wants, she pays a heavy price. Characters literally double and split as their desire for fantasy diverges further from reality.
Interview with Writer/Director Robert Gregson and Star Julie Ann Earls:

A Good Couple:

 

#### A GOOD DAY TO DIE HARD
A GOOD DAY TO DIE HARD

	 

	By: John ’Doc’ Strange

	 

	Directed by: John Moore

	 

	Starring: Bruce Willis, Jai Courtney, Sebastian Koch

	 

	MPAA Rating: R (for violence and language)

	 

	Selig Rating: FULL PRICE

	 

	Runtime: 97 Min.

	 

	    In this fifth of the Die Hard series, hard hitting NY cop John McClane has tracked down his son, Jack.  His information is that Jack’s in Russia and may be about to go to prison.  John takes vacation time to fly to Russia with no idea how he was going to get Jack out of trouble.  Not exactly out of character for John.

	 

	    John arrives at the courthouse in time to see the aftermath of car bombs going off next to the courtroom’s outer wall.  Jack and Russian politician turned whistle-blower, Komorov, are escaping in the chaos.  Seeing the two about to drive away in a delivery truck, John pulls the “dad routine” stopping the truck and demanding Jack get out and come with him.  When the bombers start shooting at them, Jack drives off and John steals a truck to chase them.  What follows is one of the best chase scenes I’ve seen in years!  The armored truck the bad guys are driving is Hot!  The crashes are wild and watching McClane destroying not one Mercedes Benz vehicle (the big truck he begins the chase with) but a Mercedes SUV he steals the Russian freeway.

	 

	    John “I do it my way” McClane has one idea in his head.  Stop the bad guys and save his son.  No thought about why Jack’s doing what he is doing or whether he should get involved in whatever is going on.  No, he just jumps in as only the great John McClane can!

	 

	This film has cool vehicles and interesting locations (including Chernobyl), cool Russian military helicopters, and lots of explosions!  It has the CIA, predator drones, and lots of explosions!  Oh, and that look on John’s face when he realizes that Jack has a career of his own, get used to it!

	 

	    A GOOD DAY TO DIE HARD is well worth the price of admission.  After 25 years, the series is still a great ride!  Like the original, Bruce Willis brings John McClane to life with gusto.  Like the posters say, YIPPEE KAY YAY, MOTHER RUSSIA!

	 

	 

	Movie Site: http://www.diehardmovie.com/

	 

	The Selig Rating Scale:

	 

	FULL PRICE – Excellent movie, well worth the price

	MATINEE – Good movie

	DOLLAR – OK movie

	CABLE – No need to rush. Save it for a rainy day.

	FREEBIE – Good that I saw it on the big screen but wish I hadn't paid for it.

	COMMERCIAL TV – Commercials and cutting to the allotted time will not hurt this one.

	FORGET IT! – Bad. If you see this one, do yourself a favor and keep it to yourself.

	GET YOUR TORCHES – BAD! – Burn the script, the writer, the director and maybe even the actors!

	 

#### A GOOD DAY TO DIE HARD
A GOOD DAY TO DIE HARD

	 

	By Gary Murray

	Starring Bruce Willis, Jai Courtney and Sebastian Koch

	Written by Skip Woods

	Directed by John Moore

	Running time 97 min

	MPAA Rating R

	Selig Film Rating Cable

	 

	Bruce Willis has gone from wise-cracking TV show star to wise-cracking multi-million dollar motion picture star.  Some of his better known roles are in The Fifth Element, The Sixth Sense and Pulp Fiction.  Arguably his greatest character is John McClane from the Die Hard series.  This is the fifth installment in the series that has been going on for twenty years.

	The film starts with John McClane (Bruce Willis) and his son John Jr. (Jai Courtney).  Very soon, we discover that the younger man is in a lot of trouble in Russia.  Dad does what every father would be expected to do, go and support his son. 

	Once in Russia, we soon begin to discover that all is not what it appears to be.  John Jr. is a CIA agent and he went undercover to prison to befriend and spring Komarov (Sebastian Koch) the head of a group of bad guys who may or may not be tied with the ruling judicial body.  The group smuggles weapons.  It seems that the CIA wants a file that Komarov has hidden.  Komarov wants to get himself and his daughter Irina (Yuliya Snigir) out of the country.

	In what is easily the best moment and strongest beat of A Good Day to Die Hard, there is a giant chase between John, John Jr. and a group of very heavily armed bad guys.  They all tear down the streets of Moscow, destroying as many cars as Landis did in The Blues Brothers.  This is a melee of dangerous driving and action packed flips and spills, just the kind of set piece expected in these thrillers.

	Then the film begins a slow drag to the end.  The McClane team soon finds that everyone is double-crossing everyone else.  Where Dad senses the worst in everybody, his son is duped more than once.  This says very little for the training of the CIA.  The two men must put aside their differences and work together to get the people who are chasing Komarov.

	The movie limps along to the giant confrontation in a part of the former USSR that is known for not being too environmentally friendly—Chernobyl.  Our heroes go to save the day without hazmat suits.  It seems that nuclear radiation is no match for the testosterone of two McClane boys.

	A Good Day to Die Hard is the fifth installment in the franchise.  The original Die Hard (1988) was a rip-roaring action piece about a normal guy thrown into an abnormal situation.  It was full of great action and cleaver lines.

	This time out it just seems tired.  There is no snappy dialogue and no cleaver twists.  Skip Woods (Swordfish, Wolverine) has done better work than this film and the weakness of the script cannot be saved by recycling lines from other and better motion pictures.  Director John Moore made both Behind Enemy Lines and Flight of the Phoenix, both films that has some good action sequences but little else.  Here, he shows much of the same—a great chase and a giant explosive ending.   

	Where the last episode just tried too hard, this version feels like 3rd rate James Bond.  One great chase scene does not make for a great movie.  Anyone who has seen a movie will not be surprised by all the ‘surprise twists’.

	The question begs to be answered—do we need another Die Hard flick? By the time James Bond made it to the fifth outing, the cleverness had worn bit thin.  It took some new blood and new directions to save the franchise.  This time out, A Good Day to Die Hard feels more along the lines of the wreck that was A View to a Kill than the cleverness that was Dr. No. 

	But Bruce Willis does look great as John McClane.  Where the other 80’s action stars either look too tired or too jacked on anabolic steroids, Bruce has aged a bit more gracefully into senior citizenship.  This is the third 80’s action star to make a comeback in the 21st century and is easily the most believable. 

	Jai Courtney does his level best to go toe-to-toe with Bruce and mostly succeeds.  It is a tall order to have to be the next generation of action hero but the young actor does his best.  It is more of a valiant effort than a genre defining moment.

	This film is a programming effort to be the anti-Valentine’s Day flick.  Where all the chicks are going to split their attentions to Safe Haven and Beautiful Creatures, the groups of guys and couples where the man is in control will all head to the Cineplex to see stuff ‘blow-up good’.  It becomes more of a thrill ride than a film.

	Lastly, here’s a drinking game to play while watching this Die Hard flick.  Every time Bruce mentions that he is on vacation, take a drink.  In 90 minutes, you will be totally hammered.  And being totally hammered is the best way to enjoy this flick.

#### A GREAT SOCIETY – Interview with Filmmakers Stacy Goldate and Craig A. Colton
A GREATER SOCIETY is a feature documentary to inspire voter turnout.

	Here is our Interview with the filmmakers behind the documentary.

	

	Inside the gates of Wynmoor Village are three miles of manicured lawns lined with palm trees, a golf course, and carefully maintained condominiums. At first glance, it’s just another  retirement community where elders go to enjoy their golden years relaxing by the pool and taking ceramics classes; but look further and you’ll see that the people who live in this community share something unique: the power to have a real impact on national politics.   A GREAT SOCIETY WEBSITE.

	Documentary filmmakers Stacy Goldate and Craig A. Colton spoke with me about their personal connection to the Wynmoor Village, the unique nature of filming in a gated community, the importance of voter turnout, and why their production company is called Deranged Squirrel!

	Here is my chat with Stacy and Craig.

https://seligfilmnews.com/wp-content/uploads/2018/09/A-Greater-Society-Filmmakers-Craig-Colton-and-Stacy-Goldate.mp3

	*Sorry If I sound like Death, I was a bit under the weather.

	With the 2018 midterm elections approaching this documentary is a perfect push to showcase why we need to vote.  

	The documentary is now on VOD.  

	For more information please go to –

	A GREAT SOCIETY 

	 

#### A HERO – A Review by Cynthia Flores
A HERO – A Review by Cynthia Flores
Have you ever heard the sarcastic saying, “No good deed goes unpunished?”  Well, this new film from Academy award-winning Iranian writer and director Asghar Farhadi is a great example of doing something good and having it blow up in your face. 
Rahim (Amir Jadidi) is in debtors’ prison because he was unable to repay a personal loan to his ex-brother-in-law Bahram (Mohsen Tanabandeh). In Iran, it’s a common practice to be locked away for not paying your bills. I think half of America would be in prison if we did that here.
Rahim is on a two-day leave and meets up with his girlfriend Farkhondeh (Sahar Goldoost). She found a woman’s purse with several gold coins in it on the street near a bank. Her first thought was to sell the coins and help pay for Rahim’s release. However once Rahim finds out that he does not have enough money from the coins to cover all the debt he decides to look for the owner instead. At the same time, he begs Bahram to let him out of jail permanently to work and earn the money he owes him. Bahram hates Rahim and is not inclined to do him any favors.  
On his way back to prison Rahim posts a lot of flyers up on the street where the purse was found. He posts the prison office phone number and his name and states they must describe the bag and what is in it. He leaves the bag with his sister Malihe (Maryam Shahdaei), who is taking care of his son while he is incarcerated. When a woman comes forward and gratefully claims the purse with the gold Rahim is happy he chose to do what was right.
The woman calls the prison officials to let them know what a great thing Rahim did. The fact that he was in prison for owing money and did not keep the gold that was found is lauded as a heroic act. The press gets involved and a charity wants to help raise the money to pay his debts. All this infuriates Bahram who thinks that this was all set up as a plot by Rahim to get out of jail.  
The film then takes us on Rahim’s quest to prove he did everything with good intentions only. However, he is either the most unlucky sad sack in the world or his own worst enemy. He often loses his temper over all the confusion.  
Asghar Farhadi has a natural talent for taking a simple story and making it compelling and thrilling. All without any special effects or over-the-top swishing camera movements. His ability to closely examine his culture’s rules and social mores through relationship-centered stories is what makes his movies so universally appealing. 
I give A Hero a 4-star rating. It’s an intimate and well-captured look into a culture we know little about. 
 
Directed by: Asghar Farhadi
Written by: Asghar Farhadi
Rated: PG-13
Selig Rating: 4 Stars
Running Time: 2h 7min
Drama / Foreign Language with subtitles
Limited Theatrical Release: January 7th Angelika Film Centers in Dallas and Plano, The Grand Berry Theater in Fort Worth and exclusively on Amazon Prime Video January 21
Starring: Amir Jadidi, Mohsen Tanabendeh, Fereshteh Sadre Orafaee, Sahar Goldoost
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### A HERO – Review by Gadi Elkon
Asghar Farhadi’s latest film, A HERO, took home the Grand Prix from Cannes Film Festival.  Our Gadi Elkon hopes you will check out this moving movie.  Here is the full review.

Asghar Farhadi’s films all tackle the human experience through believable stories of struggle mainly set in his homeland of Iran.  Farhadi’s truthful story telling is of the sort that shakes the establishment’s view of the everyday people that inhabit our world.  A HERO is a simple tale of a few days in the life of Rahim.  Rahim is an inmate due to debt in the town of Shiraz, Iran.  He is allowed a two-day furlough to try and raise the funds to pay off his debt to a local merchant who is his former father-in-law.  Rahim’s journey home is filled with elements of shame and humiliation, but his upbeat and quiet nature make him completely sympathetic as a character.  During this furlough Rahim is able to further see his girlfriend, who in secret is trying to help him.  Rahim’s son is being raised by his uncle and aunt who Rahim stay with during these two days.  The film follows as Rahim becomes recognized for a good deed that he orchestrated and ultimately blows up in his face.  This world wind tale sees Rahim go from honored figured to dreg of his family and community.
Asghar’s films have an amazing quality in which the stories don’t always end up with a happy closure.  Rather his films are slices of reality that hold a more impactful resonance.  Setting the film in the more tourist friendly and lovely Shiraz rather than the bigger Tehran helps add another character to the film. The lovely mountain scenery expands the film’s scope even further.  Director of Photography Ali Ghazi both captures the vast setting and the intimate family abodes we visit.
Amir Jadidi’s subtle performance is rich in its ability to disarm him and still allow for moments of pure bliss or devastation.  His ability to charm his undeniable and the interactions with his son and girlfriend showcase a real passion to love.  The damning cloud of his pending re-jailing allows for the suspense quality of the film.  Mohsen Tanabandeh, as Bahram, delivers a real gem as the indifferent figure that has forced Rahim to be jailed for the debt owed.  Bahram’s toughness is a such an important element to the film’s never-ending struggle. The women in the film are amazing in showcasing the culture elements of Iran and also acting as the heartfelt belief in Rahim.  His sister Malihe (Sahar Goldoost) and girlfriend Farkhondeh (Sahar Goldoost) standout for their tremendous performances.  The story though hits you hardest whenever Rahim’s son, Siavash (Saleh Karimai), is involved in the scene.  Siavash has a strong studder that he tries his best to battle through in the film.  This studder is an element in the film that elicits sympathy, confusion and even is used as a sort of weapon for the battle of Rahim’s freedom.  Rahim’s reaction to his son’s studder holds such depth in that he appears both humiliated but also later strengthened by his son’s constant power.  Along with the studder element of the character Ashgar Farhadi shares a Spielberg-like quality to capture the innocent point-of-view of children in a majority of his films.  He showcases so much heart by holding on shots of children’s eyes as they watch others communicate.  Seeing Siavash’s quiet view of the battles and struggles of his father are at times heartbreaking.
A HERO is not Farhadi’s grandest film, but all of his work holds such truth and reality that they stand well above most other movie experiences.  Rahim and his family’s story is well worth your viewing and you will go away from this movie truly moved.
The film is out in theaters today and on Amazon Prime Video January 21st, 2022
 

#### A HIDDEN LIFE – A Review by Cynthia Flores
A HIDDEN LIFE – A Review by Cynthia Flores
You only need to know one thing to want to go see this movie, it’s written and directed by Terrence Malick.  He is not a prolific filmmaker, but his films are always profound and captivating.  And his new movie A Hidden Life is based on real events.  Malik tells the story of an unsung hero named Franz Jägerstätter (August Diehl).  He was a quiet man who refused to fight for the Nazis in World War II.  He saw what his countrymen were up to in basic training and how evil their leader was.  When the  Austrian peasant farmer is faced with the threat of execution for treason, it’s his unwavering faith and his love for his wife Fani (Valerie Pachner) and his children that keep his spirit alive.  Even when Franz is told after months of torture and imprisonment that all he has to do is sign the paperwork that says he pledges allegiance to the Fuhrer to be set free, he will not.  Franz pushes it aside saying, “I cannot and may not take an oath in favor of a government that is fighting an unjust war.”  That is the kind of man this movie exposes to the world.  Franz, who was a solitary witness, died with no expectation that his sacrifice would make any difference to anyone.  He knew that beyond his family and community, his death would go entirely unnoticed and have no impact on the Nazi movement or hasten the end of the war.  He thought he would soon be forgotten.  He wrote while in prison “…who would remember or care about the anti-Nazi gesture of an uneducated farmer?”   Luckily for us, Terrence Malick has put his sizable storytelling skills to work, telling his beautiful story of conviction.
A Hidden Life has lush, mostly natural light cinematography.  This beautiful looking film was done by the director’s favorite cinematographer Jörg Widmer.  He is quoted as saying, “We were prepared to keep the camera gear small.  The lighting gear consisted mostly of bounce boards and blacks.”  The fact that this fantastic looking film was created in such a way is mind-blowing.  The score for the film is from composer James Newton Howard.  He says the director gave him the idea of incorporating sounds that the filmmaker captured during production such as church bells from villages, cow and sheep bells, the sawmill, sounds from the prison, and scythes in the fields.  Howard said, “I took many of those sounds and processed them into musical elements that are woven throughout the score.”  Then Howard’s use of an orchestra to score the film was brilliant in reflecting the vistas of Franz’ village and farmland.  With a solo violin, performed by the violinist James Ehnes, playing throughout the movie that embodies the connection between Franz and Fani.
I could totally nerd out by getting into all the details of how they made the film and compare them to his other movies, but instead, I would urge you to see it on the big screen for yourself.  In A Hidden Life,  a quote by George Eliot is referenced that really captures the heart of the film. “..for the growing good of the world is partly dependent on unhistoric acts, and that things are not so ill with you and me as they might have been is half owing to the number who lived faithfully a hidden life, and rest in the unvisited tombs.”
I give A Hidden Life an A rating and know it will be a contender come awards season.
 
Directed by: Terrence Malick
Written by: Terrence Malick
Rated PG-13
Selig Rating A
Running Time: 2hr54min
Biography/ Drama
Limited Release: December 20th  Landmark Magnolia, The Angelika Film Center Plano
Starring: August Diehl, Valerie Pachner, Matthias Schoenaerts, Bruno Ganz
 
The Selig Rating Scale:
A – Excellent movie, well worth the price.
B – Good movie
C – OK movie
D – No need to rush. Save it for a rainy day.
F – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### A JOURNAL FOR JORDAN – A Review by Hollywood Hernandez
A JOURNAL FOR JORDAN – A Review by Hollywood Hernandez
Denzel Washington is brilliant as the director of A Journal for Jordan. It will make all single viewers green with envy with the relationship between Charles (Michael B. Jordan) and Dana (Chante Adams). It’s a romantic love story, but it also concentrates heavily on the sacrifices our military has to make when deployed overseas and the sacrifices of loved ones left back home as well. For example, when Dana gives birth to the couple’s son, Jordan, Charles is in the Middle East with no idea he will be allowed to come home. 
The relationship between the two is also realistic, showing the trials and tribulations of a new couple. Dana and Charles also have some funny moments, like the way she is always teasing him about his raggedy sneakers and the casual way he dresses (she eventually buys him a suit). Dana also has issues dating a military man because her father is a retired military officer who was unfaithful to her mother. The movie has substance. It’s not just two good looking people falling in bed with each other. 
The movie is based on a real army vet, First Sergeant Charles Monroe, who was killed in the Gulf War. While in battle, Charles keeps a journal for the unborn son teaching him life lessons like how to be a decent man and all of the philosophies of life that he believes in. His mother gives him the journal when he’s 16 and he stays engrossed in the journal learning about a father he never knew.
Washington puts some really likable characters up on the screen. You root for Dana and Charles on their relationship and later in the film you root for young Jordan to learn all that he can about his deceased father. Denzel deserves an Oscar nomination for this film.   
 There’s a lot of depth to this movie and it’s also filled with simple lessons of life, like the importance of having your affairs in order and keeping a will.
The movie is a tearjerker and a very heartfelt look at military life. I’m going back to watch it again. The movie is rated PG-13 and runs a little bit over 2 hours. On my “Hollywood Popcorn Scale” I rate A Journal for Jordan a JUMBO. 

#### A LEGO BRICKUMENTARY – A Review by John Strange
 

	A LEGO BRICKUMENTARY

	 

	By: John ‘Doc’ Strange

	 

	Directed by: Daniel Junge and Kief Davidson

	 

	Subjects:  Jamie Berard, Paul Chrzan, Dale Chasse, Nathan Sawaya, Stephen Pakbaz, Alice Finch

	 

	MPAA Rating: G

	 

	Selig Rating: Full Price

	 

	Runtime: 92 Min.

	 

	 

	LEGOs have been in our culture for a long time.  They were created by a Danish toy maker by the name of Ole Kirk Christiansen in 1949.  The LEGO Group produced approximately 27 billion LEGO elements at their factory in Billund, Denmark, 60 billion world-wide.  The bricks were the original item with other elements added over the years.   This documentary follows the evolution of the toy from its humble beginnings through the years as humble brick has matured into the mega-toy of today.

	 

	The original market was kids.  What the developers never took into account that those children would grow into adults who would find new ways to use the toy.  These adults became known as master builders.  They used them to build skyscrapers and cities, space stations and rockets ships, and anything else a person could imagine.

	 

	I loved watching as the Jørgen Vig Knudstorp, CEO of The LEGO Group, told us about the company’s decision to embrace the fan’s ideas for enhancements.  This opened up a universe full of ideas as those fans jumped in with both feet.

	 

	The film talks to many LEGO employees and fans as they give us a better look into the company and its product.  In fact, some of the fans have become LEGO employees.  Each person gave us a different view at changes in the product.

	 

	Jamie Berard, Design Manager Specialist, LEGO Creator Expert, started as a fan and joined the firm 9 years ago.  He was involved in LEGO Creator 3 in 1 and LEGO Creator Expert.  In his free time he still creates with the bricks, one of his most recent creations was a 3000 brick Sydney Opera House.

	 

	Another who started as a fan was Paul Chrzan, a LEGO Master Builder.  Since 1988, he has worked for LEGO in the 3D Model Shop.  He designs and builds large-scale LEGO models and experiences.  He managed the team of model builders the designed and produced many of the LEGO models that appeared in the live action scenes of The LEGO Movie.  This information led to an interview the directors of The LEGO Movie, Phil Lord and Christopher Miller.

	 

	Each of the people interviewed had an interesting insight into the growth of the company and the phenomenon.  Some of the stories revolved around an event called the BrickFair LEGO Expos.  They are fan conventions for LEGO.  To quote the Expo website, “BrickFair celebrates only LEGO brand products – no clones.”  The convention celebrates LEGO with chances for fans to talk to each other, play with new products, and see the works of amazing artists. 

	 

	One of the artists showcased in the film is the mother of two young boys, Alice Finch.  She realized that the bricks weren’t just for her boys and began building with them, too.  Her first creation was the Great Hall from Hogwarts which eventually grew into a 400,000 brick version of the entire castle, complete with the Quidditch Pitch.  In the film she is shown winning the BrickFair competition for her creation of Rivendell.  It was as beautiful as it was complex.  She is a member of AFOL, the Adult Fans of LEGO.

	 

	One of the other ways that LEGO finds new products is via a competition run by LEGO CUUSOO (Now called LEGO Ideas).  In the film we meet Stephen Pakbaz, a Mechanical Engineer at JPL (Jet Propulsion Laboratory).  His submission to CUUSOO was the Mars Curiosity Rover.  He worked on the team at JPL who developed the unit that was sent to Mars and then decided to build one in LEGOs for submission.  The rover is amazing.  Its official LEGO designation is NASA Mars Science Laboratory Curiosity Rover, item # 21104.

	 

	Other masters interviewed were artists such as Nathan Sawaya.  Nathan is shown having an art showing of his work in the bricks.  Some of the pieces are 2D representations of famous paintings and others are amazing 3D works.  Each is truly a work of art.

	 

	One of the best examples of where LEGOs are used today was when they talked about using the kits to help autistic youngsters.  The doctors have done studies that found that the kids working on challenges with LEGOs in a team environment did better than those who didn’t.

	 

	All in all, this extended look at the world of LEGOs is eye-opening.  I never imagined that all of this was out there.  This film is a wonderful stroll through a world that I missed out on.  I never had any LEGOs and now I think of that as a bad thing.  This is an excellent film. 

	 

	 

	Movie Site: http://radiustwc.com/releases/a-lego-brickumentary/

	 

	 

	 

	The Selig Rating Scale:

	 

	FULL PRICE – Excellent movie, well worth the price

	MATINEE – Good movie

	DOLLAR – OK movie

	CABLE – No need to rush. Save it for a rainy day.

	FREEBIE – Good that I saw it on the big screen but wish I hadn't paid for it.

	COMMERCIAL TV – Commercials and cutting to the allotted time will not hurt this one.

	FORGET IT! – Bad. If you see this one, do yourself a favor and keep it to yourself.

	GET YOUR TORCHES – BAD! – Burn the script, the writer, the director and maybe even the actors!

#### A Look Back at 2017 and a Glimpse to 2018
2017 took a bit longer to unravel itself, but in the end it came to life as a rather impactful year in film.  I'll take a look at some pivotal elements of 2017, reveal my favorites in film, and also give you a glimpse into what's to come for 2018.  First up I'll give a shout out to another year in which women are once again NOT represented or respected. 

	Where's the Love?

	In a year where Patty Jenkins gave us the most enjoyable and relatable superhero movie, folks like the Hollywood Foreign Press gave no love.  Granted AFI did the right thing and noticed Patty's incredible jump from Monster to box office force with Wonder Woman.  But Dee Rees (Mudbound), Greta Gerwig (Lady Bird), Niki Caro (The Zookeeper's Wife), Julia Ducournau (Raw), and of course icon Kathryn Bigelow (Detroit) all had quality material that hasn't been acknowledged in director nominations.  Dear Golden Globes how is Ridley Scott re-cutting his film a better value than Lady Bird or Mudbound?  Hopefully the Oscars will at least take note that a screenwriter award does not make up for a lack of love in the director chair.  Women are still hugely under represented in the industry and need to be given more chances.  And not just on the big screen, TV has done a better job but we need to see more women represented in the Emmy's. Some huge TV empires and series are under the watchful eyes of women and I'm not sure that folks realize it.  There are too many talented ladies to not getter bigger and better material.  Dear DISNEY…Star Wars??  Here are just a few ladies that you need to keep in your lexicon for 2018:  Ava DuVernay, Reed Moreno, Gina Prince-Bythewood, Meera Menon (Was I the only one watching SNOWFALL this year!), Sara Colangelo, Amy Scott, Alexandria Bombach, and Augustine Frizzell.  Big studios are the worst examples of those at fault.  With Wonder Woman's success, it's a freaking travesty that only Patty Jenkins sequel to her film is the only other female directed film slated for 2018 release from Warner Bros WTF!!!!  Hollywood wake up to the sad truth, you're sexist as hell. More respect for the females who are making our films and TV shows come to life.

	GET OUT and LADY BIRD Show Indies Can Kick Ass

	First Jordan Peele gives us the first ever $100 million film from a black writer-director!  But Greta Gerwig's coming of age story owns Rotten Tomatoes!  Yes, Hollywood is a billion dollar industry where a handful of studios own the market.  The Indie scene though has started to truly show just how powerful it can be.  In a world that is seeing a huge foreign push in the filmmaking world, indie film is the last vestige of American bold filmmakers.  Imports do well with critics but rarely survive in our theaters.  But the online scene has certainly awakened many eyes to filmmakers from around the world.  The online streaming service world has a been a huge game changer and with major studios looking into that service system the iceberg may be bursting before us.  Overall, the Oscars can really put a big stamp on the filmmaking world by recognizing GET OUT, LADY BIRD and even a darling film like Sean Baker's Florida Project instead of the usual suspects of old white folks making the same old shit.  Golden Globes did highlight some films and folks like the Gotham Awards, WGA, and others have shown some great choice-making skills, but we need to see the big bald goldie do justice to the best of the best.  

	TV/Streaming Owns our world

	Who isn't watching something awesome on TV or binge watching the latest shows on Netflix, Amazon, or Hulu?  Here are just a few shows I've enjoyed in 2017.  

	Stranger Things 2 – Bigger and better season 2 showcases a real force in the TV realm.  The death of Bob (aka SamWise) was heartbreaking.

	The Crown Season 2 – The show got deeper in the lives of the royals and gave us a glimpse of a marriage held together through tradition and pure will of Elizabeth.  Overall one of the most majestic things on TV, not a bad performance in this incredible show.

	Big Little Lies – Didn't want to watch it.  Thank God I was wrong.  Who would have realized the all-star cast would give us 8 suspense-filled piece of pure gold.  The soundtrack is also A+

	Star Wars Rebels – A hell of a lot better material for Star Wars true fans.  I mean skip the film and catch up on the animated TV shows!

	Dark –  German time-traveling thriller dabbles in the world of horror, suspense, and sci-fiction like other no show.  And one of the best cliff-hanging enders to a season.

	The Keepers – Documentary TV at its finest.  Reminding us the scariest villains are often the ones we trust the most.  

	FAVORITES IN FILM 2017 BY CATEGORY –

	Favorite Cinematography:

	Roger Deakins – Blade Runner 2049 – The master dives into Sci-Fi and gives us color, clarity and compassion.  Especially love his take on Las Vegas 2049.

	Sayombhu Mukdeeprom – Call Me By Your Name – Subtly mixed with unique style choices makes for something intimate and grandiose in its view of first loves.

	Hoyte Van Hoytema – Dunkirk – By air, by land and by sea all in one beautifully shot film.  His lens is our eyes, ears and nose in the most immersive war film ever.

	Rachel Morrison – Mudbound – Never has a film given us the dirt and grim of the earth in such a moving powerful visual sense of who we are as humans.  

	Dan Laurtsen – The Shape of Water – Del Toro's sense of wonder with Desplat's score allows for Laurtsen to give us another unique view of what it means to love.

	Favorite Adapted Screenplays:

	Virgil Williams and Dee Rees – Mudbound – Williams and Rees capture the many points of view while also connecting with the powerful interpersonal relationships between the characters.  

	James Ivory – Call Me By Your Name – Gripping look at a the coming of age tale seen through the emotions of our young lead.

	Scott Frank and James Mangold – Logan – Perfectly concise look at the bleak and dark world of the graphic novel that gives the perfect closure to our favorite marvel hero.

	Angelina Jolie and Loung Ung – First They Killed My Father – Brutally honest take on the memoir of a survivor of Khmer Rogue transports us into her genocidal horror.

	Hampton Fincher and Michael Green – Blade Runner 2049 – Fincher dives back into the world with precision and deft vision while Green gives the heartwarming closure we need for our Deckard.

	Favorite Original Script:

	Martin McDonagh – Three Billboards Outside Ebbing, Missouri – Dark wit and warm hearted take on small town america from the UK's majestic McDonagh.

	Guillermo Del Toro & Vanessa Taylor – The Shape of Water – Unorthodox love tale delves into the best romantic elements while all done non-verbally.

	Jordan Peele – Get Out – A twist on racial division hits the nation's nerver pefectly.

	Greta Gerwig – Lady Bird – Gerwig's reality gives new form and merit to an old coming of age story.

	Steven Rogers – I, Tonya – Tackling the other point of view of Harding v Kerrigan fued shockling filled with incredible wit and a dark sense of itself.

	Favorite Director:

	Martin McDonagh – Three Billboards Outside Ebbing, Missouri – From the deep eyes of McDormand to the igonorant racial mind of Rockwell we see a Director capture so much so effortlessly.

	Jordan Peele – Get Out – Fearless take on a subject matter done to push our buttons and open our eyes.

	Greta Gerwig – Lady Bird – Honest and earnest look at what it means to jump from child to adult.

	Sean Baker – Florida Project – They say never to work with animals and children.  Baker says f that and even breaks into Disney World = F'ing badass.

	Christopher Nolan – Dunkirk – A bit of Memento with it's crazy timelines and a whole lot of silence in a war film that shocked and intrigued more than any has since Spielberg landed on Normandy.

	Favorite Supporting Actor:

	Armie Hammer – Call Me By Your Name – Boastfulness turned Sentaimental in a complete character that allows the lead to shine brightest.

	Willem Dafoe – Florida Project – Mindful overseer who is our heart and soul in this tough look at reality.

	Sam Rockwell – Three Billboards Outside Ebbing, Missouri – Typical dancing untypical racism and overall brilliance.

	Patrick Stewart – Logan – Professor X completely broken still shines with his sense of hope and love.

	Mark Rylance – Dunkirk – In a film about silence this actor's determination is all of merit we need to believe in the movie's importance.

	Favorite Supporting Actress: 

	Laurie Metcalf – Lady Bird – Stunning performance of a struggling mother guiding her daughter into the harshness of adulthood.

	Allison Janney – I, Tonya – Mean nature and anger has never been so compelling on the big screen.

	Mary J. Blige – Mudbound – From the dark glasses to slow deliberate pace Blige is both matriarch and humble servant.

	Bria Vinaite – Florida Project – A child mother pushed to the brink of breakdown dives darker and deeper than anyone expected.

	Elizabeth Olsen – Wind River – The fish totally out of water in this wonderful film from Taylor Sheridan.  She surivives and thrives under the harshest of conditions.

	Favorite Actor: 

	Gary Oldman – The Darkest Hour – Prosthetics made the visual side work but Oldman gave us the Winston we needed in this perfect role.

	Timothee Chalamet – Call Me By Your Name – Youth doesn't stop Chalamet from showcasing tremendous physical and emotional maturity.  

	Hugh Jackman – Logan – Comes full circle with his character like we never expected but so gladly embraced.

	Daniel Kaluuya – Get Out – His eyes alone carry the film and yet his overcoming of fear is grandest element of this film.

	Ansel Elgort – Baby Driver – Fun fluid role that has an actor at 100 mph both mentally and phyiscally.

	Favorite Actress: 

	Frances McDormand – Three Billboards Outside Ebbing, Missouri – Pure power defies all odds and everyone who stands in her way to gives us the best damn foul mouthed lead in a film all year.

	Gal Gadot – Wonder Woman – More than a sexy outfit the Israeli captured our hearts and minds with this powerful take on Wonder Woman.

	Margot Robbie – I, Tonya –  Dived into the dirty realm of Tonya Harding to give us a tour-de-force of a role.

	Sally Hawkins – The Shape of Water – Mezmerizing without a single word uttered.  

	Brooklynn Prince – Florida Project – 7 year old makes Shirley Temple look insignificant and useless in comparsion.  What a total adorable bad ass.

	 

	3 Favorite Festival Finds: 

	Gook – Still waiting for Release, but twice now I've told you about this GEM!

	Patticakes – Interview 

	The Landing – Interviews 1, 2, & 3 

	 

	FAVORITE FILMS OF THE YEAR:

	17.  THE ZOOKEEPER'S WIFE

	16.  THOR: RAGNAROK

	15.  YOUR NAME

	14.  LOGAN

	13.  I, TONYA

	12.  FIRST THEY KILLED MY FATHER

	11.  FLORIDA PROJECT

	10.  BABY DRIVER

	9.  BLADE RUNNER 2049

	8.  GET OUT

	7.  DUNKIRK

	6. LADY BIRD

	5. CALL ME BY YOUR NAME

	4. FREEFIRE

	3. MUDBOUND

	2. WIND RIVER

	1. THREE BILLBOARDS OUTSIDE EBBING, MISSOURI 

	 

	A Glimpse Into 2018: 

	5.  THE ISLE OF DOGS

	4.  THE KINDERGARTEN TEACHER 

	3.  I THINK WE'RE ALONE NOW

	2.  THE OSLO DIARIES

	1.  ANNIHILATION

#### A LOVE SONG – Interview with Actor Wes Studi
Max Walker-Silverman’s intimate tale of long lost connection, A LOVE SONG, is a showcase for veteran actors Dale Dickey and Wes Studi.  Wes chatted with our Gadi Elkon about his role as Lito, getting to work with Dale, breaking out the guitar, and even had time to talk a little about the hit show RESERVATION DOGS.

At a campground in the rural West, a woman waits alone for an old flame from her past to arrive, uncertain of his intentions while bashful about her own. Starring Dale Dickey and Academy Award®-winner Wes Studi, A Love Song marks the lyrical feature debut of writer-director Max Walker-Silverman.
Wes Studi has been a main-stay in the film world since his breakout as the “toughest pawnee” in Dances With Wolves.  Wes and Gadi dived into A Love Song and why he was so game to tackle the role.  They also discussed his time on the groundbreaking Reservation Dogs show and even championed an “old guy” spin-off!
Here is our interview with Actor Wes Studi:

A Love Song is in select theaters now and for more info, BLEECKER STREET.

#### A MAN CALLED OTTO – A Review by Cynthia Flores
A MAN CALLED OTTO – A Review by Cynthia Flores
‘I went into this screening for the new Marc Forster film with an attitude. I am a massive fan of the original 2015 Swedish Oscar-nominated film A Man Called Ove, which this film has been remade into English from. Usually, remakes of hit foreign language films are hit and miss, mostly miss. However, this time I was pleasantly surprised that it worked. The new American version of the story A Man Called Otto, starring Tom Hanks, is not a scene-by-scene rip-off of the original but something of its own. The Swedish film was hilarious as well as touching. Director Marc Forster seems to have gone with the story’s darker side and the loss behind Otto’s need to kill himself. There are still some funny moments throughout the movie, but they support the bittersweet memories of Otto and his wife. 
A Man called Otto tells the story of Otto Anderson (Tom Hanks). He is a grumpy old man. Following his forced retirement and the loss of his beloved wife, Sonya (Rachel Keller), he no longer sees purpose in his life. Otto is ready to end it all, but his well-thought-out plans are interrupted when a young immigrant family moves into the cul de sac. Otto meets his match in quick-witted and very pregnant Marisol (Mariana Treviño). Otto also shows a tender side with her two young daughters. Marisol feeds him homemade goodies as she challenges him to see life differently. The two form an unlikely friendship that turns his world around. Showing that family can sometimes be found in the most unexpected of places.  
The film shows director Marc Forster’s special touch with stories revolving around odd relationships, such as his 2001 break-out film Monster’s Ball. So the scenes Otto has with Marisol, or the flashback moments with a young Otto (played by Tom’s actual son Truman Hanks) and his wife, are endearing. They have a tenderness and ring of truth that the director can bring out of his actors. My main issue is that Tom Hanks is never genuinely believable as a grumpy old “Get off my lawn” kind of guy. In fact, Mariana Treviño as Marisol steals the show anytime she is on screen. 
Overall, The English language A Man Called Otto won me over by creating its own thing from its source material. But, of course, comparisons are inevitable. That said, the Swedish film is hands down the best version of this simple story. But, the new American version will find an audience that has never seen the original and does not know what they are missing. 
I give A Man Called Otto 4 stars. It’s a sweet and tender film about love, loss, and life that will kick off the new year nicely. So be sure to take your mom and dad or grandmother and grandfather to the theater with you to enjoy this new Tom Hanks film.
 
Directed by: Marc Forster
Written by: David Magee, (novel) Hannes Holm
Rated: PG-13
Selig Rating: 4 Stars
Running Time: 2hr 6min
Drama / Comedy
Wide Release: Only in theaters January 6th
Starring: Tom Hanks, Mariana Treviño, Rachel Keller, Manuel Garcia-Rulfo, Truman Hanks, Mike Birbiglia
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### A MAN CALLED OTTO – Review by Gadi Elkon
Marc Forster’s sincere remake of ‘A Man Called Ove’ is a real early treat for 2023.  Here is my full review of A MAN CALLED OTTO.

Based on the # 1 New York Times bestseller “A Man Called Ove,” A Man Called Otto tells the story of Otto Anderson (Tom Hanks), a grump who no longer sees purpose in his life following the loss of his wife. Otto is ready to end it all, but his plans are interrupted when a lively young family moves in next door, and he meets his match in quick-witted Marisol. She challenges him to see life differently, leading to an unlikely friendship that turns his world around. A heartwarming and funny story about love, loss, and life, A Man Called Otto shows that family can sometimes be found in the most unexpected places.
The “Americanization” elements of the film help mirror wintery Pittsburgh with it’s Swedish counterpart in the original film. The characters are what really shine though.  Whether the quirky adorable performance of Cameron Britton as Otto’s neighbor Jimmy or the inclusive performance by Mack Bayda as Malcolm we are treated to touching portrayals.  Tom Hanks busy 2022/23 may have bigger films or more exciting characters, but this movie has his best performance of this last crop of Hanksian cinema.
The heart of the story owes itself to two strong female performances.  Rachel Keller as Sonya is seen through flashbacks throughout the film showing the love story behind Otto.  Rachel’s understated performance is shot in a timeless quality that allows her emotional impact to resonate quite impressively in the film.  Mariana Trevino as Marisol is a legit FIND of a performance in the film.  If anyone commands the screen more than Tom Hanks its the tiny dynamo that is Trevino.  The tension, the love, the fear the emotional connection, is felt throughout the film and heightened around Trevino’s performance as Marisol.  The film is worth just watching Tom with Mariana!
Now add in a subtle yet powerful score by the great Thomas Newman and the crisp visual touch of Matthias Koenigswieser and Forster’s remake has a real cinematic punch.  A Man Named Otto might not mirror the award success of it’s predecessor but that doesn’t mean it isn’t worthy of such recognition.  This early 2023 gem is a film that will stick with you and has a chance to really impart true empathy.  All that from a story of a real grumpy old dude!
The film is in select theaters today with a full release next Friday January 13th.  #AManCalledOtto
A MAN CALLED OTTO
Directed by: Marc Forster
Written by: David Magee screenplay based of Fredrik Backman’s novel ‘A Man Called Ove’ and the film based from the novel made by Hannes Holm.
Rated: PG-13
Selig Rating: 4.5 Stars
Running Time: 2hr 6min
Drama / Comedy
Wide Release: Only in theaters January 6th
Starring: Tom Hanks, Mariana Treviño, Rachel Keller, Manuel Garcia-Rulfo, Truman Hanks, Mike Birbiglia
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

Mariana Treviño and Tom Hanks star in Columbia Pictures A MAN CALLED OTTO. photo by: Dennis Mong
Jimmy (Cameron Britton) jogs by Otto (Tom Hanks) in Columbia Pictures A MAN CALLED OTTO. Photo by: Niko Tavernise

#### A MAN OF REASON – A Review by Cynthia Flores
A MAN OF REASON – A Review by Cynthia Flores
Korean superstar Jung Woo-sung is a powerhouse in this film that he not only stars in but wrote and directed as well. He has given us a superb Korean action film with A Man of Reason. It was a fan favorite at last year’s Toronto International Film Festival, and for good reason. It is F*cking awesome in a good guy fighting to survive kind of way.
After spending a decade in prison, Soo-Hyeok (Jung Woo-Sung), a seasoned hitman learns that he has a daughter and now just wants a chance at a normal life with his old girlfriend Min-Seo (Lee Elijah). But his former mob boss Eung-Kook (Park Sung-Woong) known now as the Chairman wants him back in the pack.
The gang has supposedly gone legit and is a big corporation that builds giant malls and luxury highrise buildings. But the people working for the Chairman are still the same ruthless gang of thieves that ran on the streets ten years before. With the addition of new younger, brutal members. They just have an upscale address to work from now.
After Soo-Hyeok, in person, delivers his decision to change his life to the Chairman, he catches the eye of Sung-Joon (Kim Joon-Han). He is a young up-and-coming lieutenant in the group who wants to prove himself to the boss.
The Chairman is not happy about being shunned by Soo-Hyeok but chooses for the time being to simply watch him closely like you would a wild tiger that is out of its cage.
Everything would have been fine but young Sung-Joon takes the fatal initiative of sending merciless assassins known as “the washers”,  Woo-Jin (Kim Nam-Gil) and Jin-A (Park Yoo-Na), after him. Resulting in the death of the woman he loves, Min-Seo, and putting his young daughter In-Bi (Ryu Jian) in peril.
I have heard some of the other reviewers complain about the lack of wall-to-wall action in this film. But I choose to believe that Jung Woo-sung wanted to do something a little slower and with more of a storyline. Besides, the action scenes he does give us are awesome. I don’t want to give away any surprises but I will say there are amazing car chases and brutal fight scenes. Also, you get to hear one of the baddies scream, “Why won’t you die already!” What more could you ask for in an action movie?
I give A Man of Reason 4-stars. It’s a great summer martial arts movie that will have you cheering at the screen. So grab some popcorn with something to drink and enjoy this ode to messing with the wrong dude.
 
Directed by: Jung Woo-sung
Written by: Jung Woo-sung
Rated: NR
Running Time: 1 hr 39 min
Action / Foreign Language/ Drama / Thriller
Release: In theaters only July 5th on demand July 9th
Starring: Jung Woo-sung, Kim Nam-gil, Park Sung-woong, Kim Jun-han, Park You-na, Lee Elijah
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### A MILLION WAYS TO DIE IN THE WEST
A MILLION WAYS TO DIE IN THE WEST

	By Gary Murray

	Starring Seth MacFarland, Charlize Theron, Amanda Seyfried and Liam Neeson

	Written by Seth MacFarland, Alec Sulkin and Wellesley Wild

	Directed by Seth MacFarland

	Running time 116 min

	MPAA Rating R

	Selig Film Rating Matinee

	 

	There is a long history of Western comedies.  Films such as Blazing Saddles, How to Support Your Local Sheriff and The Shakiest Gun in the West are just a few of the Western comedies that have been on the silver screen for over the decades.  Like the Western itself, the genre has been almost lost in the 21st century.  Seth MacFarland, the mad genius behind Family Guy on television and the movie Ted has taken the genre and given it a new spin in A Million Ways to Die in the West.

	Albert (Seth MacFarland) is a simple sheep farmer in 1882 Arizona, a harsh and barren landscape.  He is a rarity in the West, a reasoned man.  Where everyone solves disputes through the barrel of a gun, he tries to find a rational solution.  Albert is in love with Louise (Amanda Seyfried) a doe-eyed girl who doesn’t seem to respect a sheep farmer.  She dumps him for Foy (Neil Patrick Harris) a rich businessman with a fancy mustache.

	On the other side of the story is Anna (Charlize Theron).  She is the wife of bad man Clinch (Liam Neeson), a desperado who shoots before the count of three.  He sends her to Old Stump, Albert’s town, to hide out until the gang back together.

	Almost immediately, Anna and Albert make a connection as friends.  Anna decides to help Albert win back Louise, although he does not understand why.  She thinks that Albert can do better than Louise. But Albert takes on the challenge of a high noon battle with Foy. 

	First, Albert and Anna bond over learning how to shoot.  Albert is amazed by what a crack shot Anna turns out to be.  There are some genuinely funny moments with Albert trying to shoot a gun.  The week before Albert has to have a gun fight with Foy is the most genuine moments of the film.

	But with a title of the film is A Million Ways to Die in the West and that is where most of the comedy is generated.  Time and time again, we see different demises of different town folk, some downright brutal and gross.  Before the credits roll, we see people gored, splattered and gassed to death.  It does become a bit too much by the end.

	The other part of the plot is between Giovanni Ribisi and Sarah Silverman.  He plays the best friend Edward and she plays Ruth, Edward’s girlfriend and a saloon girl.  Some of the biggest laughs come with Ruth dealing with her customers in the saloon AKA the brothel.  But being Christians, Ruth and Edward have never consummated their love.  Again Sarah plays her shtick of the cute girl expelling outrageous statements to a tee.  

	The film is very funny but it never builds on the humor.  The jokes stay on an even keel but never go anywhere.  There are many crude jokes throughout this film and it definitely earns its R rating.  This is not a film for the children or those who are easily offended. 

	But that is exactly what one would expect from a Seth MacFarland film.  He has never been known for being subtle and the confines of television censorship are not applied to an R-rated film.    Here he crossed the line of good taste over and over again.

	This is an absolutely beautiful film to look at.  Cinematographer Michael Barrett captures the look of a traditional John Ford Western in both tone and color.  On more than one occasion, he makes reference to classic Western films from Stagecoach to The Searchers.  The music by Joel McNeely captures the spirit of the classic Western score while still sounding fresh. 

	Another fun part of A Million is in all the cameos that are scattered throughout the film.  Some of the biggest stars in Hollywood have one line to no line parts throughout the work and it becomes an anticipation moment waiting for the next surprise guest.  No spoilers here but there is a tag after the credits.

	Out of the main cast, it is amazing how comfortable Charlize Theron is in her role.  Not only is she one of the most beautiful actresses on the planet, she is also one of the most accomplished.  Here, she gets to play basically the girlfriend role but at the same time, a conflicted character.  She looks as absolutely perfect in work clothes as she does in fancy dresses.  She is genuinely funny and charming over and over again.

	Seth MacFarland does a better job as a director than he does as an actor.  While he frames the comedy bits perfectly, capturing every joke with his trademark flair—he doesn’t seem to know how to direct himself.  Time and time again, he mugs at the camera trying to milk every joke dry.  He needs to learn to pull back and let the material do the work. 

	A Million Ways to Die in the West is no Blazing Saddles but it is a decent homage to many classic Western themed movies.  For those who liked Ted, this is very much the same kind of film.  It is crude and a bit unfocused but it did seem to please its intended young audience. 

#### A MOST VIOLENT YEAR
A MOST VIOLENT YEAR

	By Gary Murray

	Starring Oscar Isaac, Jessica Chastain and Albert Brooks

	Written and directed by J.C. Chandor

	Running time 125 min

	MPAA Rating R

	Selig Film Rating Cable

	 

	Every December, there is this jockeying of films that producers hope to be considered for those “Best of” ballots at the critic’s end of year lists.  It is a dance of attention between maker and watcher.

	Getting on one of those lists may translate into Oscar nominations and other accolades.  Studios release many of these films in order to attract the attentions of those who can sway the opinions of others.  One of these films that were a part of the 2014 onslaught was the J.C. Chandor film A Most Violent Year. 

	The story concerns the energy industry in 1981 and specifically home gas. Abel (Oscar Isaac) is a guy who owns his own home heating company and is making a play to control a bigger share of the market. 

	He has this grand plan of taking over an old refinery with many storage tanks.   By buying heating oil in the summer and storing it for months, he can undercut his competitors.  This rubs his competitors very much the wrong way.   They retaliate by stealing his fuel trucks, using guns and beatings as a method of submission. 

	We find that the home heating markets are shady business, full of characters straight out of the underworld.   In order to make his dream, Abel has to make some separate deals with different characters.  Abel must make the arrangement happen in a small window of time or he loses everything.  It is a race to find out who is robbing him along with the jockeying of finances that drive the basic plot of A Most Violent Year.

	The film is also a romance between Abel and Anna (Jessica Chastain).  She is an insider to the industry and pushes her man to do everything he can to secure the market.  As the forces against Abel move in on his life, they must band together to fight the menace.

	The problem with the film begins with the title.  A Most Violent Year suggests just that, a bunch of violence.  What we get is a whole lot of talking and back-stabbing.  There is one scene where a driver tries to protect his load by way of the gun.  Those moments are few and far between in the world of this film.  It has very little physical violence and much more intrigue.    

	On the plus side, Jessica Chastain delivers one of the best performances of her young career.  Her Anna character is equal parts Lady Macbeth and Jennifer Lawrence’s character Rosalyn from American Hustle.  And therein is the problem with the role.  It feel derivative of other more successful parts by different actresses. She is a brilliant artist but this role is a bit lacking in originality, more the fault of the screenplay than the performer.

	Oscar Isaac does a workman job in a role that is not as thought-out as it should have been.  At times, he comes across as the bad mobster muscling in on territory and at other times he comes across as a milquetoast businessman dodging his own shadows.  The role is a bit too over the place.   

	J.C. Chandor is way too much in love with his words and not so much with his actions.  Time and time again, the audience becomes disenchanted with the story he is telling.  All of the elements are there, from crisp dialogue to laser sharp editing, but the final product is just a bit too boring.

	A Most Violent Year is an almost-ran in the great Oscar race of 2014, a film that was close to making the grade but in the end fails on most levels. There is a great story to be told with this material but A Most Violent Year is just not that film.

#### A MOST WANTED MAN – A Review by John Strange
 

	A MOST WANTED MAN

	 

	By: John ’Doc’ Strange

	 

	Directed by: Anton Corbijn

	 

	Cast: Rachel McAdams, Robin Wright, Philip Seymour Hoffman, Willem Dafoe

	 

	MPAA Rating: R (for language)

	 

	Selig Rating: COMMERCIAL TV 

	 

	Runtime: 121 Min.

	 

	 

	Set in Hamburg, Germany, A Most Wanted Man follows an Islamic refugee, Issa Karpov (Grigoriy Dobrygin), who arrives in the city to claim his father’s fortune.  Sadly, the young man has a record as a terrorist from an incident in his teens.  Followed by several different intelligence agencies including the American CIA, the young man hides in the local Islamic community. 

	 

	A local civil-liberties attorney, Annabel Richter (Rachel McAdams), who has assisted the community on other issues is engaged to assist him in his task.  She has her hands full to help keep him out of the hands of the authorities until she can get him his inheritance and a chance to stay in Germany.

	 

	One of the services arrayed against the young man is led by Günther Bachmann (Philip Seymour Hoffman).  He and his people work behind the scenes to develop information that the other services can use.  They can get away with actions that other departments can’t because, officially, they don’t exist.  He is a chain-smoking spook whose career has been less than stellar.  This might easily be his final chance to do what is right and good for his country.   

	 

	Gunther and his team are continuously stymied buy a rival service, one which is allowed in the public eye.  Despite this, his people are better at finding people.  They locate the banker handling the financial transaction, Tommy Brue (Willem Dafoe) and convince him to assist them.  Brue’s heritage, passed down from his father, has made him a banker to the Russian military hierarchy.  He works hard to clean up the banks reputation and distance himself from the Russia

	 

	The CIA operative pops up from time to time.  Martha Sullivan (Robin Wright) seems to be more politician than spook.  Whether she is really helping Gunther and his team or not is always in question.  We know she has a hidden agenda, but what is it? 

	 

	This film is an adaptation of a novel by John le Carré.  Like Mr. le Carré’s novels, this film is a bit slow and the characters are predictable.  That is sad because the talent arrayed on the screen is top notch.  If you want to see one of Philip Seymour Hoffman’s last roles, this is certainly one of them. 

	 

	 

	Movie Site: http://amostwantedmanmovie.com/

	 

	 

	The Selig Rating Scale:

	 

	FULL PRICE – Excellent movie, well worth the price

	MATINEE – Good movie

	DOLLAR – OK movie

	CABLE – No need to rush. Save it for a rainy day.

	FREEBIE – Good that I saw it on the big screen but wish I hadn't paid for it.

	COMMERCIAL TV – Commercials and cutting to the allotted time will not hurt this one.

	FORGET IT! – Bad. If you see this one, do yourself a favor and keep it to yourself.

	GET YOUR TORCHES – BAD! – Burn the script, the writer, the director and maybe even the actors!

#### A NIGHT AT THE CIRCUS–Opening Night Ringling Brothers and Barnum & Bailey’s Circus
RINGLING BROS AND BARNUM BAILEY CIRCUS
 
By Gary Murray
 
Starring Tigers, acrobats and clowns
 
When I was three, my parents took me to the circus.  As I got older, I would ask Mom & Dad if we could go and they would say “you’ve already been” like the memory of that day would be in my 9 year-old brain.  It wasn’t until I was an adult that I got to see the circus again. It was just an eye-opening thrill.  Well, every year Ringling Brothers and Barnum & Bailey circus comes to town.  It plays in both in Dallas and Ft. Worth for the next month.
 
Before the show started, there was a pre-show on the show floor with clowns, stilt walkers and an upfront look at an elephant.  The children were thrilled to be a part of the act with the clowns, helping the merrymakers with spinning balls and balloon tricks.  The kids could try on different circus costumes and have temporary tattoos placed on their hands.  The tattoos read “The Greatest Show on Earth.”
 
The producers of the show are Nicole Feld and Alana Feld.  With two women at the helm, there is a definite feminine touch to the proceedings.  Not just a series of stunts and acts, the show has a flow like an ocean tide going from ‘act’ wave to ‘act’ wave.  The audience is taken from under the sea to high in the air, to and fro, while never losing the theme or flow.  The journey covers air, land and sea while going to the four corners of the world.
 
The show opens with clowns, clapping and banging on trash cans.  Their job was to get the already fired-up audience focused and ready for a show.  They are lead by Paulo Dos Santo, a little person with some massive skills as an acrobat. The circus train parade of acts happens with all the performers on the stage.  Led by ringmaster Johnathan Lee Iverson, he sings a strong opening to the proceedings.  It is a visual display of colors and lights.
 
The first act is Whirl Renowned, a circus in the sky of balancing acts and ring work done high up in the sky but with an ocean ‘under the sea’ motif.  From there we go to China and The High Risers, a gymnastic feat of balance beams and catapults, black-flips and front-flips.  They used traditional Chinese Dragon costumes in the mix of performance.  
 
In a big change from years past, there is a giant series of acts that keep the three ring concept fresh.  This is a recreation of the side show.  Girls with snakes and contortionists take the rings but the center is left for feats of strength by the strong man, the Mighty Meetal, who lifts massive weights and finishes by suspending almost a ton of weight with his legs and arms.  
 
The biggest thrills of the first act had to be Daniel Raffo and the tiger show.  Being in a cage with these beasts is a feat of bravery that few would ever attempt.  He gets these cats to stand on their hind legs and jump over one another.   As he makes these animals work, he keeps food on the tip of his guide stick, rewarding the tigers for a trick well done.  
 
The clowns are used more as a distraction, as the workers set up part of the floor; the jesters in make-up do their funny bits.  The big clown car bit takes on a superhero idea, when all the guys and gals come out of an old school VW Bug dressed as Spiderman and various other costumed heroes.  
 
The second act was the first time there was actually a three ring circus laid on the floor.  A series of Wild West wonders happened with trained ponies, a dog that rides on top of a stallion and a trick llama.  One of the elephants joins in the series of stunts and trick ropes.
 
The highlight of Act II was the Flying Caceres troupe.  These high flying daredevils leap from trapeze to trapeze with precision.  The big feat was the quadruple summersault.  In this performance, the acrobat didn’t make the stunt, but it was still a thrilling attempt.  
 
I asked my goddaughter what her favorite parts of the circus were and she said ‘one-no- two-no-three’.  First, she liked Vickie Zsilak and her ponies.  Then she started on about the motorcycle show, the Torres Family.  This is daredevil group of Black-light painted riders of motorbikes in a cage.  Spinning around in perfect sync, they are a twisting and spinning bunch of riders’ inches from one another.  At one point there are seven riders in the cage at the same time.  Then she said she liked the jumpers.   Lastly, she went on about the Barnum Bouncers, a trampoline act with flashy costumes that jump through hoops in perfect balance.    
 
I thought that the elephant act was the highlight of the show.  The grey giants easily took center ring, doing tricks and stands for their half dozen trainers.  It is just amazing how well these giant beasts moved with such grace.   
 
Ringling Brothers and Barnum & Bailey‘s circus has been around for decades and this performance celebrates the 200 year of P.T. Barnum.  It is a thrilling spectacle of acts that will thrill and excite just about every person.  With almost two dozen acts, there is something at this edition of the circus that will please.  Don’t miss it. 
 

#### A Night of Queen–Gary Mullen and The Works
A NIGHT OF QUEEN
 
By Gary Murray
 
Of all the performers I never had a chance to see, Queen was at the top of the list.  The Freddy Mercury fronted band was one of those staples of the radio, making hit after hit for a few decades.  Their Live Aid performance was both a US comeback and the single biggest highlight of the festival. The passing of Mercury in the 1991 gave the hope of seeing the band wispy dream.  
 
With Beatle-mania, the concept of the cover band came to the forefront.  The idea is surprisingly simple.  Take on the moves and music of a single band and mimic them.   Soon we had tribute bands from Kiss to Elvis all the way down to the Beach Boys and Bob Seger. Some are amazingly exact, right down to the banter with the audience.  One such group is Gary Mullen and the Works, the Queen Tribute band. Their show is entitled A Night of Queen 
 
The group won the UK Stars in Their Eyes 2000 show, breaking a record by the number of votes for a single act. Since then, they have toured the world and recently appeared at The Music Hall in Fair Park.
 
The show opens with purple lights that split the darkened theater.  The backing band takes the stage with “Tie Your Mother Down”, blasting power cords to the back walls.  Then out comes Gary Mullen in tight white spandex with black thunderbolts running down his legs.  His costume looks straight out of the Flash Gordon era of the band.  He carries the mike with just half the stand, using it as a conductor’s baton, faux guitar and comedic prop.  At times he is the splitting image of the young Mr. Mercury, with all the poses and posturing the singer was known for.  
 
During the two hour performance, Gary Mullen and the Works tore through all the old songs from “Fat Bottom Girls” to “Under Pressure” to “Somebody to Love” while throwing in some lesser known songs.  He takes the ballad “Save Me” and truly makes it his own, using his vocal instrument to rattle the rafters.  Later in the show he does the same thing again with “Love of my Life”.  
 
Gary does interact with the audience, prompting them to get up and dance and by the end of the show; there were couples dancing and the isles and girls jumping on the stage.  At times he had the audience in his hands and pushing pandemonium.   I have seen original acts who could not master an audience with the same vibrato shown by Mullen.  By the time he gets to “We Will Rock You/We are the Champions” everyone, even those in the upper balcony were on the feet, cheering.
 
In between songs, he bantered with the audience, making jokes and telling stories such as when Gov. Perry made him an honorary Texan.  As the show went on, Mullen lost bits of his costume.  At the end, he and the band adorned a Texas Rangers T-shirts, much to excitement of the crowd.
 
Of the backing band, guitarist Davie Brockett has to be given the highest praises.  Some of the Brian May solos are disarmingly technical and he handles them with the ease seldom seen on stage.  The only fault one can find with the backing band is that they do not look like their actual counterparts but like guys in a grunge band.  It would have made the experience that much more if everyone had put the effort in costumes and mannerisms that Gary Mullen does.  
 
I do have a problem with the entire tribute band phenomena, wanting to hear the actual band and not just a bunch of copy-cats.  I’d rather hear an artist do what is in his heart and not just his interpretation of what is in another heart.  But if we did that, then no classical pieces would be played after the death of the composer.  
 
Putting this thought in a more modern era, AC/DC would have stopped after the death of Bon Scott.  The Rolling Stones, REM and REO Speed-wagon would have been stopped time and time again because of losing original members.  Pink Floyd tours without Roger Waters and Journey goes around the world without Steve Perry (also not an original member) but with a sound-alike vocal.  The entire thought process of just what makes up an original band makes one weary.  A cover band is just another way to present music that people love to an audience.
 
The audience didn’t seem to mind that it wasn’t ‘the real thing’.  They just wanted to hear the old songs one more time, getting the live feel of one of their favorite bands.   The audience got what it paid for, a night of nostalgia with a modern twist.  A Night of Queen does nothing more than deliver on that promise.  
 

#### A PATIENT MAN – Interview with Star Jonathan Mangum
https://vimeo.com/282416489
In the aftermath of a terrible car accident, a man tries to make sense of his life and seeks revenge for what his has lost.
Here is our interview A PATIENT MAN‘s lead actor Jonathan Mangum.

A PATIENT MAN is much more than a movie about a man who survives a terrible accident.  Writer/Director Kevin Ward has weaved together a suspenseful drama about who our lead Tom really is and more importantly what he’s capable of doing.
Tom is played by actor/comedian Jonathan Mangum.  Jonathan delivers a stoic performance that allows for both sympathy and concern over who is Tom Alexander.
Here is my chat with Jonathan Mangum about his comedic background, this film being a family endeavor, why he loved the script and character, and much more.
 
https://seligfilmnews.com/wp-content/uploads/2020/01/Jonathan-Mangum.mp3
 
A Patient Man is now available for streaming today and full VOD release set for Feb. 7th.
For more information please go to, A PATIENT MAN.

 

#### A Pint from the Editor
A pub isn't just a bar, it's the center of life in small English towns. It's where people eat meals, meet friends, get the local news… and also get pissed, as they like to say over there. Over the years there have been many great cinematic pubs, from Pat Cohen's to the Slaughtered Lamb to the Winchester. This summer, add a new pub to that list… or rather, twelve new pubs. Edgar Wright's THE WORLD'S END chronicles a group of friends' attempt to visit twelve pubs in their hometown in one night while a strange and mysterious invasion occurs around them. It's the latest movie to reteam Wright with his SPACED/SHAUN OF THE DEAD/HOT FUZZ companions Nick Frost and Simon Pegg, and we're so excited about it we decided to center our whole second issue of BIRTH. MOVIES. DEATH. around it. 

	Specifically we've centered it around the intersection of movies and drinking, with a special focus on the British. The Korova Milk Bar isn't exactly a pub, but who can forget its iconic presence in A CLOCKWORK ORANGE? Check out our history of Ealing Studios and our ode to WITHNAIL & I. But before you dive into that, be sure to read about the real-life peril facing England's historic pubs; we may be an ocean away, but all beer drinkers will care.

	We're proud of this second issue, and we hope you're enjoying it as well. We want to hear from you! Send an email to us at EMAIL@BIRTHMOVIESDEATH.COM, or just drop by our Tumblr  at www.birthmoviesdeath.com. For even more great content, visit us at BadassDigest.com, our regular home. And good news: now you can take BIRTH.MOVIES.DEATH. with you! Visit the iTunes store to get yourself a digital subscription – don't miss a single article from here on out!

	 

#### A Private Life – A Review by Jenn Rohm
Foreign films can give a high-level overview of how people in other countries live.  When you cast a well-known American actor in the lead role as an American living in Paris, it can add interest for an audience that may not have seen a French film before.  A Private Life has Jodie Foster in the lead role.  If you are a fan of French films, or Jodie Foster, or have an interest in French films, this is one to go see.
Psychiatrist Lilian Steiner (Foster) learns that a patient has passed away.  She goes to pay her respects only to learn that it was a suicide.  This does not sit well with Steiner, as she didn’t see the signs.  Hyper-focusing on new information and having conversations with other people in her life, she decides it was murder.  There is also turmoil in her personal life: her son, Julien (Vincent Lacoste), is a new father, and Steiner is in contact with her ex-husband, Gabriel (Daniel Auteuil), who still loves her.  All of this creates an entertaining tale that kept my attention.
Foster has been speaking French since she began lessons at the age of 9, and her comfort with the language showed in her smooth delivery.  There are a few places where it was played up that it isn’t her first language, such as when a neighbor refers to her with a term she isn’t familiar with.  The audience didn’t need to know the language to realize it wasn’t a nice term.  Her precise delivery showcases an intelligent woman questioning the world as she knows it, while maintaining control over everything and everyone around her.
There are touches toward Judaism and antisemitism that could have gone deeper.  As things stand, they point to the existence of both in the world without truly showing their impact on the characters.  To me, this was a missed opportunity.
The film’s pacing was excellent, allowing time to read the subtitles and take in the actors and visual cues.  This can be a bit of a balancing act.  If the script must be delivered at a very fast pace, you risk not all subtitles being read or a key element of the performance being missed.  On the other hand, if it is too slow, it can slow down the movie itself.
Check your local listings to find a showing near you.  This is one I will go to see again to see what I can pick up on now that I know the full story.
 
Director: Rebecca Zlotowski
Cast: Jodie Foster, Daniel Auteuil, Virginie Efira
MPAA Rating: Rated R for sexual content, graphic nudity, language, and brief violence.
Selig Rating: 4 stars
Runtime: 1h 47m
Release Date: January 16, 2026
Genre(s): Crime, Drama, Mystery, Thriller
Trailer: A Private Life trailer
Movie Site: A Private Life website
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### A PRIVATE WAR – A Review by John Strange
 

	A PRIVATE WAR – A Review by John Strange

	 

	Matthew Heineman is an Oscar-nominated and Emmy Award winning filmmaker known for his excellent documentaries such as Cartel Land (2015) and Escape Fire: The Fight to Rescue American Healthcare (2012).  A Private War is his first foray into feature films.

	 

	A Private War is the story of journalist Marie Colvin (Rosamund Pike) who was one of the most celebrated war correspondents of our time.  Writing for the British newspaper The Sunday Times from 1985 until her death, she was dedicated to getting to the truth about each conflict she investigated.  Her dedication led her into some situations where no intelligent journalist should have ventured.  Her stories and interviews were widely read and award winning but she lost a lot to get those columns, including one of her eyes. 

	 

	Watching director Heineman's telling of this story was at times difficult to sit still through.  His years directing documentaries show in his eye for detail and timing.  Rosamund Pike does an amazing job portraying a woman whose dedication edged over the line into a sort of fanaticism.  Her special brand of fanaticism gathered people into her orbit. 

	 

	One of these was Paul Conroy (Jamie Dornan), a war correspondent/photographer who followed her into several deadly war zones in the Middle East, Africa, and Eastern Europe.  He eventually nearly died with her in Sri Lanka.  Her joy, what there was of it, seemed to come from her relationship with Tony Shaw (Stanley Tucci).

	 

	Rosamund Pike has given us a portrayal that screams academy award nomination.  She is so amazing as Marie that she is absolutely frightening.

	 

	If you are a journalist or a journalism student, you must see this film.  If you love the news, this is a side of the story you won't see on the evening news.  It's not pretty but it is gripping and intense.  I would love to set up a special screening of this film for my colleagues in the news business and especially those who are, like me, members of the Press Club of Dallas.   This is a film that, like Mr. Heineman's previous films, needs to get a broad audience.  I think it will.

	 

	 

	Directed by: Matthew Heineman

	 

	Cast: Rosamund Pike, Jamie Dornan, Stanley Tucci, Tom Hollander

	 

	MPAA Rating: R (for disturbing violent images, language throughout, and brief sexuality/nudity)

	 

	Selig Rating: A+

	 

	Runtime: 106 Min.

	 

	Movie Site: https://www.aprivatewarfilm.com/

	 

	 

	The Selig Rating Scale:

	 

	A – Excellent movie, well worth the price.

	B – Good movie

	C – OK movie

	D – No need to rush. Save it for a rainy day.

	F – Good that I saw it on the big screen but wish I hadn't paid for it.

#### A PRIVATE WAR – Interview with Filmmaker Matthew Heineman
"For me, A Private War is a love letter to journalism and an homage to Marie, who risked her life time and time again fighting to tell hard truths. It was deeply important for me to try and also capture Marie’s personal struggle and to examine the demons that plagued her mind. I didn’t want to approach the film as a biopic, but instead, an exploration of the paradoxical swirl of addictions that made Marie brilliant, but also increasingly tortured. She often struggled with the very thing that drove her – Will the world care when her words finally reach them?"  From Matthew Heineman's Director's Statement for A PRIVATE WAR.
	 

	Here is our interview with Oscar-nominated and Emmy Award winning filmmaker Matthew Heineman.

	

	"We seem to be living in a post-truth era, where facts are often traded for blatant falsehoods, as dictators, terrorists, and politicians alike utilize propaganda for personal gain. The devastating result is that people often don’t know who or what to believe. Facts seem to be malleable. Journalism is under attack and becoming increasingly polarized with fabricated “news” masquerading as real reporting.  Deeply concerned by the threats this poses to society, I became inspired to make A Private War about legendary war correspondent Marie Colvin. One of the most celebrated journalists of our time, Colvin was an utterly fearless and rebellious spirit, prepared to take enormous risks to get a story. She was steely under fire, but what truly set her apart, more than anything else, was her deep desire to bear witness, to show the true human suffering caused by war. She wanted the world to care about unspeakable atrocities – that are so often kept at arm’s length – as much as she did."  From Matthew Heineman's Director's Statement for A PRIVATE WAR.
	 

	Heineman's first narrative film blurs the lines of his documentary background and his endeavor to deliver a truthful look at Marie Colvin's life.  Reality is obvious important to the filmmaker and his ability to capture the harsh elements of war while still hitting the emotional toil they had on Colvin's mental state is amazingly done.  Along with the 3 time Oscar winning DP Robert Richardson we have been given one of the most vivid and haunting looks into modern warfare through the constant gaze of Colvin.  It's incredible to realize the team captured so many different war zones all in Jordan, their home base for the shoot.  Matthew's time as a documentary filmmaker has allowed him a similar understanding of the world's perils.  He beautifully sums that up with, "Like Marie, I have felt that same bizarre thrill that conflict reporting brings and also felt the lingering dark thoughts that are an unavoidable consequence of it."

	This film will stick with you long after viewing and will hopefully allow you a complete link to the importance of fearless folks like Colvin and Heineman.  They are pushing their own comfort and safety to give a giant spotlight on those that are usually confined and held in the darkness.  It's not Batman or Wonder Woman that truly saves but it's the journalists, the bold voices, the documentarian, the survivors and the passionate sympathizers that allow for the truth to be so present.      
	    

	I've enjoyed my few chats with Matthew Heineman over the last few years because no matter the question his response is thoughtful and usually profound.  Here is my latest interview with the award winning filmmaker Matthew Heineman.

	In this first portion we discuss how personal the movie is to him.  Also what it was like working with powerhouses like Rosamund Pike & Bob Richardson.  And he talked about the importance and uniqueness of having the real life Paul Conroy on set.  

https://seligfilmnews.com/wp-content/uploads/2018/11/A-Private-War-Matthew-Part-1.mp3

	 

	For the second portion Matthew and I talk about recreating Marie's world and about having the time to replicate it to the last hair or piece of lint on a pillow.

https://seligfilmnews.com/wp-content/uploads/2018/11/A-Private-War-Matthew-Part-2.mp3

	 

	For more information – A PRIVATE WAR.

	

	 

	 

	 

#### A QUIET PLACE II – Review by Gadi Elkon
Following the deadly events at home, the Abbott family (Emily Blunt, Millicent Simmonds, Noah Jupe) must now face the terrors of the outside world as they continue their fight for survival in silence. Forced to venture into the unknown, they quickly realize that the creatures that hunt by sound are not the only threats that lurk beyond the sand path.
Here is my review of the film and a few little moments with Writer/Director John Krasinski on his return to theater tour!

The first real blockbuster post-pandemic is a sequel!  A Quiet Place II dives back into the world of the Abbott family.  Set just days following the first film we are thrust back into the dire existence of the remaining Abbott family members.  John Krasinski takes the reins as writer and sits back in the director’s chair to bring us smack dab back into the horror of A Quiet Place.
Sound, or lack there of, was a huge element that made the first film so dynamic.  The way in which that film focused its audiences to rely on the subtle nature of sound on screen harped back to the classic era of film.  Scott Beck and Bryan Woods took the notion of an alien creature using sound as its radar to inflict deadly force was literally award-winning!  In the sequel Krasinski and the team continue to maximize the importance of sound in the film’s plot and its mechanics.  The way in which the sequel amps up the necessary focus on silence to battle the creatures is a new facet to the series.  And yes I hope this is a series or at least a trilogy.  The sequel’s opening sequence is set on DAY 1 that reveals that these are in fact alien creatures.  Now who or why they have been sent or arrived on our planet is still a mystery, but their violent tendencies are devastating.  I lean on these being a “weapon” of sorts since they just react to sound by killing with out feeding at all.  Sorta like dropping a bomb on a country something has sent these nasty creatures to destroy.  But NONE of that is truly important.  In the end, we are given a story of survival mainly through the eyes of youth.  Millicent Simmonds as Regan Abbott continues to impress with her strong performance.  She is a beacon of hope in dark times or rather a beautiful chorus breaking down the terror.
Cinematographer Polly Morgan tremendous camera work is a real added bonus to the film.  If the first film is all about the slow shock amidst silence the sequel is a barrage of fast fear.  The constant movement of the characters is valuable in adding to the tension.  The film is all about when will they “alert” one or more of the creatures.  As our characters journey becomes more vast and further away from home the real impact of these creatures is unleashed.  These aliens are hunting constantly and there keen sound tracker minds are forever on alert.  Literally every bad step or sound let out by our heroes lets loose a total violent reaction.  The major difference that the sequel adds is this constant odyssey of horror.  As the Abbotts leave home we are given a scary journey that adds Cillian Murphy’s broken Emmett.  The other major addition is the survivors left outside of the Abbotts and Emmett have reverted to becoming a new sort of enemy.  As the world has been shattered by these invaders mankind has become violent themselves.  We now have more issues for our travelers to worry about on their voyage.
Cillian Murphy’s Emmett is a real treat to the film as well.  His tragic tale is another compelling emotional element that adds to the survival connection we have with the Abbotts.  The way in which Emmett has been connected to the family gives life to the question of how do you overcome loss.  His transformative meeting up with his friends, The Abbotts, is the real arc of the sequel.  It is also through Emmett that Regan is allowed to have her final fatherly influence as her rise is the film’s ultimate moment of realization.  But the rest of the Abbotts also go through tremendous growth in this sequel pointing to Krasinski’s powerful plot.  Not only is the film a nonstop terror ride but it tugs at your heart in all the right moments.  You want and need this family to survive so you are forever taking each silent step through the darkness that lays ahead.
Easily the film that deserves to be the blockbuster success to usher folks back into theaters.  Safely and soundly (less) we need to see this masterwork on the big screen.
Search and see this film as soon as you can!
AND…
For a few treats from Krasinski and Paramount Pictures:
Here is John in Cleveland surprising fans!

And for the newest member of the Quiet Place family here is a nice look into Cillian Murphy as Emmett.

A QUIET PLACE II
Director: John Krasinski
Writers:  John Krasinski, based on characters by Scott Beck and Bryan Woods
Cast: Emily Blunt, Cillian Murphy, Millicent Simmonds, Noah Jupe, Djimon Hounsou, Scoot McNairy, and John Krasinski
MPAA Rating: PG-13 (for terror, violence, and bloody/disturbing images)
Selig Rating: 4.5 Stars
Runtime: 97 Min.
Theatrical Release: In Theatres, Dolby Cinema and Imax on May 28, 2021
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.
L-r, Director John Krasinski, Noah Jupe and Emily Blunt on the set of Paramount Pictures’ “A Quiet Place Part II.”
LOS ANGELES, CALIFORNIA – MAY 27: John Krasinski speaks onstage at the Los Angeles Screening of ‘A Quit Place Part II’ at the Cinemark Playa Vista and XD on May 27, 2021 in Los Angeles, California. (Photo by Michael Kovac/Getty Images for Paramount Pictures)
LOS ANGELES, CALIFORNIA – MAY 27: John Krasinski attends the Los Angeles Screening of ‘A Quit Place Part II’ at the Cinemark Playa Vista and XD on May 27, 2021 in Los Angeles, California. (Photo by Michael Kovac/Getty Images for Paramount Pictures)
LOS ANGELES, CALIFORNIA – MAY 27: Filmmaker J.J. Abrams (L) and John Krasinski (R) attend the Los Angeles Screening of ‘A Quit Place Part II’ at the Cinemark Playa Vista and XD on May 27, 2021 in Los Angeles, California. (Photo by Michael Kovac/Getty Images for Paramount Pictures)
 
 

#### A QUIET PLACE PART II – A Review by John Strange
A QUIET PLACE PART II – A Review by John Strange
In 2018, A Quiet Place, from writers Bryan Woods, Scott Beck, and John Krasinski posited an invasion from space by creatures who immediately begin brutally slaughtering anyone and everyone indiscriminately.  Shortly after their arrival, our civilization had crumbled.
A Quiet Place Part II starts off replaying the day the creatures arrived.  This allows those of us who did not see the first film to understand the story.
Once we are level-set, so to speak, the action jumps forward from Day 1 to Day 474.  Very few people remain of the millions who existed on Day 1.  We follow the survivors of the Abbott family (Evelyn (Emily Blunt), Regan (Millicent Simmonds), Marcus (Noah Jupe), and the baby) as they try to survive each day.
The family has learned to move through their world… quietly.  No shoes, only socks or bare feet.  Ever mindful of their surroundings and the ground beneath their feet.
They are desperate to find other souls who have survived.  This is the story of their personal mission to find those people, all the while being hunted by the creatures from outer space.
Those creatures hunt by sound.  Their look is an amalgamation of so many different movie monsters, I lost count.  They have few weaknesses, but Regan develops a defensive weapon, one that stuns them by turning their abilities against them, which might give humans a chance.
As with most films from this genre, the central theme buried deep in the film’s heart revolves around mankind’s determination to live.  Speaking of the horror genre, it has two major (and a LOT of minor) variations.  They are psychological and slasher.  Psychological uses your mind to send the chills where slasher overwhelms you with blood, lots of blood.  This film is primarily a psychological thriller/horror film.  And it’s a pretty good example, a 4.5-stars effort.
 
Director: John Krasinski
Cast: Emily Blunt, Cillian Murphy, Millicent Simmonds, Noah Jupe, Djimon Hounsou
MPAA Rating: PG-13 (for terror, violence, and bloody/disturbing images)
Selig Rating: 4.5 Stars
Runtime: 97 Min.
Movie Site: A QUIET PLACE PART II Official Site
Trailer: A QUIET PLACE PART II Trailer
Theatrical Release: In Theatres, Dolby Cinema and Imax on May 28, 2021
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### A REAL PAIN – A Review by Cynthia Flores
A REAL PAIN – A Review by Cynthia Flores
This is Jesse Eisenberg’s follow-up to his directorial debut in 2022 When You Finish Saving the World. That film was critically praised but didn’t find an audience in the theaters. With his new film A Real Pain he may have figured out how to win both critical approval and the hearts of the audience.
Mr. Eisenberg is a very intelligent director and a nerdy-looking actor. He has a real gift for writing believable dialogue and finding humor in difficult situations. Intriguingly, he’s chosen to write a story that deals with what research calls Intergenerational Trauma amongst Jewish children and now grandchildren of the Holocaust of World War II. He uses the close bond between cousins who grew up together and are in two very different places in their lives.                                                                                                                              
The plot for A Real Pain seems simple. A set of cousins David (Jesse Eisenberg) and Benji (Kieran Culkin) who were close as kids are now adults and estranged. They decide to reunite as adults and book a tour through Poland to honor their heritage and beloved grandmother who has passed. This uncomfortable adventure takes a turn when the cousins’ old tensions resurface against the backdrop of their family history.
David and Benji run the full gamut of annoying each other one minute and remembering why they love each other the next. The tour group they’re traveling with has to endure Benji and his moods. He can go from life of the party to asshole in nothing flat. It doesn’t help that everybody in the group, besides the tour guide, is in their late 50s and 60s. So the cousins stand out for being so young to begin with.
There’s one person on the tour that Benji has grown close to and that’s Marcia (Jennifer Grey). A divorced older woman who is living back in her hometown with too much money and not enough to do. She is the most compassionate towards Benji and his obviously tortured soul.
A Real Pain will be talked about come Oscar time. It will make quite a few top-ten lists. And, it may even get Kieran Culkin a nomination for best supporting actor. He is riveting and pulls you into his emotional landscape oftentimes with just the physicality of his character Benji and his soulful stares. I could also see Jesse Eisenberg getting a nomination for best original script and maybe even best director. The movie is that good.
I give A Real Pain 5 stars. It’s a unique story that is brilliantly acted. Jesse Eisenberg created a world populated by these two cousins and made us care about them deeply. You will wonder what happens to them after the credits are done.
 
Directed by: Jesse Eisenberg
Written by: Jesse Eisenberg
Rated: R
Selig Rating: 5 Stars
Running Time: 89 min
Comedy/ Drama
Theatrical Release: November 15th
Starring: Jesse Eisenberg, Kieran Culkin, Will Sharpe, Jennifer Grey, Kurt Egyianwan, Liza Sadovy, Daniel Oreskes
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### A SAD AND BEAUTIFUL WORLD – Interview with Filmmaker Cyril Aris
Lebanon’s official selection for Best International Feature Film for the 98th Academy Awards is Filmmaker Cyril Aris’ feature debut A SAD AND BEAUTIFUL WORLD.  Cyril had an in-depth chat with our Gadi Elkon.

Across three decades of passion, loss, and hope, Nino and Yasmina are bound by a magnetic relationship. Torn between love and survival, they must decide whether to build a family and seek happiness in Lebanon, or leave their home, amid the country’s unfolding tragedies. 
Cyril opened up about the influences that have helped inspire his filmmaking.  Gadi and Cyril spoke about Aris’ long friendship with Filmmaker/Actress Mounia Akl who shines as the film’s lead actress Yasmina.  Cyril spoke about shooting in Beirut and the ever-changing dynamic of the city.
Here is our in-depth conversation with Filmmaker Cyril Aris:

For more info about CYRIL ARIS.
For more info about A SAD AND BEAUTIFUL WORLD.
 
 

#### A SIMPLE FAVOR – A Review By Gadi Elkon
Here is my full review of A Simple Favor.

	

	A Simple Favor, directed by Paul Feig, centers around Stephanie (Anna Kendrick), a mommy vlogger who seeks to uncover the truth behind her best friend Emily's (Blake Lively) sudden disappearance from their small town. Stephanie is joined by Emily's husband Sean (Henry Golding) in this stylish thriller filled with twists and betrayals, secrets and revelations, love and loyalty, murder and revenge.

	Paul Feig hits it out of the park with the pacing of the film.  He teamed with an action based cinematographer in John Schwartzman who's work on Jurassic World, Armageddon, Seabiscuit, Pearl Harbor and The Amazing Spiderman allow for Feig to amp things up a bit.  Add in Paul's regular editor Brent White and you have something really entertaining and with a breakneck pace.  The constant movement showcased allows for the nidicolous plot to be slightly overlooked.  If there is a huge complaint it's at the wild story we're told and it does seem way to crazy.  The ending in particular seems dull with all that goes on prior.  The social media aspects would need to have been more established for the ending to truly pay off.  But the pacing allows for the fun action to really keep your mind off the mystery elements.  

	Anna Kendrick as Stephanie Smothers and Blake Lively as Emily Nelson have wonderful chemistry that really shines throughout their scenes together.  The two beauties really dominate ever scene they are in and thus the film is fully on their heels.  Outside of Andrew Rannells witty quips everyone gets pushed the back of whatever Kendrick and Lively are doing.  Young Ian Ho plays Lively's foul mouthed son, Nicky, and he is the other shining star out of the cast.  His angry tirades lead to some fantastic sequences and also are pivotal to the plot moving along.          

	The real treat of the film is the incredible musical score and soundtrack done by Theodore Shapiro.  A mixture of Latin flair and hip hop really elevate Paul Feig's pacing to another level.  The music carries us through so many moments that easily could have lingered and stalled the film.  Anna Kendrick has one of the funniest moments with a car rap along that had the whole audience laughing.  Shapiro's musical choices also help amp up the fashion design of the film.  The exotic looks mix perfectly with the upbeat music.  Lively especially seems to float through her scenes with these wild and sexy outfits that are scored to a fiery beat.       

	The comedy is on point, both cheesy and also really witty at the same time is tough to pull off.  Paul Feig is a master at that type of touch.  Granted the plot does have many holes and will cause fits for any mystery lovers.  But if you're looking for a fun entertaining film with a bold style then this is it. 

	A Simple Favor

	

	Directed by Paul Feig

	Screenplay by Jessica Sharzer based on the novel by Darcey Bell  

	Rated R

	Selig Rating B-

	Running Time 1 hr 57 min

	Comedy/Crime/Drama

	Wide Release September 14th

	Starring: Anna Kendrick, Blake Lively, Henry Golding, Andrew Rannells, Linda Cardellini, Jean Smart, and Rupert Friend.
	 

	 

	The Selig Rating Scale:

	A – Excellent movie, well worth the price.

	B – Good movie

	C – OK movie

	D – No need to rush. Save it for a rainy day.

	F – Good that I saw it on the big screen but wish I hadn't paid for it.

	 

#### A STAR IS BORN – A Review By Gadi Elkon
A remake of a remake that is a story of love, loss and all the struggles of the music world.  Bradley Cooper's directorial debut is filled with amazing elements but ultimately seems lacking some core to make it all come together.  Here is my full review.
	

	I understand the Lady Gaga nation will love this film and I'll start by saying her performance truly shines.  She is an amazingly electric figure whether deglossed for this movie or made up in all her tremendous Lady Gaga world.  Overall her emotions seem valid and honest if a bit raw at times.  Even the intimacy with Cooper comes across as genuine, but who would have a hard time being intimate with either of these "beautiful" people?  Her character has a weird opening with a break up that is simply a plot device to allow her to be standoffish but in the end open to something reckless and new.  But outside of this Lady Gaga really puts in a wonderful performance especially any sequence she has with Andrew Dice Clay, her father. We will keep praising the acting since that isn't the issue I had with the film.  Cooper is rather stoic and distance as his Cowboy main character.  Sam Elliott and Dave Chappelle are both unique characters that never get enough back story to really know why they are in the film.  Elliott's character seems so important but the subplot of the older half-brother is only mentioned here and there and never with enough information.  Combining these characters would have helped with the jagged disjointedness we get from them both being in the film.  Andrew Dice Clay is a nice comedic touch and his banter with his group of drivers are the perfect levity needed in the first hour of the film.  Ravi Gavron is the only other significant figure that brings his top acting game.  He plays the slightly sleazy manager to perfection and his moments with Cooper truly sizzle as you can feel the hate.  

	Matthew Libatique's amazing cinematography is wonderfully captured in the epic music tour scenes.  You feel like you're on this rugged road and you feel the real vastness of being a superstar musician.  He also captures real intimate moments with his ability to be right in the action and yet let the natural shadows carry a unique darkness present throughout the film. Little doubt the technical team behind this movie are A list and Libatique leads the charge.  The opening musical number is one of the best sequence I've seen set on the big screen.  Seeing it with a great sound system really makes it something special.   

	 Ok now with all the praise given.  The film never ever reaches the amazing opening song or the early love spark we fill from the first 35-45 minutes of the film.  In fact the last 30 minutes are a terrible spiral that seems so dramatic and unsettling.  The writing of the songs for instance also share this terrible ebb and bottom out flow.  You'll all love Shallow, but the end song is one of the most cheese filled elements of the film's closing.  Basically the more Cooper's Cowboy continues to fall off the cliff the more the film does too.  There is a really sad sequence with his beloved dog that could have easily ended the film but we are given another 20 minutes of crap to digest after.  The subplots are rushed and never given any chance to become something as powerful as the love between Gaga and Cooper.  Honestly we could have done with out the Chappelle sequence and marriage.  It was hammered in to seem spontaneous but came across as fake.  The pacing of the film is really badly done and lucks out in that the music sequences break up the boring repeating nature of the film's second half.  The big issues honestly is that Cooper should have chosen to be Director or Star and kept with that choice but both elements are drastically downgraded by the other.  He doesn't give us enough back story and pain to make his alcoholism and drug addiction seem believable.  The opening and the love story are worth your time but the pacing and dull sad sap plot will make you wish you hadn't dropped $ on the tickets and all that expensive food.                     

	 

	Directed by Bradley Cooper

	Written By Eric Roth & Bradley Cooper off previous film's scripts, (Based on the story by) Williams A. Wellman and Robert Carson 

	Rated R

	Selig Rating C-

	Running Time 2hr  15min

	Drama, Music, Romance 

	Everywhere October 5th 

	Starring: Lady Gaga, Bradley Cooper, Sam Elliott, Rafi Gavron, Dave Chappelle, Andrew Dice Clay, Anthony Ramos

	 

	The Selig Rating Scale:

	A – Excellent movie, well worth the price.

	B – Good movie

	C – OK movie

	D – No need to rush. Save it for a rainy day.

	F – Good that I saw it on the big screen but wish I hadn't paid for it.

	 

	 

#### A STAR WITHOUT A STAR: THE UNTOLD JUANITA MOORE STORY – A Review by Jenn Rohm
“Dream your dreams and reach for the stars” is a piece of advice Juanita Moore shared with young girls.  What these young girls most likely did not realize is that the advice was coming from one of the people who paved the way.  A Star Without A Star: The Untold Juanita Moore Story brings to the screen one woman’s journey in creating change in Hollywood.
The Hollywood Chamber of Commerce accepts nominations for its annual awards during a designated period each year.  There is a fee for the application itself and a fee for having the star, a portion of which is used for maintaining the star.  From the Hollywood Walk of Fame website:
The criteria for receiving a star consists of the following: professional achievement, longevity in the category of five years or more, contributions to the community and the guarantee that the celebrity will attend the dedication ceremony if selected.  Posthumous awards require a two-year waiting period after death.
The role for which she is most recognized is that of Annie Johnson in the film Imitation of Life (1959).  She was nominated for an Academy Award and Golden Globe Award in the category of Supporting Actress for her work on this film.  Even with this acknowledgment of her talent and having appeared in over 70 films, the fact that more than half of those roles were uncredited had an impact on her eligibility.  At the time the film was made, her 1998 application had been passed over, as had posthumous applications in 2019, 2020, and 2021.
Juanita Moore led a life full of adventure and struggle.  This piece focuses on her career and contributions to the film industry.  Moments in history are depicted through the use of clips from films, live stage performance recordings, still photographs, and interviews.  The interviewees include Juanita Moore, Art Evans, Sidney Poitier, Susan Kohner, and Louise Fletcher.  The filmmaker Kirk E. Kelleykahn said, “My directorial mission with A Star Without A Star is to challenge the longstanding biases in Hollywood, particularly towards actors and actresses whose performances have made a profound impact, shifting perceptions through their characters.  It sheds light on the power of storytelling to open eyes to the harsh realities of racism.”  This piece is rich in history, and I am honored to have had the opportunity to watch and write about it.       
*Update: October 18, 2024, at 11:30 pm PT, Juanita Moore was honored posthumously with the 2,793rd star on the Hollywood Walk of Fame.
 
Director: Kirk E. Kelleykahn       
Cast: Juanita Moore, Amentha Dymally, Art Evans, Louise Fletcher
Selig Rating: 4 stars
Runtime: 1h 30m
Theatrical Release Date: November 9, 2022
Streaming and DVD Release: July 4, 2025
Genre(s): Documentary
Movie Site: A Star Without A Star website
Trailer: A Star Without A Star trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### A STEP WITHOUT FEET – INTERVIEW WITH FILMMAKERS JEREMY GLAHOLT AND LYDIA SCHAMSHULA
A Step Without Feet is a documentary about connection and sharing each others cultures through universal themes like music, family, friends, and art. Within the backdrop of Berlins beautiful, winter landscape, we captured the daily lives of seven extraordinary Syrians exiled from their home country.
Our Gadi Elkon chatted with the filmmaking duo Jeremy Glaholt and Lydia Schamschula.

A STEP WITHOUT FEET.
Kandoo Films latest release is an honest and thoughtful look into seven Syrians living in Berlin.  Their circumstances of how they arrived in Germany are labeled by some as refugee stories.  Filmmakers Jeremy Glaholt and Lydia Schamschula’s documentary looks to break the negative label associated with refugees by highlighting these seven humans.   I had the chance to chat with Lydia and Jeremy about their connection, meeting these unique people, and why it is important for folks to meet these seven.
I first chatted with Lydia Schamschula about her acting leading to directing, working with Jeremy, and about the emotional connection she has to the subjects.
 
https://seligfilmnews.com/wp-content/uploads/2020/09/Lydia-Schamschuk.mp3
 
Next I chatted with Jeremy about the logistics of the shoot, the camera utilized and he shared an extraordinary story to close out the interview!
 
https://seligfilmnews.com/wp-content/uploads/2020/09/Jeremy-Glaholt.mp3
 
 
A STEP WITHOUT FEET 
Release Date: September 4, 2020
Streaming on-demand: iTunes, Spectrum, GooglePlay, Amazon, and most other platforms as well as in the UK and Germany.
Distributed by: Kandoo Films 
Written & Directed by: Lydia Schamschula and Jeremy Glaholt
Produced by: Lydia Schamschula and Jeremy Glaholt
Cast: Zaher al Taher, Layla Bayazed, Freddie Bechara, Mudar el Sheich Ahmad, Anis Hamdoun, Saja Noori and Abdallah Rahhal
Run Time: 45 minutes
 

#### A STORM FORETOLD – Interview with Filmmaker Christoffer Guldbrandsen
Filmmaker Christoffer Guldbrandsen’s incredible documentary, A STORM FORETOLD, highlights the chaos created by political figure Roger Stone.  Our Gadi Elkon talked with Christoffer about his near-death experience, the wild nature of Roger, and how this film was subpoenaed in the January 6th hearings.

 A jaw-dropping, no-holds-barred portrait of Donald Trump’s former adviser, Roger Stone, filmed over three years in the lead-up to the 6 January storming of the US Capitol.
Christoffer and Gadi talked about how Guldbrandsen first got into contact with Roger Stone, the two-year odyssey he survived and so much more!
Interview with Filmmaker Christoffer Guldbrandsen:

The documentary is in select theaters tomorrow January 5th.
For more info, A STORM FORETOLD – Roger Stone and Die.

#### A Tale of Two Christmases
It was the final month in the year, it was in the cold of winter, it was the age of 75 and a wee bit older, it was Dallas, and it was Texas.  It's the season of Christmas and thus the meeting point of tradition and present day.  In short this is the time of Christmas in our fair city that's not on a lake but rather a lazy old river.  As the Trinity goes so can you, stopping through the city to see two wonderful classic productions.  One is another well known Dickens work and the other is a film given long life on TV, they both teach similar lessons.  So click on through for my full reviews of Dallas Summer Musicals' A Christmas Story and the Dallas Theater Center's A Christmas Carol.

	

	Isn't it amazing how a sultry leg lamp, a pink rabbit suit, and a Red Ryder bb gun connect us to one of the great Christmas traditions of the last few decades.  The fine folks at DSM have taken the steps to make the 1983 film into a vibrant equally enjoyable and even surprising adaption meant to be seen in Music Hall in Fair Park.  The basic story structure and memorable scenes are all in this production.  Radio icon as the narrator, Ralphie and Randy with Mom and Pa, those damn dogs next door ruining the meal, and of course a tongue meeting a pole.

	A Christmas Story got nominated for 3 Tony's (including Best Musical) and 6 Drama Desk Award nominations for its run on Broadway and now it's ventured on down south to our famous hall of music.  The musical has two Ralphie's, depending on which performance you attend, with Evan Gray and Colton Maurer putting on the glasses and firing that darn gun that puts their eye out every time.  The night I went Colton was downright adorable and stoic as the always mature Ralphie and he mixed wonderfully with his little brother Randy (Cal Alexander).  But the fun of a musical is the famous "voice" that is Jean Shepherd has a full presence on stage with Chris Carsten putting on a sweater and letting his radio voice take us through the story.  Susannah Jones and Christopher Swan both are wonderful as Mother and The Old Man.  

	

	With all of this said, why should you come out to see the musical rather than just watching the film on TV?  Well, it's the kids!  The real treat of the Dallas Summer Musicals 75th season opening production is the amazing ensemble songs that the kids put on.  The above video of the famous frozen tongue on a pole is absolutely brilliantly recreated on the stage.  But there is a sequence where the baddie that is Grover Dill (Seth Judice) gets to tap dance.  It's an additional element only the musical has and it's worth the show by itself.  DSM has chosen the perfect opening musical for such a historical year as it's 75th Season! 

	The Wyly Theater, like most theaters throughout the world, is putting on it's take on the classic A Christmas Carol.  The Dallas Theater' Center has staged the production many times over the decades back at the Kalita Humphrey's Theater and now is making it's mark at the state-of-the-art Wyly Theater.  This year's production is Directed by Lee Trull and has a few fresh elements that make it a real must see.  First off, a warning, there isn't an intermission so be prepared to witness scrooge's journey in a brisk 90 minutes. 

	

	Scrooge is played by Chamblee Ferguson who gives a great duel performance as the menacing evil old man who doesn't know ghosts and than as a lovable singing uncle who fully knows the reality of the angels from beyond.  The production has the regular moments we all know by heart and they fit in nicely.  But, the real fun of this production is in these three style choices.

	1.  The presence of multiple caroling scenes.  From the opening line we realize this production will allow us to just sit back and listen to the carols that embody the story of Christmas.  Dickens original story version lacked the real musical quality and only contained one real carol.  So the fact that this production belts out some classic carols not always associated with this particular classic production is both fitting and bold.  It also allows for the unique quality of having live instruments played by the talent themselves.  For instance, Cameron Cobb (Ghost of Marley/Young Marley) not only dawns chains but he gets to play a mean guitar in the show.  Fred played by Seth Magil even breaks out a tuba at one point.  Now add in the greatness of Mr. and Mrs Fezziwig (John Flores and Julie Johnson) and you have one heck of a good time. 

	2.  The Wyly theater's real power in the Arts District is its ability to completely transform to anything and everything.  With each production the DTC has a chance to do whatever they want when it comes to setting.  Instead of babbling on how about checking out this video breakdown of the creating of this set!

	3.  Humor is the final addition.  Every Christmas Carol has its built in moments of nostalgia, but it takes a real wit to make certain elements funny.  Chamblee works so amazingly well off his fellow actors that he has some real moments of comedic genius.  He even, during our production, had to quiet the crowd to get in one final joke involving him playing a little uke.  But the real treat of the production is a simple scene with Julie Johnson (Mrs. Dilber) and Scrooge after he's awoken from his final ghostly visitor.  It's witty and even a bit naughty with Julie's responses and gets some of the biggest laughs in the entire production.  Overall the ability of this production to venture into the sorrowful moments and then come out with a smile and joke to boot really make this so enjoyable.

	

	DTC's run of A Christmas Carol luckily runs through Xmas weekend so go ahead and add it to your calendar.  More info, here.

	DSM's run of A Christmas Story ends this upcoming weekend. More info, here.

#### A THOUSAND AND ONE – A Review by Jenn Rohm
A THOUSAND AND ONE – A Review by Jenn Rohm
A. V. Rockwell is an indie filmmaker whose star is rising. She debuted her feature film A Thousand and One at 2023 Sundance and brought home the Grand Jury Prize for the U.S. Dramatic Competition.
This story has layers to it.  Inez, Teyana Taylor, wants a better life for her son Terry.  She kidnaps him from foster care and heads to Harlem.  Her man Lucky, William Catlett, joins them and we follow the story of their life as a family.  This is being told during Mayor Rudy Giuliani’s gentrification plans.  It provided some eye-opening points for a girl from Texas about the struggles lower-income residents of New York were having to find ways to survive.
As the film covers Terry ages 6-17 three different actors play the role.  Aaron Kingsley Adetola as our introduction to him at 6 years old does an impressive job of showing innocence and some hard edges from his life so far.  We then advance to age 13 with Aven Courtney.  He is trying to find himself, separate from friends, notice girls, and keep his family together.  Aven does a believable job flowing into the new age.  We then jump to 17 with Josiah Cross that is not only facing what the future holds for him, stop and search is a common occurrence as he looks older than he is.  His transition is not as smooth.  Comes across as a bit more emotional and beat down than I would expect.
Teyana Taylor does a good job bringing Inez to the screen.  She shows her fighting spirit and desire to give and be loved.  Just how much can one person endure to achieve their goals in life?   I did find myself checking my watch a few times.  While the acting was strong some of the dialog led to scenes dragging on and characters almost heading into caricatures. 
This is a well-made film with a story that led me down a research rabbit hole of the trials and tribulations of NY 1994-2007.     
 
Director: A. V. Rockwell
Written By: A. V. Rockwell
Cast: Teyana Taylor, Aaron Kingsley Adetola, Aven Courtney, Josiah Cross, William Catlett
MPAA Rating: R for language
Genres: Crime, Drama
Selig Rating: 2.8 stars
Runtime: 1h 57m
Release Date: March 31, 2023
Movie Site: A Thousand and One official site
Trailer: A Thousand and One official trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well there was nothing else…
1 Star – Total waste of time.

#### A United Kingdom – A Review by Gadi Elkon
Director Amma Asante builds off her picturesque BELLE with the moving and also picturesque A UNITED KINGDOM.  Click through for Gadi Elkon's review of the film.

	

	A UNITED KINGDOM is the true story of King Seretse Khama of Botswana (David Oyelowo) and Ruth Williams (Rosamund Pike), a white woman from London, which caused an international uproar when they decided to marry in the late 1940’s just as apartheid was being introduced into South Africa. It was a decision that altered the course of African history.  A UNITED KINGDOM Website.

	Screenwriter Guy Hibbert molds a well paced film that dives into the harsh realities of a world not equal.  The further we see the romance between King Kharma and Ruth Williams the further the world seems to want them apart.  "The World" though seemed to embrace their union and their constant love overcame the harsh attempts of separation from the racist governments trying to bar their union.  Hibbert's script allows the innocence of their union to hold true throughout and yet both have real moments of power.  Oyelowo gives multiple triumphant speeches to justify his heart's desire.  His speeches to his country men are extremely powerful and ring the truest of anything in the film.

	Pike's understated performance mirrors the real life Ruth, but her stoic nature is the film's brightest element.  Director Amma Asante takes a huge step from the picturesque but slow paced BELLE into a more vibrant story in A UNITED KINGDOM.  She captures the struggle and the love throughout.  There union is given a quick introduction, but luckily the actors relish the time on screen to show true love.  Take for instance the wonderful proposal sequence overlooking nighttime London.

	The film doesn't dive to much into the South African descent into apartheid by keeping it at a distance.  Instead Jack Davenport and Tom Felton shine as the embodiment of the racist times Ruth and Seretse are fighting.  Davenport especially owns every evil moment as Alistair Canning.  The acting in the film is well done and showcases the talented actors take the importance of the movie to a new level.  Davenport and Felton really amp things up next to the proud performances of Oyelowo and Pike.  Even with the male performances having a lot of the fight, the females highlight the film.  Whether it's the wives of our evil figures that secretly try to manipulate Pike or the African women who are looking to hold on to their African King's legacy.  Laura Carmichael/Jessica Oyelowo (The white wives) and Terry Pieto/Abena Ayivor (The Kharma Women) are wonderful in their verbal battles with Pike.  The softening of Pieto's Naledi Kharma to Pike's Ruth Williams is an especially poignant moment in the movie.  Overall the casting and acting is superb.

	But Asante's best moments in the film are all done in the stark openness of Africa.  Sam McCurdy's ability to showcase the vastness of Africa really opens the film and makes it a wonderful theater experience.  We see the incredible riches of a such a beautiful continent even if the warring Europeans are only caring about the mineral wealth.  The film still showcases the constant attempts of the whites to separate and dehumanize the African people. 

	Overall A United Kingdom is a film that carries a powerful message that is fully delivered with elegance and pride.  Everyone seems to bring their A-game and it shows in the film's pacing.  Their isn't a sluggish or unimportant moment.  The movie may not have the punch of other films like Hidden Figures or Loving, but the film seems just as important and connects the audience just as well. Easily one of the better releases this month and seems more fitted for an award season release but is a nice treat now nonetheless.  For more information on the film please go to their site, here.

#### A Walk In The Woods – Review By Gadi Elkon
Bill Bryson's 1998 book, "A Walk In The Woods", has gotten a humorous adaptation in the Robert Redford starring movie that teams him with Nick Nolte and is directed by Ken Kwapis.  Is the film worth your time and money?  Click through for my review.

	

	There is a very specific moment in A Walk In The Woods that will remind you of the classic jump scene from Butch Cassidy and The Sundance Kid.  This particular scene will go a long way into making you realize the sad missed opportunity to give the two beloved leads a final funny farewell.  Redford has been loosely attached to the Bill Bryson non-fiction book for quite a long time and sadly his original dream of having Paul and him have another dive into infamy was lost when the world lost one of it's greatest legends.  Redford continues to chug along as one of the real icons of cinema and smartly kept this film going.  So the question is did they accomplish making a good film?  Well, sorta.

	The film's synopsis from the website:

		In this new comedy adventure, celebrated travel writer, Bill Bryson (Academy Award winner Robert Redford), instead of retiring to enjoy his loving and beautiful wife (Academy Award winner Emma Thompson), and large and happy family, challenges himself to hike the Appalachian Trail – 2,200 miles of America's most unspoiled, spectacular and rugged countryside from Georgia to Maine. The peace and tranquility he hopes to find, though, is anything but, once he agrees to being accompanied by the only person he can find willing to join him on the trek – his long lost and former friend Katz (Academy Award nominee Nick Nolte), a down-on-his-luck serial philanderer who, after a lifetime of relying on his charm and wits to keep one step ahead of the law – sees the trip as a way to sneak out of paying some debts and sneak into one last adventure before its too late. The trouble is, the two have a completely different definition of the word, "adventure". Now they're about to find out that when you push yourself to the edge, the real fun begins.
	

	There are some issues with the film.  Mainly some confusing logical issues.  Nolte plays "long lost and former friend Katz" who is on the run from a "warrant issue" back in Des Moines.  This becomes an issue when he is almost able to rent a car with no license at all.  There are also some questions in how these two old fellas' seem to age slightly with dark beards and completions but their clothes look brand new and fresh throughout.  Another weird element is the ease at which Bryson's wife, played by the always fun Emma Thompson, just allows her husband to go on this perilous journey even though showing him very real threats to his survival.  Also the Bryson extended family is nicely touched upon in the very beginning of the film and then we never see them again.  These logic issues and missed plot elements do make the film not completely enjoyable.  I certainly wouldn't call this a must see film.  But I will talk about the three elements that make this film a good theater going experience. 

	The Nolte/Redford Bromance:

	Easily the best parts of the film are these two polar opposite men battling the Appalachian Trail together.  The quick wit and constant bickering really is quite funny.  There is little doubt the jokes hit nicely and though some sequences maybe a bit corny they still work.  Nolte especially sells his overweight former alcoholic troubled Katz role to perfection.  His crazy hair and deep (very freaking deep) iconic voice hit the right funny notes.  It's hard not to just giggle and think back to Nolte's funny real life issues.  Redford carries himself, as usual, with a rugged superiority that is deserved and beloved.  Though he certainly doesn't reach the power and emotion of his 21st century films like All Is Lost, Spy Game or even the underrated An Unfinished Life.  All of those movies showcased his ability to be powerful and rugged while also holding onto this deep seeded will to never give up.  This film harps more to a tongue-in-cheek version of that, and even slightly makes you question Bryson saying yes to this project.  But Redford still is totally game in his straight man role in the film and it does hit the correct emotions.  By far though the best sequences are actually pre-Nolte.  The opening of the film honestly has the best laughs of the movie.  And the dynamic scene of Emma Thompson and Redford at a friend's funeral easily could have been expanded.  This is a solid funny film that will keep your attention. 

	The two remaining elements are the real reason to see the movie on the big screen.

	Lord Huron's music:

	The heartwarming melodies of this perfect companion to any wilderness film is honestly the most spot on choice for this movie.  The postcards have been a wonderful treat to Lord Huron fans over the years and showcase the love of nature.  Ken Kwapis and his team have taken the big hits and given the film a great soundtrack and musical journey in the film itself.  There is something magical about experiencing the trail while listening to Lord Huron.  It's peaceful and yet full of adventure and story.  Overall there is no way you won't enjoy the musical interludes that pop in and out of the film.  Of course you'll hear the hits like "Fool For Love", but honestly it's even just the small short moments that are just as effective.

	John Bailey, Director of Photography and Carol Littleton, Editor:

	The loving couple who have given us some of the finest cinematic moments are easily the best reason to see A Walk in The Woods.  John Bailey's epic choices in crane shots are some of the best I've seen in nature films in a long time.  He even has the wonderful chance to recreate iconic images and bring them to vivid flowing detail.  His ability to capture the greens, yellows, browns and reds of our beautiful American landscape are just perfect. The film may have many holes and issues along the way, but the cinematography isn't one of them.

	John is known for greatness like his connection with Redford on Ordinary People, Kasdan's The Big Chill, Wolfgang Peterson's great Eastwood film In The Line of Fire, The late great Harold Ramis and Bill Murray classic Groundhog Day, working with Jack on As Good As it Gets and recently the amazing The Way, Way Back (one of my favorite films of the last decade!).  Overall he is just great.  But his wife Carol Littleton ain't no slouch either.  Whether it's a small film like E.T., her own colloborations with John on projects or the recent The Rum Diary (a film that had issues, it's editing wasn't one of them) there is little question that Littleton is a master.  Honestly the way in which these two vets are able to showoff the American landscape is pure bliss.  You can tell Bailey and Littleton loved this project as it completely shines on the screen.  Add on Lord Huron to the really beautiful pull back scenes and you have one of the year's best visual experiences.  No need for explosions or IMAX to make something crisp, real and downright breathtaking. 

	Overall not a must-see film, but if you want to experience a fun joyous hour and 45 minutes while starring at natural beauty then this is the film for you.

	

	More information can be found on the film's website, here.

#### A WOLF IN DALLAS
 
WOLF PRESS
 
By Gary Murray
 
“The wolf in sheep’s clothing, really the wolf in God’s clothing is the tag,” is what director Ya’Ke Smith said of the title of his film Wolf.  Some films are just for entertainment, a diversion to fill a few hours.  Then there are films such as Wolf.  It is the story of a family that is shaken to the core when they discover that their son is the victim of sexual abuse by the leader of their church.  It is a story of mental collapse and betrayal.  Wolf is not a film for the faint of heart but it is a film with passion and heart.  
 
Wolf plays as part of the Dallas International Film Festival and is the feature film directorial debut of Ya’Ke Smith.  He is a much lauded filmmaker of shorter works, a man with a case full of awards and accolades.   Along for the discussion were actress Mikala Gibson, Ya’Ke’s lovely wife, who played Nona and young actor Jordan Cooper who played Carl the victim.
 
Several things drove Ya’Ke to make the film.  He grew up in the church and “I was exposed to the good and the bad side of it. I know a lot of people who have been molested, not just by clergymen but in general.  Hearing those stories as a teenager, they sort of lived in me.  I didn’t know I would make a film about them.  I didn’t know what I would do with them.  I just knew they were there.”
 
Watching the documentary Deliver us from Evil spurned on the idea of making the film.  “For me it was the first time I saw a pedophile, they didn’t excuse him but he was humanized.”  Ya’Ke Smith wanted to tell a story not only of an issue but of family, a story that touched a universal chord.    
 
Using San Antonio as his base, he completed the film on the fifteen day shooting schedule.   He used the same stable of actors which included his wife Mikala but still needed a young man for the lead role of Carl.  “I do not like auditions,” he said of the process of finding Jordan, “(but) I knew immediately he was Carl.  When he walked into the room, he understood the script much better than a lot of other people.  There was a maturity there, an understanding of the material.  It was baffling to me how he got it.” 
 
Young Jordan Cooper seemed in awe of the process of the press conference.  This novice actor did his due diligence before he went in front of the cameras.  He admitted that he watched an Oprah Special about abuse where they interviewed victims.  He said, “I sat there and I watched that special over and over again.  I looked into their eyes and there was so much pain and guilt.  They forgave but they didn’t forget and some didn’t forgive. They went on and life went on but they still had that pain, that little box that was filled inside of them.  I felt that my mission was to convey that message and show that in my eyes.  Tell that story without basically having any words.  It was a duty for me to tell their story.”
 
On his method of finding Carl, Jordan said, “I believe in becoming the character, I don’t believe in drawing from my own personal experience.   I feel that I’m cheating the audience if I don’t fully become that character.  It is dangerous sometimes and thankfully it is a character I could come back from.”  
 
Mikala is a seasoned actress who has been on the theater boards for years.  She was very impressed by how strong Jordan was as an actor and noted that the young man shows much promise.  She finds the live stage a much more fulfilling experience.  “In theater you have this world where you build,” she said of the process. 
 
She said that working with her husband is a bit of a challenge.  “When I’m on set I want him to treat me like I’m any other actor.  It takes everyone and we’re doing this together.  I feel that he is harder on me, that he pushed me and I am grateful for that.”
 
Ya’Ke sees the film as more a story of forgiveness.  “If you don’t forgive, you are going to live a life of regret.  You are always going to feel that you didn’t get a fair shot because you are holding on to this thing.  I think in order to release yourself from that you have to forgive.”  To which Jordan added, “In order for you to fly, you have to forgive them.”
 
“God can only do what you allow him to do,” said Ya’Ke. “And if you can’t let it go, He cannot come in because you are holding on to it.  Film can change people minds and hearts and that is what it all about.” 
 
The film played at the South by Southwest Film Festival where it received some very divergent reviews.  Said Ya’Ke, “We have had good reviews and bad ones and it is what it is.  It does make you feel good that someone can look at your work and can see what you saw.  They can see what you were trying to accomplish.  That it is working and that it is affecting people.  We want a distribution deal but quite honestly if this film can touch somebody, if it can heal someone, if it can get someone to start talking about this so it can stop happening –that is what means the most to me.“
 
Ya’Ke is looking for a distribution deal but feels that there is a more important mission with the film Wolf.   “If possible,” he said, “I would like to have screenings in churches across the nation.  I think that this is something that churches need to see.  It is a hard film to watch because the film is so real and we know that it is real.  Having to watch that makes us admit that it is happening.  Then if we admit it is happening, we have to do something about it.  I want to take it to the nation.”
 
Jordan ended the discussion on a philosophical note. He said, “We are artists are job is to inspire—inspire to live, inspire to love, inspire to forgive.  That is the one word that sums up everything to me.”

#### A WORKING MAN – A Review by Jenn Rohm
When you know a film will be an action film and names like Jason Statham, David Ayer, and Sylvester Stallone are tied to the project, certain expectations are set.  A Working Man checks several boxes: creative use of items in fight scenes, extreme military training, family drama, and caricatures of villains.  It also has some surprises, such as a strong female who is much more realistic in fighting back.  She isn’t just a wilting wallflower; she has more training than a self-defense class at the local rec center and less than a lifetime of training.
My adoration of these films is not based on their life-changing messages or the fact that they require my brain to engage fully. They are an escape from reality.  This was a nice blend of 80’s action I grew up with and more modern twists.  The story is based on Chuck Dixon’s book Levon’s Trade.  Stallone and Ayer assisted with turning the book into a script.  It is the first of 12 in the series.  Considering that Dixon spent much of the nineties working on Batman comics, the almost comic-book noir crossovers with the story and the scenes make more sense.
This is the story of a man who has left the British military behind and now works for a family-run construction company.  On a night out with her friends, the 19-year-old daughter, Jenny, is kidnapped.  The owners have an idea he has some skills, and they beg him to assist; his first reaction is to say no due to his current circumstances.  After thinking about what he would do for his daughter and an earlier agreement with Jenny, he changed his mind. 
Like many films these days, a few too many subplots are introduced, which do not add to the story and only lead to more questions than answers.  Of course, this may have been done as an opening to a sequel.  Or maybe it will be a multi-episode series, which was what Stallone’s original writing was to be for.  
The men who are up to no good that Levon tracks down and takes out are involved in drug trafficking, the Russian Mafia, and human trafficking.  Using over-top characteristics like brothers who wear tracksuits that not even “The Toddlers” from The Gentlemen would wear, to the gleeful look on one man’s face while using an automatic weapon to shoot up a ceiling to clear a room, a buffer from the dark reality was created.
This is to say that it was an enjoyable way to spend almost two hours escaping reality.  If you know what you are going into and enjoy action films, take a break, sit back, and let them fight it out on the screen. 
 
Director: David Ayer     
Cast: Jason Statham, Arianna Rivas, Jason Flemyng, Merab Ninidze
MPAA Rating: Rated R for strong language throughout and drug content.
Selig Rating: 4.5 stars
Runtime: 1h 56m
Release Date: March 28, 2025
Genre(s): Action, Thriller
Movie Site: A Working Man website
Trailer: A Working Man trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### A WORKING MAN – A Review by John Strange
One thing you can truly say about a film starring Jason Statham is that the action scenes will be fast-paced and violent.  And that can make them fun to watch.  And when they have a good backstory, they make money.
Levon Cade (Jason Statham) spent many years in the Royal Marines.  It meant he was away on deployments a lot.  He left the service after the death of his wife.  He moved to Chicago to be near his daughter who lives with his father-in-law.
He finds work with the Garcia family’s construction firm.  He does well with the company, working as a foreman at the construction site.
When Jenny Garcia (Arianna Rivas) is abducted while out with her girlfriends, the Royal Marine has to fall back on his training to save the girl whose back he promised to have.
Joe, Carla, and Jenny Garcia (Michael Peña, Noemi Gonzalez, and Miss Rivas), made a place for Levon and have become family to him.  And that is the heart of this film.  Family is not just blood but those who are there for you, and who love you.
The film was fun to watch.  David Harbour as Gunny, a friend from his military days, was a hoot!  He may be blind but hearing him say the words “Weapons Sommelier” was priceless!
 
Director: David Ayer
Cast: Jason Statham, Jason Flemyng, Merab Ninidze, Maximilian Osinski, Cokey Falkow, with Michael Peña and David Harbour
MPAA Rating: R (for strong violence, language throughout, and drug content)
Selig Rating: 5 Stars
Runtime: 116 Min.
Release Date: 03/28/2025
Language: English
Genre: Action/Thriller
Trailer: A WORKING MAN Official Trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### A WRINKLE IN TIME – A Blu-ray/DVD and Digital HD Review by John Strange
 

	A WRINKLE IN TIME – A Blu-ray/DVD and Digital HD Review by John Strange

	 

	Sometimes a film comes along that you are almost afraid to go see because the book was so important to you.  This film, A Wrinkle in Time, was one of those for me.  Listening to this story as a young grade school boy my mind exploded with the images my imagination presented me with.  It began a love of science fiction that is still strong in me to this day some 55 years later!

	 

	A Wrinkle in Time is the story of young Meg Murry (Storm Reid), the brilliant daughter of two brilliant people (Chris Pine and Gugu Mbatha-Raw).  In their research into the fabric of the universe they are trying to figure out how to get from point "A" to point "B" without having to plod along across the distance between those points.  Their theory is that you can move by making a fold in space, to tesseract, to bring two points together so that you can simply step from one point to the other.

	 

	This story is all of that but the true heart of the story is one of light vs. dark, good vs. evil.  When Mr. Murry is lost during his experimentation, Meg's world comes crashing down.  For this brilliant young middle school student, the reason to strive and achieve, yes, her light, has been lost.  She has never given up on the fact that her dad is still alive but without him, her days have no light; she has no reason to keep achieving successes.

	 

	Until, that is, the day that her equally (or perhaps even more) brilliant adopted brother, Charles Wallace (Deric McCabe), introduces her to his friend, Mrs. Who (Mindy Kaling).  This begins a quest to rescue her father from the clutches of evil, from the dark.  To help them, they recruit a boy from Meg's class, Calvin (Levi Miller).  The three are led by three soldiers of light, three unimaginably old but awesome beings.  Mrs. Who whom we have already met plus the (for them) young Mrs. Whatsit (Reese Witherspoon) and their leader, Mrs. Which (Oprah Winfrey).

	 

	The journey is easily traveled but fraught with subtle peril as they approach the lair of the dark, the Pit.  Director Ava DuVernay's vision of Madeleine L'Engle's story is wonderfully visual and closer to my vision of the story than I ever imagined anyone could take it.  The worlds she and her crew created are breathtaking.  Shot on locations in New Zealand and Los Angeles, they were able to create worlds that soundstages could not replicate. 

	 

	And the sets they built on the soundstages for places like the Happy Medium's home were beyond my expectations!  The casting of Zach Galifianakis as the Happy Medium was wonderful.  As they discuss in the director's commentary of the film (ALWAYS watch the film a second time with the commentary track turned on, you learn so much!), Zach is one of those comedic actors who have proven that they can switch to drama and nail the performance every time.

	 

	Speaking of the extras, this film might be a tad light on them numerically but those included are really good.  I love watching the deleted scenes to see what the director had to change or modify to tweak the film into its final form.  The bloopers are sometimes hilarious and sometimes simply a nice rest between the other extras.  This time it was the second of these options.

	 

	The commentary track had a huge group of people rather than the usual director and perhaps one person.  In the case of this film, Ava DuVernay chose to have many of the primary people responsible for the way the film was made present.  This allowed them to have a nice discussion of the how's and why's of the scenes as we watched them unfold.  Very well done commentary.  Though to be honest, it was a tad slow for the first bit of the film before they warmed up and got deeper into the swing of the decisions for casting and scene crafting.  It became… brilliant.

	 

	I don't normally sing but these songs had me singing away with them.  I have watched DJ Khaled and Demi Lavato and the video for "I Believe" multiple times now.  "Warrior”, performed by Chloe x Halle is excellent.  The video really brings their song to life.  

	 

	But the crown jewel of the bonuses has to be featurette called "A Journey Through Time".  The filmmakers take us along with them on the journey of making the film.  From the fields in New Zealand to the playground in Los Angeles to the soundstages, we are given a view of the journey to make this film.  Even more than the commentary, this really gives you a great view of the film's trek to the big screen.

	 

	This is a film for the family to watch together.  And my hope is that watching the movie will inspire kids to read not only the book upon which the film was based but the others in the series.  I hope it inspires them as it did me.  This film met and exceeded my hopes and desires.  It is brilliant.

	 

	 

	Directed By:

	 

			Ava DuVernay
		

	 

	Cast:

	 

			Storm Reid, Oprah Winfrey, Reese Witherspoon, Mindy Kaling, Levi Miller, Deric McCabe, Chris Pine, Gugu Mbatha-Raw, Zach Galifianakis, Michael Peña, André Holland, Rowan Blanchard, Bellamy Young, David Oyelowo, Conrad Roberts
		

	 

	Extras:

	BLU-RAY & DIGITAL HD:

			A Journey Through Time – Take an up-close look at the making of this magnificent movie with Director Ava DuVernay, Oprah Winfrey, and the cast and crew.
		

			Deleted Scenes (with optional director audio commentary)
		

					Ant on a String
				

					Aunt Beast
				

					Meg Learns About Calvin’s Dad
				

					Papergirl
				

			Audio Commentary
		

					Director Ava DuVernay
				

					Producer Jim Whitaker
				

					Co-Screenwriter Jennifer Lee
				

					Production designer Naomi Shohan
				

					First assistant director Michael Moore
				

					Editor Spencer Averick
				

					VFX supervisor Rich McBride
				

			Bloopers
		

			Original Songs/Music Videos
		

					“I Believe” performed by DJ Khaled featuring Demi Lovato
				

					“Warrior” performed by Chloe x Halle
				

	Specifications:

	 

	Runtime:

	 

			109 Minutes
		

	 

	Studio:

	 

			Buena Vista Home Entertainment
		

	 

	Release Date:

	 

			05/29/2018 (Digital HD)
		

			06/05/2018 (Blu-ray/DVD)
		

	 

	Region:

	 

			A/1 (U.S. and Canada only)
		

	 

	Website:

	 

			movies.disney.com/a-wrinkle-in-time
		

	 

	MPAA Rating:

	 

			PG (for thematic elements and some peril)
		

	 

	Selig Rating:

	 

			BRAND NEW
		

	 

	Selig Rating Scale:

	 

	BRAND NEW: Should add to your DVD collection at any cost

	SALE ITEM: Worth owning, but try to catch it a sale

	SECOND HAND: Plan to get it, but wait to buy it used

	RENTAL: Worth taking a look at, but not owning

	COASTER: Pick it up at a garage sale and use it for drinks

	PULL!: Makes a great Trap Shooting target

#### A WRINKLE IN TIME – A Review by Hollywood Hernandez
 

	A WRINKLE IN TIME – A Review by Hollywood Hernandez

	 

	A Wrinkle in Time is based on a fantasy novel from the 1960's by Madeleine L'Engle.  The story is about the good and the evil in the world and, in the turbulent 1960's, the writer's perspective was that evil was winning.  Sadly, 50 years later, things haven't changed that much.  The story uses time and space to represent the battle between good and evil and how one young middle school girl is called upon to be a warrior who can save the world.

	 

	Storm Reid plays Meg Murry, the daughter to a couple of brilliant physicists, whose father (Dr. Alex Murry, Chris Pine from Star Trek) goes missing after he discovers how to travel between different dimensions.   On the anniversary of her father's disappearance, the young girl is teased and treated cruelly by the "popular girls" at school.  The young, bright girl that Meg once was has now been replaced by a moody and doubting young lady who is detached from the rest of the world.  Her only friend, besides her mother (Dr. Kate Murry, Gugu Mbatha Raw frome Belle) and brother is a boy at school who's considered one of the "popular kids."

	 

	Then she is visited in her back yard by three time and space traveling warriors who want Meg to join them to help find her father and to defeat the darkness in the universe.  The Three warriors are Mrs. Which (Oprah Winfrey), Mrs. Whatsit (Reese Witherspoon from Legally Blonde) and Mrs. Who (Mindy Kaling from The Mindy Project).  Oprah makes her first appearance in the movie as a 20 foot tall regal looking queen, and with her loud giant voice booming, she was the spitting image of RuPaul.  However, that comparison goes away when she appears in the rest of the movie as a regular sized person.  (Thank goodness.)

	 

	With the help of their three guides, Meg, her brother and her classmate, travel to a different dimension to begin their search for her father. This is where director Ava DuVernay (Selma) earns her money.  She has created an amazing and colorful world that is a delight to watch on the big screen.  You'll have to resist from "ooooing" and "awwwing" for the remainder of the movie.  The world that DuVernay brings to life is simply stunning.  A Wrinkle in Time also makes history with its $100 million dollar production budget; making DuVernay the first African American woman to ever be given the opportunity to make a movie with a $100 million budget.

	 

	Much like the movie Black Panther, A Wrinkle in Time is also ground breaking because of its positive portrayal of a young African American girl.  Already at advanced screenings groups of Girl Scouts and Girls Club members have been treated to the movie because of its inspiring message.  As Oprah Winfrey said on the red carpet on opening night, the message of the movie is, "you are enough."  It's the kind of inspiring message that makes you leave the theater feeling a little better than when you came in.

	 

	Do be warned, however, that parts of the movie are a little dark and scary.  It's rated PG but I'd be hesitant to take a little girl to the movie who was under 10.  The movie has a run time of 1 hour and 49 minutes.  On my "Hollywood Popcorn Scale", I rate A Wrinkle in Time a JUMBO!

	 

	Movie Site: http://movies.disney.com/a-wrinkle-in-time

#### A24 TO DISTRIBUTE J.C. CHANDOR’S A MOST VIOLENT YEAR IN THE U.S. FOR PARTICIPANT MEDIA
 

	A24 has acquired U.S. rights to Participant Media's A MOST VIOLENT YEAR, written and directed by J.C. Chandor (All is Lost, Margin Call) and starring Oscar Isaac (Inside Llewyn Davis) and two-time Academy Award nominee Jessica Chastain. A24 is planning for a fourth quarter 2014 wide release.

	“A24 has established itself as an innovative distributor that understands how to reach a large, diverse audience.” says Jim Berk. “They share our passion for J.C.’s thrilling vision of 1980’s New York featuring the extraordinarily talented Oscar and Jessica.”

	“Participant has a terrific track record of partnering with groundbreaking filmmakers and we are thrilled to continue that tradition with this exciting film. J.C. has already shown what a talent he is and is consistently making bold choices in the stories he chooses to tell. This is an important step for our company as we are thrilled to be working with the incredible team involved in making this film,” says A24.

	A MOST VIOLENT YEAR, which Participant Media and Image Nation Abu Dhabi are co-financing, is produced by Before The Doors’ Neal Dodson and Washington Square Films’ Anna Gerb, along with Chandor. Dodson and Gerb also produced Chandor’s ALL IS LOST and MARGIN CALL. Executive producers are Participant's Jeff Skoll and Jonathan King, Joshua Blum, Kerry Orent, and Glen Basner of FilmNation Entertainment, which will handle international sales to commence at the upcoming European Film Market in Berlin. Jonathan King, Participant's EVP Production and Robert Kessel, SVP Production, are overseeing the production for Participant. 

	A Most Violent Year is a thriller set in New York City during the winter of 1981, statistically one of the most violent years in the city’s history.  The film follows the lives of an immigrant and his family trying to expand their business and capitalize on opportunities as the rampant violence, decay, and corruption of the day drag them in and threaten to destroy all they have built.

	A24 negotiated the deal with FilmNation’s Basner and Participant COO Jeff Ivers.

	The film is scheduled to begin shooting shortly in New York City. 

#### AAAFF: Unleashed Desires: Lost Films of Taiwan (April 4-25)
The Husband’s Secret (1960)
 
From 1955 to 1981, some 1200 films, known in Mandarin as Taiyupian, were produced in Taiwanese¾the first language of the country’s majority. Though wildly popular at first, Taiyupian received little of the official support given to films in Mandarin, the so-called “national language” imposed by the former martial-law regime, and were later dismissed as cheap, tacky, and faintly embarrassing. But after decades of neglect, ongoing preservation of the 200-odd surviving Taiyupian has uncovered a pop cinema of tremendous vitality and imagination-not to mention an often startling frankness-that rewrites the history of Taiwanese film.
The Austin Film Society teams up with the Austin Asian American Film Festival to present four recently-restored Taiyupian that demonstrate the dizzying range and invention of this fascinating genre.
This series is co-presented by Austin Asian American Film Festival and Austin Film Society. It was made possible by the Taiwan Film and Audiovisual Institute, Taiwan Ministry of Culture, and Taiwan Academy of the Taipei Economic and Cultural Office in Houston.
THE FILMS:
The Fantasy of the Deer Warrior (1961)
Director: Chang Ying
Running Time: 87 min
A completely unique Taiwanese fantasy-fable-melodrama about the interactions between various animals in the forest. What makes this so unique is that the animals are played by actors dressed in rather inexpensive costumes. Oddly fascinating and involving.
Screening will be followed by a Skype Q&A with Dr. Ming-Yeh T. Rawnsley, founding editor-in-chief of the International Journal of Taiwan Studies and co-organizer of the touring retrospective “Taiwan’s Lost Commercial Cinema.
 
The Husband’s Secret (1960)
Director: Lin Tuan-chiu
Running Time: 102 min
Don’t let the singular title fool you—hubby has more than one secret to hide after his wife unwittingly reunites him with his now-destitute ex, shaking up their comfortably middle-class marriage.
 
The Bride Who Has Returned From Hell (1965)
Director: Hsin Chi
Running Time: 117 min
The spirit of Daphne du Maurier haunts this Gothic mystery, about a young woman who infiltrates a rich family to find her missing sister and discovers plenty of skeletons rattling around their closets.
Free Member Monday—free for all AFS members.
 
Dangerous Youth (1969)
Running Time: 94 min
A conniving Don Juan introduces a naïve girl to the neon sights and swingin’ sounds of urban nightlife, but he may have met his match on the less glamorous field of sexual politics.
Screening will be followed by a Skype Q&A with Dr. Chun-chi Wang, specialist in film and television critical theory and Executive Director of the Taiwan Film and Audiovisual Institute.
Screening Dates:

The Fantasy of the Deer Warrior (Monday, April 4)
The Husband’s Secret (Monday, April 11)
The Bride Who Has Returned From Hell (Monday, April 18)
Dangerous Youth (Monday, April 25)

 

#### ABBEY GRACE – A Review By Nick Askam
 

	I usually don’t watch horror movies. It’s not that I don’t like a good scare; it’s just that they’re usually boring and don’t make a lot of sense to me. That’s not to say that all scary movies fall into this category, it’s just what category that this film falls under.

	So Abbey Grace is about an OCD agoraphobic named Ben (Jacob Hobbs) and his sister, Stacey (Debbie Sheridan). Anyways, this follows the Ben as he tries to overcome his fear and go outside. They’re being haunted by this spirit called Abbey Grace whose introduction is her painting a creepy picture after killing another girl in the home. To help them, Stacey brings her friends Bridget (Amber Gallaway) and Roman (Semi Anthony) over to help amend the problems in the home. Stacey also has a dog named Duke (Roach) who delivers the best performance of the film.

	This is probably one of the dumbest movies I’ve seen in a long time. It’s kinda charming in its own way, though. So Ben is afraid of germs and going inside to the point where he has many cleaning products scattered through the house. But the dude lives in a dirty house! He also allowed a dog to live in his house. Ben should’ve never let that dog step a paw into his house. He also lets another person come into contact with him because he thinks she’s pretty and eventually gets over all of his problems for her. It doesn’t make sense why he would shift his beliefs that he’s held since he was a kid for a girl.

	Stacey’s character also doesn’t make a lot of sense. It’s never explained why she left her life to come live with her brother. It’s a total career change that makes no sense to me. Like it shouldn’t matter, right? But if she’s not bringing in any income, I feel like it does. I also don’t understand her character with a connection to Bridget because they seem like people who aren’t that good of friends. They had no chemistry and it’s kinda weird if your friend starts dating your brother immediately, right?

	I don’t understand Abbey Grace’s powers. After each part of the film, she gets stronger and stronger. Like originally, she was just controlling the surrounding atmosphere and making things feel creepy. Then, she controls the dog. Then, she controls Stacey. Then, she manifests in human form in front of Roman while controlling Stacey. It doesn’t make a lot of sense because this spirit has God-like powers. I was blown away by how strong they made her with the way to beat her being put her in a box. I also didn’t get why she had to make Stacey limp. I know it was an easy way to identify her, but isn’t the purpose of taking over a new body to escape the limits of the old one? So she should hypothetically be controlling people to lose her bad leg.

	The story is confusing and I think that’s why none of the characters made a lot of sense to me. It tries to convince you that you care about these characters and never gives you a reason to. The biggest reason to root for Ben is that he’s fighting a mental disability and Stacey gave up her life to helping him, so she has the moral high ground. But other than that, I didn’t find any good qualities between the two characters. They’re molded by their disdain for the deceased parents and how much they hate life now. I just didn’t connect with any character’s motivations. Also, I think it’s a little ridiculous that a dog digging up something caused all of this chaos. Also, Stacey shouldn’t have figured out where the case was because the dog dug it up, not her.   

	Overall, this film is boring, lackluster, and confusing. The end scene was actually all right, but I’d skip this film because it just doesn’t make a lot of sense. Maybe if you’re looking for a horror movie that will convince you that your movie idea for a horror film isn’t that bad, then maybe this is the one for you.

	 

	Grade: D

#### Abby Meyers and Kevin Brooks’ A NIGHT OUT wins the $10,000 Memphis Film Prize
 
The winner of the 4th annual Memphis Film Prize was announced at an entertaining and celebratory brunch at Aldo’s Pizza Pies in downtown Memphis (100 S. Main Street) held on Sunday, August 4th. Film Prize’s coveted top award of $10,000 cash – determined by the festival audience and film judges – went to A NIGHT OUT directed by Abby Meyers and Kevin Brooks. Best Performance Awards went to HANGRY’s Percy Bradley (directed by Clint Till)  and PAGES’ Latresia D Bobo (directed by Arnold Edwards II).
“The Memphis Film Prize took a massive leap this year towards our goal of being one of the most important film competitions and essential catalysts for independent film production in the nation,” said Gregory Kallenberg, founder and executive director of the Film Prize Foundation. “We are so proud of our talented filmmakers and of the spirited attendees from this year’s Film Prize, and we are looking forward to coming back next year and being bigger, better, and burning brighter than ever!”
Meyers and Brooks’ A NIGHT OUT is an emotionally devastating drama about a young woman, who seeks to forget about a troublesome relationship by going to a party with girlfriends. Unfortunately, while at the party she is approached by someone who preys upon her. The film’s story was driven by Meyers, who teamed with Brooks, last year’s winner for the film, LAST DAY, to craft a short film that was both deeply affecting, led by Rosalyn Ross’s lead performance, and visually arresting (with cinematography by Andrew Trent Fleming).
New to Memphis Film Prize categories for Best Performance which are determined entirely by audience vote. Percy Bradley, who starred in Clint Till’s HANGRY as a reverend who deals with the disappointment of the food served to him at a retirement home by attempting to procure a more appetizing meal, entertained audiences with one of the few purely comedic performances in the competition. Those same audiences connected deeply with Latresia D. Bobo’s performance in Arnold Edwards II’s heartfelt drama about two neighbors contemplating a way out as they deal with losses in their lives. Bobo, a mother of four, revealed during her acceptance speech that she had started her journey with Memphis Film Prize as a festival the first year in 2016. She would then appear as an extra and then an actor in subsequent years, leading to her award-winning performance this year in PAGES. Both acting awards included cash prizes of $250.
Judging for the Film Prize competitions is handled differently from other festivals. Instead of convening to collectively decide a winner, judges vote individually. The judges votes account for 50% of the vote and the remaining half is determined by audience. Both groups are required to see all ten films in competition before being permitted to vote. The judges for this year’s Memphis Film Prize were comprised of independent film producers, writers and directors, including Kevin Arbouet (BENJI THE DOVE), Milan Chakraborty (ASSASSINATION NATION, MY FRIEND DAHMER, THE LIFEGUARD), and Melodie Sisk (THE DEATH OF DICK LONG, LITTLE SISTER), as well as film journalists from across the country – all members of the Alliance of Women Film Journalists, including Sarah Knight Adamson (RogerEbert.com/Naperville Magazine), Brandy McDonnell (The Daily Oklahoman/NewsOK.com), Lynn Venhaus (McClatchy/Bellville News Democrat).
For the fourth consecutive year, Memphis Film Prize continued to swell with larger than ever attendance numbers, increasing substantially from the 2018. In addition, submissions from both locally-based filmmakers and teams from across the country travelling to Memphis and Shelby County to shoot their projects – a requirement to compete – nearly doubled from last year.
Organizers have confirmed that Memphis Film Prize will return in 2020. Information about the beginning of next year’s competition will be announced later this year.

#### ABCs OF DEATH 2 World Premiere at Fantastic Fest on September 18
 

	Magnet Releasing and Drafthouse Films bring a kaleidoscope of death, mayhem and fun with the World Premiere of ABCs of Death 2 at Fantastic Fest in Austin, TX on Thursday, September 18.  The film has also been announced for release on VOD platforms October 2 with a theatrical run set for October 31.

	ABCs of Death 2 features 26 brand new shorts from 26 new directors of acclaimed genre films like Cheap Thrills, Inside, A Lonely Place to Die, American Mary, Big Bad Wolves and many more. Once again, the filmmakers were given free reign to create a short film about death in all its many forms and the results are at turns shocking, hilarious, vile, surprising, beautiful, reprehensible, poignant, disturbing, but most of all, mind-melting fun. In addition to the varied subject matter and creative approaches to time-tested genres, the filmmakers explore a variety of styles including stop-motion animation, dialogue-free, and hand-drawn animation to bring their twisted visions to the screen.

	"I truly love how divisive this anthology series will be. There's no grey when it comes to the ABCs OF DEATH. People either love it or detest it. And that is the exactly the way it should be. Filmmakers are rarely given the opportunity to express themselves with full creative freedom. That's because it's usually a dangerous and risky endeavour. So it's a good thing Tim League and I enjoy risk and we're happy our partners at Magnet Releasing feel the same way as we do," said producer Ant Timpson.

	"I want people to look back at the ABCs of DEATH rosters ten years from now and see many of these now emerging directors running the show in future Hollywood," said producer Tim League.  " With Fantastic Fest veterans Garreth Edwards and Rian Johnson commanding the Star Wars franchise, this doesn't seem unreasonable at all."

	ABCs of Death 2 is the follow-up to the most ambitious anthology film ever conceived with productions spanning from Nigeria to UK to Brazil and everywhere in between. It features segments directed by over two dozen of the world's leading talents in contemporary genre film. The film is comprised of twenty-six individual chapters, each helmed by a different director assigned a letter of the alphabet, beginning with the letter A and ending with the letter Z. The directors were then given free rein in choosing a word to create a story involving death. Provocative, shocking, funny and at times confrontational,ABCs of Death 2 is another global celebration of next generation genre filmmaking.

	 

	The following is the list of participating directors and a reference title from each of their filmographies:

		Julian Barratt (THE MIGHTY BOOSH)
	

		Todd Rohal (THE CATECHISM CATALYSM)
	

		Steven Kostanski (MANBORG)
	

		Alejandro Brugués (JUAN OF THE DEAD)
	

		Jim Hosking (commercial director)
	

		Hajime Ohata (HENGE)
	

		Chris Nash (SKINFECTIONS)
	

		Rodney Ascher (ROOM 237)
	

		Bill Plympton (Animator)
	

		Erik Matti (ON THE JOB, MAGIC TEMPLE)
	

		Kristina Buozyte and Bruno Samper (VANISHING WAVES)
	

		Vincenzo Natali (SPLICE, CUBE)
	

		Larry Fessenden (THE LAST WINTER, HABIT)
	

		Julien Maury and Alexandre Bustillo (INSIDE, LIVID)
	

		E.L. Katz (CHEAP THRILLS)
	

		Jen and Sylvia Soska (AMERICAN MARY, DEAD HOOKER IN A TRUNK)
	

		Aharon Keshales and Navot Papushado (RABIES, BIG BAD WOLVES)
	

		Julian Gilbey (A LONELY PLACE TO DIE)
	

		Dennison Ramalho (NINJAS and LOVE FOR MOTHER ONLY)
	

		Lancelot Imasuen (Nollywood director)
	

		Jerome Sable (THE LEGEND OF BEAVER DAM, STAGEFRIGHT)
	

		Robert Morgan (BOBBY YEAH)
	

		Robert Boocheck (HORRIFIC)
	

		Juan Martinez Moreno (GAME OF WEREWOLVES)
	

		Marvin Kren (RAMMBOCK BERLIN UNDEAD)
	

		Soichi Umezawa (special makeup effects artist)

#### ABE LINCOLN VAMPIRE HUNTER
 
ABE LINCOLN VAMPIRE HUNTER
 
By Gary Murray
 
Starring Benjamin Walker, Rufus Sewell, Mary Elizabeth Winstead and Dominic Cooper
 
Written by Seth Grahame Smith
 
Directed by Timur Bekmambetov
 
Running time 104 min
 
MPAA Rating R
 
Selig Film Rating—Matinee
 
The vampire film has been around almost since the beginnings of cinema.  Nosferatu was one of the first big silent films and Dracula was the film that put Universal on the map.  After a decade, the vampire film became more of a parody with Abbott and Costello delivering a comedy-punch to the scares.  Then in the 1950’s, Hammer studios took over the horror and added buckets of blood.  Lately, the vampire flick has been suffering in the Twilight of the genre.  Director Timur Bekmambetov tries to bring us back to scary & mean vampires with the strange Abe Lincoln Vampire Hunter.
 
Based on a very bloody and graphic novel, Abe Lincoln Vampire Hunter tells the tale of our 16th president who is best known for freeing the slaves.  According to this fantasy, he is also a seeker of blood sucking parasites.
 
The movies starts when Abe is a child and sees a vampire take the life of his mother.  It is at that moment he wants to destroy the undead beast who took his mother.  Flash-forward to Abe as a man (Benjamin Walker) and the vengeance and risen to rage. 
 
As the attempt of killing a vampire goes very awry, Henry Sturgess (Dominic Cooper) steps into the fray, saving the future president.   We find out that Henry is on a quest to rout out the unholy ones and destroy them.  Soon, Henry and Abe form a pack and we get a montage of training with Mr. Lincoln learning how to swing a silver tipped axe. 
 
The film becomes a bounce between Abe the emancipator and Abe the slayer.  As the movie progresses the film parallels the struggle to free the slaves as the vampires desire to form their own Southern state.  The vampires become Confederate Soldiers, full of Northern hate and fang.  The entire exercise of Abe Lincoln Vampire Hunter is just silly.
 
This is a very violent film with buckets of blood splattering over everything and everybody.  The CGI hemoglobin of Abe Lincoln Vampire Hunter fling across the camera lens with a morbid glee that one seldom sees in films.  Director Timur Bekmambetov knows his way around an action sequence even when he mimics Sherlock Holmes with camera angles and placement.  The film has more than a few giant beats of adventure and he makes the most of his second unit in crafting some intense action.
 
Dominic Cooper as Henry Sturgess is, in a word, brilliant.   The actor finds an interesting interpretation of the character, a man cursed by his circumstance.  The film would have been more appealing with more of a focus on this condemned man and not the president.  
 
Of the cast, the most sympatric performance came from Mary Elizabeth Winstead as Mary Todd Lincoln.  There is this wide-eyed sparkle in her reading that draws one in.  It is a smaller part in this orgy of blood but it is also refreshing.
 
The weakest element of the film is Benjamin Walker as Honest Abe.  The actor never truly becomes the president, never finds the proper beat in the performance.  When the major actor of the work is weak, the entire production suffers.
 
With books like Seth Grahame Smith’s Pride and Prejudice and Zombies and Eric S. Brown’s War of the Worlds, Plus Blood, Guts and Zombies, there should be more of these mash-up ideas.  Though it is a funny concept, almost a SNL skit, the idea does wear a bit thin after the first hour.
 
Though the film is a fun little diversion, it is not the summertime blockbuster that should set the genre on fire.  It plays more like a cult film than a major entertainment.  It is an entertaining film but nothing truly special. 

#### ABOUT MY FATHER – A Review by Cynthia Flores
ABOUT MY FATHER – A Review by Cynthia Flores
First, off full disclosure, I’m a huge Sebastian Maniscalco fan. I’ve seen almost all his standard comedy routines. I’ve seen him pay his dues in small parts in big movies. So I was thrilled when I heard about him doing this film, About My Father, which is very much based on his standup comedy, which is based on his real life. So many of the situations shown in the movie were actually talked about on stage during his sets. He really does have a hardcore Italian immigrant dad. The big win here is that he got the one and only Robert “frickin” De Niro to play his father.
The storyline for About My Father is this. When Sebastian (Sebastian Maniscalco) tells his old-school proud Italian immigrant father, Salvo (Robert De Niro), that he is planning to propose to his long-time, blue-blooded, comes-from-old money girlfriend Ellie (Leslie Bibb), Salvo insists that he must meet the girl’s family before he gives his son his grandmother’s wedding ring, to see if they are good enough for his son.
It so happens that the young couple has been invited to her family’s summer house for the Fourth of July weekend. Since Salvo is widowed and would miss being with his son over the holiday, he agrees to go with them. That is where the fun begins.
Salvo is a fish out of water in the lavish lifestyle of Ellie’s family. Her mother, Tigger (Kim Cattrall), is a US Senator, and her husband, Bill (David Rasche), is a hotel mogul. They both like Sabastian. So does her hippie younger brother Doug (Brett Dier). The trouble is with her playboy good-for-nothing brother Lucky (Anders Holm), who embraces all the perks of growing up filthy rich. His idea of fun is to tease and torture Sabastian as much as possible. The film follows everyone on this eventful holiday weekend as these two miss-matched families try to get along.
The film itself really gets the audience laughing. And the director was smart by keeping the movie to a slim trim hour and twenty-nine-minute running time. It kept the story from adding any fluff to make it longer. But, unfortunately, there are times, in its leanness, the characters don’t get to flesh out their emotions as much as they could have. They have Robert De Nero and Kim Cattrall in the cast. So they have the chops to go deep. But the director decided to stay with the comedy and delivered on that point. It just would have been a better film if they had taken the time to add more heart and depth to the story instead of keeping it at a sitcom level of emotions. 
I give About My Father 3.7 stars. You’ll get it if you’re a hardcore Sebastian Maniscalco fan. If you aren’t, then as Sebastian might say in his exaggerated Italian tough guy accent., “Just keep walking. I hear the Little Mermaid is playing in the theater next door. That might be more your speed.”
 
Directed by: Laura Terruso
Written by: Austen Earl, Sebastian Maniscalco
Rated: PG-13
Selig Rating: 3.7 Stars
Running Time: 1 hr 29 min
Comedy
Wide Theatrical Release: May 26th
Starring: Robert De Niro, Leslie Bibb, Kim Cattrall, Sebastian Maniscalco
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### ABOUT TIME
ABOUT TIME

	By Gary Murray

	Starring Rachel McAdams, Domhnall Gleeson and Bill Nighy

	Written and directed by Richard Curtis

	Running time 123 min

	MPAA Rating R

	Selig Film Rating FULL PRICE

	 

	Rachel McAdams is the new ‘girl next door’ actress, taking the place of such stalwart actresses as Meg Ryan and Julia Roberts.  With her bright eyes and perfect smile, she is the girl that women like and men want to meet.  She has been in The Vow, The Time Traveler’s Wife and Wedding Crashers.   Her latest romantic comedy is About Time.

	The tale starts with Tim (Domhnall Gleeson).  He is a geeky 21 year-old who finds out on his birthday that the men in his family can travel through time.  His professor dad (Bill Nighy) also has the gift and has used it to read every important work of literature.  He is warned that using the gift to make money will only make one unhappy.  Tim decides he wants to use his gift to get a girlfriend.  He does his first test at a New Year’s Eve Party.

	Tim first falls for Charlotte (Margot Robbie) a friend of his sister Kit Kat (Lydia Wilson).  He finds that both time travel and women are a mystery.  The more attempts he makes toward Charlotte, the more he shows how clumsy he is at the mating ritual.  Tim totally fails in his attempt to win her over.  His heart is broken.

	Eventually Tim moves to London to become a lawyer and meets Mary (Rachel McAdams) at a dining in the dark restaurant.  He is totally charmed by her and gets her number once they leave the restaurant.  When he goes home, he has to use his time travel ability to save the play of his writer/roommate.  When he comes back to normal time, her number is gone.  By traveling through time, he has lost the meeting. 

	Eventually, he decides to ‘cute-meet’ her again and finds that in this time line, she has a boyfriend.  Tim has to travel further back into time and meets her for the third ‘first time’.  Very soon Tim and Mary are dating.

	The rest of the story is their courtship, meeting the families and having a beautiful rain-soaked wedding. Throughout all this, Tim tweaks his life to make the details perfect.  He also finds that when he goes back too far, major events in his life change.  He also finds that kids change his abilities to travel back.

	About Time is a thoroughly enjoyable little autumn flick.  It wraps around like a warm blanket.  Though it is a time travel film, it is much more a film about family and the bonds between fathers and sons.  For those expecting science fiction, this is not your film.  This film revels in the concepts of romance.

	Writer/director Richard Curtis has been behind such productions as Black Adder, Notting Hill, Pirate Radio and Love Actually.  He has walked the edge of side-splitting comedy and tender romances.  Here he leads on the romance side, but there are many funny moments throughout the screenplay.  The work swims back and forth between the two extremes gracefully

	Perhaps the most brilliant part of the screenplay is how every character, no matter how minor, is unique.  He gives us a giant palate of individuals, all of which could be in their own film.  There are co-workers and family members who are quirky and endearing.  The details make this film.

	Another thing Richard Curtis does is capture London in a perfectly romantic light.  Even thought is it a wonderful city, full of stunning history, he captures the bustle of the world while still showing the smaller aspects of the city.  It is a richly detailed capture of one of the world’s greatest places.

	Rachel McAdams could read the phone book and still be just as charming.  She could become the biggest star of the romantic comedy genre.  She breaths new life in the stale format, making one believe that true romance can and does happen.   That pixie glance just melts the heart.

	The real find is Domhnall Gleeson.  The former Harry Potter actor shows that he can handle the majority of a film without being overwhelmed by the process.  He has a certain simple charm that will win the audience over.  But easily the best scenes are between him and Bill Nighy as the father.  They play table tennis one really feels the special bond between these two.  There is a very strong bond between the two men.

	The idea of About Time is that ‘Life’s a mixed bag’ but the film is a winning, soppy romantic mess.  It is thoroughly enjoyable movie experience that will send in women by the droves.  But, for the guys who are dragged along, it will still be a charming little feature.

#### ABRIL – A Review by Jenn Rohm
People who make films have experienced life in ways that can influence the stories they tell.  Director, Writer, and Cast Member Hernán Jiménez has chosen to do so with his recent project, Abril.  At a young age, his parents divorced, which made his father, who was rarely there, the hero, and his mother, who put her life on pause to raise him, the “enemy”.  In today’s world of divided families, this is not uncommon.  As children get older, they often re-evaluate and, with additional information, see things differently.  Jiménez asked himself, “. . . if we’re all so acutely aware of this narrative and its glaring injustice, why aren’t there more stories about it?”
This is the story of a mother (Maricarmen Merino) who has put her child first since she discovered she was expecting.  She works as a social worker and does what she can to provide for her daughter.  Her daughter (Lara Yuja Mora), now a teenager, tells her mother she is leaving to go live with her Dad (Hernán Jiménez).  With encouragement from others Abril is starting to realize she has needs and wants as well.  After meeting Gabriel (François Arnaud) she opens herself to the possibility of a relationship.
This is a slower-paced movie; I wasn’t checking my watch as much as I felt like I was in the last few minutes of school before summer break.  With slice-of-life pieces, I don’t expect the same pacing as an action film; this was on the slower side of what I was expecting.
There were a few plot points that either should have been left out or explored further.  At one point, Gabriel asks for her credit card instead of cash to go buy snacks.  That he couldn’t fully afford was logical; the insistence on using a credit card over cash was a red flag that was left hanging.  Was he going to take money from her?  Was he taking advantage?  If there was no nefarious purpose, why not just accept the cash or have her offer the credit card in the first place?  Another is the ex-husband’s career.  He had money and was recognized when out.  Was he an athlete, a media personality, or a writer?  In a scene with a fan, this could have been elaborated on, or at his home, a poster of him on the wall for his profession would have helped.
The development of Abril and all the emotions she was going through were clear with Merino’s performance.  Her actions and tone helped me follow the story while reading the subtitles.  There are moments in life that it doesn’t matter where you live, everyone can experience them.  Being able to portray these emotions and coming across as natural takes time, dedication, and talent.  (Which Merino has.)
If you are looking for a glimpse at the life of a single mother in Costa Rico, find a showing of Abril and go see it for yourself.
 
 
Director: Hernán Jiménez
Cast: François Arnaud, Hernán Jiménez, Maricarmen Merino
Language: Spanish with English subtitles
Selig Rating: 3 stars
Runtime: 1h 45m
Release Date: February 7, 2026
Genre(s): Comedy, Drama
Trailer: Abril trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### ACA Film Project Presents NEW FILMS FROM JAPAN (February 10-16)
 
Agency for Cultural Affairs, Government of Japan (ACA) announces the sixth ACA Cinema Project series – New Films from Japan – organized as part of its Japan Film Overseas Expansion Enhancement Project in collaboration with the IFC Center and with Visual Industry Promotion Organization (VIPO) entrusted with the operation of the project. This edition of the program will present four films that have made an impact, received critical acclaim, and won awards at film festivals around the world over the course of the past year.
Screening at the IFC Center (323 Sixth Ave – at West 3rd St,) on February 10-16, the lineup will include Kei Ishikawa’s A Man, Shô Miyake’s Small, Slow but Steady, Nao Kubota’s Thousand and One Nights, Yuji Nakae’s The Zen Diary, and Juichiro Yamasaki’s Yamabuki.
New Films from Japan series is the latest presentation of the ACA Cinema Project, representing the buzzworthy films of contemporary Japanese screen entertainment and highlighting the work of award-winning and celebrated filmmakers from Japan to film fans, industry insiders, dealmakers, and press in the United States. With these film series, ACA works to promote Japanese cinema internationally. Additional films, panels, events, and attending filmmakers and special guests will be announced soon.
Katsura Toda, Senior specialist for the arts at Japan’s Agency for Cultural Affairs – Government of Japan, and the organizer of ACA Cinema Project said, “These films are among the outstanding works that Japan has produced last year, with each sharing a true artistic achievement in filmmaking. All four films demonstrate a nuanced approach to storytelling, beautifully shot, with wonderful performances across the board. We could not be more excited to give them this platform at the IFC Center in New York City.”
Kei Ishikawa’s A Man debuted at the Venice Film Festival. Adapted from the Keiichiro Hirano novel, the film looks at Japan’s “lost generation” via a troubled lawyer plunged into a web of mystery when he is asked to follow the trail of a deceased man who lived under a false identity. Shô Miyake’s Small, Slow but Steady, shot entirely on 16mm film, continues to receive rave reviews at over 13 international film festivals around the world, including Berlin. The film follows the emotional journey of a hearing-impaired young woman who is a talented boxer with natural instincts and abilities, who struggles to win when the aging boxing club president who was her biggest supporter can no longer be there for her in the same way. Nao Kubota’s Thousand and One Nights won the FIPRESCI Award at the Busan International Film Festival. The film connects two women caught in an uncertain place between grieving and acceptance due to the mysterious disappearances of their husbands in a small coastal island town.
Yuji Nakae’s The Zen Diary screened in the Culinary Cinema section of the San Sebastian International Film Festival and at the Hawaii International Film Festival. The film has attracted attention for the many delicious Zen dishes featured in the film in addition to its story about an author and cook living a solitary existence living off the land in the mountains, who finds he must face his own mortality while preparing food and writing his next manuscript. Juichiro Yamasaki’s Yamabuki was the first Japanese film ever to be selected for the ACID section of the Cannes International Film Festival. The film intersects multiple characters whose loneliness and frustrations with where their lives have taken them have bubbled to the surface. They include a former equestrian athlete working off crushing debt while trying to start a new family with a young mother, and a high school girl whose publicly staged protests inspiring community action put her at odds with her father, a widowed policeman.
 
Ticket prices are as follows:
Adults: $17
Seniors and children: $14
IFC members: $12
Students: $13 (must show valid student ID at the box office)
ACA cinema project postcard coupon gives you a $4 discount as well.
For more information or to purchase tickets, go to: https://www.ifccenter.com/series/aca-japan-2023
 
NEW FILMS FROM JAPAN Film Descriptions and Filmmaker Bios
All films are in Japanese with English subtitles unless otherwise noted. 
Films are listed alphabetically.
 
A Man                                                                                      EAST COAST PREMIERE
Director: Kei Ishikawa
Country: Japan; Running Time: 121 minutes
Adapted from the Keiichiro Hirano novel, A Man comments on the collective existential crisis of Japan’s “lost generation” via the journey of a troubled lawyer plunged into a web of mystery when he is asked to follow the trail of a deceased man who lived under a false identity. As he gets closer to the shocking truth, he increasingly finds himself haunted by his own unsteady place in the world.
Festivals/awards: Orizzonti Competition at the 79th Venice Film Festival, Naguib Mahfouz Award for Best Screenplay 44th Cairo International Film Festival
About the director:
After studying physics at Tohoku University and film directing at the {polish National Academy for Film, Television, and Theater, Kei Ishikawa’s short film Dear World (2008) received a Special Prize in the prestigious Akira Kurosawa Foundation competition. His feature film, It’s All in the Fingers (2010) premiered at New Directors/New Films in NYC. His feature-length debut work,  Gukoroku – Traces of Sin (2017) was selected for the Orizzonti Competition at the 73th Venice Film Festival. His most recent film was Listen to the Universe (2019)
 
Small, Slow but Steady
Director: Shô Miyake
Country: Japan; Running Time: 99 minutes
A hearing-impaired woman with dreams of becoming a professional boxer discovers her fight isn’t just in the ring with the next opponent, but also includes the struggle simply to focus and train properly due to the threatened closure of her boxing club compounded by the illness of its aging president, who has been her biggest supporter. Despite a lack of support and understanding from her family and her own struggles with feelings of self-worth, she must push herself to the limit if she is to succeed. The film stars Yukino Kishii and Tomokazu Miura.
Festivals/awards: the 72nd Berlin International Film Festival, the 27th Busan International Film Festival, the 66th London Film Festival, the 56th Karlovy Vary International Film Festival
 
About the director:
Shô Miyake directed his first theatrical feature film Playback in 2012, which was screened in the Competition at Locarno International Film Festival. His feature film And Your Bird Can Sing (2018) was officially selected to the Forum section at Berlin International Film Festival. Other directorial works include a music documentary The Cockpit (2014) which was selected for the New Directors section of Cinema du Réel, a costume TV drama “The Courier” (2017) and a streaming TV drama series “Ju-on origins” (2020).
 
Thousand and One Nights                                                       US PREMIERE
Director: Nao Kubota
Country: Japan; Running Time: 126 minutes
A gently paced character-study of two women brought together by their shared experience of husbands who have gone missing, Thousand and One Nights is set in a beautiful port town on a remote northern island. Thirty years have passed since Tomiko’s husband suddenly disappeared. She still doesn’t know why he disappeared or if he is still alive. She fends off the overtures from Haruo, a local fisherman, as she keeps waiting for his return, holding on to the small memories of her beloved. Then she meets Nami, a younger woman, whose husband also disappeared, two years ago. The women connect over their shared loss, as Nami searches for the reason why her husband “disappeared” in order to come to terms with her situation and move on. Then, Tomiko happens to see Yoji, Nami’s missing husband, on the street… The film won the FIPRESCI Award at the 27th Busan International Film Festival.  The film stars Yuko Tanaka and Machiko Ono.
Festivals/awards:the FIPRESCI Award at the 27th Busan International Film Festival
 
 
About the director:
A prolific television documentary filmmaker, Nao Kubata made their feature film directorial debut with Homeland (2014). The film premiered at the Berlin Film Festival and was nominated for a SIGNIS Award at the Hong Kong International Film Festival and the Asian New Talent Award at the Shanghai International Film Festival.
 
 
Yamabuki                                                                                 US PREMIERE
Director: Juichiro Yamasaki
Country: Japan/France; Running Time: 97 minutes
Languages: Japanese, Korean, Vietnamese
A story of finding a place to root yourself when life’s obstacles have disheartened you. Multiple characters have stories that intersect including a former equestrian athlete forced to give up on his dream works at a quarry site to work off crushing debt while trying to find happiness with a woman and her infant daughter who are estranged from the girl’s father. Meanwhile, Yambuki, a high school girl stages silent protests at a major intersection that begin to grow into community action to the dismay of her father, a widowed policeman. Everyone’s frustration and loneliness that have been lying just under the surface, increasing reveal themselves and are given a voice, which in turn begins to connect people in unexpected ways. The film stars Kang Yoon-soo and Kilala Inori.
Festivals/awards: the ACID section of the Cannes International Film Festival
 
About the director:
Juichiro Yamasaki organized a student film festival during his studies at university, made a couple of short films and worked as an assistant director. The Sound of Light (2011), about life as a farmer in current times, was his feature debut and won the Nippon Visions Award at the Nippon Connection Japanese Film Festival. His follow up, Atarashki tami (2015) portrayed an uprising of people of Sanchu in 1726.
 
 
The Zen Diary                                                              EAST COAST PREMIERE
Director: Yuji Nakae
Country: Japan; Running Time: 111 minutes
Adapted from Tsutomu Mizukami’s book, The Zen Diary follows Tsutomu, a man who lives alone in the mountains, writing essays, cooking food with vegetables he grows and mushrooms he picks in the hills. His routine is happily disturbed when Machiko, his editor/love interest, occasionally visits to pester him for his next manuscript. She loves to eat, and he loves to cook for her. Tsutomu seems content with his daily life. However, a close brush with death will now force him to decide on what he values most in life and what he must choose going forward. The film stars Kenji Sawada and Takako Matsu.
Festivals/awards: the Culinary Cinema section of the San Sebastian International Film Festival and the Hawaii International Film Festival
 
About the director:
Yuji Nakae specializes in films set in Okinawa, featuring Okinawan music, language, themes, and atmosphere. He shared the Directors Guild of Japan New Directors Award for his debut film, Pineapple Tours, which was an omnibus film co-directed with Tsutomu Makiya and Hayashi Tōma. His film, Hotel Hibiscus (2002) won a Special Jury Prize at the Tokyo International Film Festival, as well as receiving a Special Mention at the Hong Kong International Film Festival.

#### Academy Announces 2014 Governors Ball Creative Team
Academy governor Jeffrey Kurland, event producer Cheryl Cecchetto and master chef Wolfgang Puck will return to create this year’s Governors Ball, the Academy’s official post-Oscar® celebration, which will immediately follow the 86th Oscars® ceremony on Sunday, March 2. The Ball’s 1,500 invited guests include Oscar winners and nominees, show presenters and other telecast participants.

	As the chair of the Governors Ball, Kurland will oversee the décor, menu and entertainment planning, as well as design the attire to be worn by the evening’s staff. Kurland is an acclaimed costume designer whose feature credits include “Hannah and Her Sisters,” “Radio Days,” “Crimes and Misdemeanors,” “Erin Brockovich,” “Ocean’s Eleven,” “Collateral,” “Inception,” “The Dictator,” “Beautiful Creatures” and the upcoming film “Tomorrowland,” starring George Clooney. He received an Oscar nomination for Costume Design for “Bullets over Broadway.” This will be Kurland’s fifth year serving as the chair of the Governors Ball.

	Cecchetto, along with her Sequoia Productions team, will work with Kurland to manage every detail pertaining to the event, including décor, entertainment, food and personnel. With the transcendent wonder of nature as a theme, this year’s Ball will feature lush vertical gardens designed with classic, elegant lines, inviting guests to meet, mingle and celebrate under the stars. Sequoia Productions’ clients include The Academy of Television Arts & Sciences, G’Day USA, Children’s Hospital Los Angeles, Westfield, and the UCSF Medical Center at Mission Bay. This will be Cecchetto’s 25th consecutive year producing the Governors Ball.

	Puck, along with chef Matt Bencivenga, will create the menu featuring more than 50 imaginative dishes, from one-bite hors d'oeuvres to small-plate entrees that will be passed throughout the evening. The menu, which includes such signature favorites as smoked salmon Oscars, chicken pot pie with shaved black truffles, and mini American Wagyu burgers with aged Cheddar and remoulade, will incorporate local produce and sustainable seafood. Modern presentations such as crispy lobster shrimp dumplings with five spice and bites of fried chicken with white grits will add excitement, while an expanded selection of vegan dishes, including shots of carrot orange gazpacho, taro root tacos with avocado, and butternut squash with farro and wild rice will have a more prominent focus. This year’s dynamic pastry team includes Della Gossett, Spago’s executive pastry chef; Kamel Guechida, corporate director of pastry for the Wolfgang Puck Fine Dining Group; Romain Lenoir, executive pastry chef of Wolfgang Puck Catering; and Jason Lemonnier, pastry chef for Hollywood & Highland. Together these chefs will create elegant seasonal desserts, such as chocolate-dipped strawberry cheesecake pops, citrus panna cotta with funky chunky chocolate popcorn, and a celebratory cake to honor Puck's 20th consecutive year creating the menu for the Governors Ball.

	The Governors Ball will take place in the Ray Dolby Ballroom on the top level of the Hollywood Highland Center® immediately following the Oscar telecast.

	Awards for outstanding film achievements of 2013 will be presented on Oscar Sunday, March 2, at the Dolby Theatre® at Hollywood Highland Center and televised live on the ABC Television Network. The Oscars, produced by Craig Zadan and Neil Meron, also will be televised live in more than 225 countries and territories worldwide.

	 

#### Academy Announces 2014 Student Academy Award® Winners
 

	Fifteen students have been selected as winners in the Academy of Motion Picture Arts and Sciences’ 41st Student Academy Awards® competition.  They will arrive in Los Angeles for a week of industry activities that will culminate in the awards ceremony on Saturday, June 7, at 6 p.m., at the DGA Theater in Hollywood.  The medal placements – gold, silver and bronze – in the five award categories will be announced at the ceremony. 

	The winners are (listed alphabetically by film title):

	Alternative
	“Oscillate,” Daniel Sierra, School of Visual Arts, New York
	“Person,” Drew Brown, The Art Institute of Jacksonville, Florida

	Animation
	“Higher Sky,” Teng Cheng, University of Southern California
	“Owned,” Daniel Clark and Wesley Tippetts, Brigham Young University, Utah
	“Yamashita,” Hayley Foster, Loyola Marymount University, California

	Documentary
	“The Apothecary,” Helen Hood Scheer, Stanford University
	“One Child,” Zijian Mu, New York University
	“White Earth,” J. Christian Jensen, Stanford University

	Narrative
	“Above the Sea,” Keola Racela, Columbia University, New York
	“Door God,” Yulin Liu, New York University
	“Interstate,” Camille Stochitch, American Film Institute, California

	Foreign Film
	“Border Patrol,” Peter Baumann, The Northern Film School, United Kingdom
	“Nocebo,” Lennart Ruff, University of Television and Film Munich, Germany
	“Paris on the Water,” Hadas Ayalon, Tel Aviv University, Israel

	This year saw first-time honors go to Tel Aviv University, Israel, and The Northern Film School, United Kingdom, in the foreign competition.  Academy members voted the winners from a field of 49 finalists, announced earlier this month.

	The Academy established the Student Academy Awards in 1972 to support and encourage excellence in filmmaking at the collegiate level. Past Student Academy Award winners have gone on to receive 46 Oscar® nominations and have won or shared eight awards. They include John Lasseter, Pete Docter, Robert Zemeckis, Trey Parker and Spike Lee.

	The 41st Student Academy Awards ceremony on June 7 is free and open to the public, but advance tickets are required.  Tickets may be obtained online at www.oscars.org or by mail.  Any remaining tickets will be made available at the door on the evening of the event. The DGA Theater is located at 7920 Sunset Boulevard in Hollywood.  For more information, call (310) 247-2677.

#### Academy Celebrates 40 Years of the Telluride Film Festival
 

	The Academy of Motion Picture Arts and Sciences is continuing its sponsorship of the Telluride Film Festival with a series of special events including an exhibition highlighting the history of the festival at the Historic Sheridan Opera House.  Telluride, which celebrates its 40th anniversary this year, runs August 29 through September 2.

	“The Telluride Film Festival is a showcase for great films and filmmakers, and over its 40 years has figured prominently in the careers of many Academy members,” said Dawn Hudson, Academy CEO.  “We are excited to celebrate this milestone by preserving the Festival’s history and its far-reaching cultural influence.”

	Telluride Film Festival recently donated all media and ephemera related to the Festival to the Academy for preservation and to avail future generations of its important place in film history.

	“The Academy Celebrates the Show” is an installation featuring photographs, documents, video footage and other treasures from the Academy’s newly acquired Telluride Film Festival Special Collection.  A companion exhibit, “Alternate Telluride,” at the Backlot, will showcase a selection of letters from notable filmmakers who – for one reason or another – could not attend, making for a fascinating glimpse into Tellurides that might have been.

	The Academy, which has been supporting the Festival for eleven years, is sponsoring the Festival’s signature Noon Seminars series and will also present the following special programs from its collections:

		A retrospective exhibition featuring 40 years of the Telluride Film Festival
	

		Clips depicting iconic filmmakers from the Academy’s Telluride Film Festival Special Collection will screen in advance of each festival film program
	

		Special screenings of Satyajit Ray’s “Mahanagar” (1963) and the 1948 short “Muscle Beach,” both preserved by the Academy Film Archive
	

		Photographic exhibit at the new Werner Herzog Theater includes photographs of Werner Herzog from the Academy’s collection.
	

	“Telluride Film Festival has chosen the Academy as the guardian of its treasured collection so that these important media assets can serve future generations, education and research,” commented festival executive director, Julie Huntsinger.  “This special exhibition that AMPAS has curated is a wonderful glimpse into the Festival’s past 40 years. We are proud of our long-standing relationship and thank them for their enthusiasm in celebrating this exceptional year and for their generous and continued support.”

#### Academy Film Scholar Donald Crafton Examines Animation’s Power To Create Imaginary Worlds
 

	In the Academy of Motion Picture Arts and Sciences’ latest celebration of works by Academy film scholars, Donald Crafton, professor of film, television and theater at the University of Notre Dame, will present highlights from his book Shadow of a Mouse: Performance, Belief, and World-Making in Animation on Wednesday, October 23, at 7:30 p.m. at the Academy’s Linwood Dunn Theater in Hollywood. Crafton will examine clips of classic animated performances from the 1930s and 1940s, and discuss how those performances evolved to meet the changing needs of audiences, artists and studios.

	For event details please click here

#### Academy Launches Its First Digital Video Series “Academy Originals”
 

	The Academy launches a new digital documentary-style video series, "Academy Originals," which examines everything from the creative process, to the moments that changed the course of filmmaking, to the artists who are charting its future.

	Academy Originals is now available on Oscars.org/AcademyOriginals and YouTube.com/AcademyOriginals.  The series launches today with three episodes:

		Let’s Go to the Movies with Patton Oswalt – Follow along as comedian, actor and movie fanatic Patton Oswalt is offered the opportunity to screen any film from the Academy Film Archive and analyzes it with comedian Karen Kilgariff.
	

		"Not Much to See": How the Blind Enjoy Movies – A documentary look at the impact movies can have on people who can’t “see” them.
	

		Creative Spark: Tina Gordon Chism – Screenwriter, director and Academy member Tina Gordon Chism (“Drumline,” “Peeples”) takes viewers inside her creative process in an exploration of where ideas come from.
	

	Upcoming Academy Originals episodes will feature such Academy members as Kathleen Kennedy, Paul Haggis, Phil Tippett, Mike White and Ava DuVernay, as well as provide in-depth coverage of topics ranging from the making of “Jurassic Park” to a profile of the Inner-City Filmmakers program.

	Academy Originals will draw on the expertise of the organization’s more than 6,000 members, its vast collection of archival material and its position within film conversation.

	“Our membership represents the most creative minds and talented storytellers in the world – professionals with incredible expertise to share,” said Josh Spector, the Academy’s managing director of digital media and marketing. “Academy Originals will serve as a platform to share that perspective with the world and to tell stories nobody else is telling.”

	New Academy Originals episodes will be available every Monday.  The series is produced by the Academy’s in-house digital team. 

#### Academy Statement Regarding The Passing Of Former Academy President Tom Sherak
 

	The Academy is deeply saddened by the passing of our beloved former president Tom Sherak.

	Sherak joined the Executives Branch of the Academy in 1983. He served three terms on the Board of Governors, from August 2003 through July 2012, the last three as President.

	He was most recently named Los Angeles film czar by Mayor Eric Garcetti to support local film production and serve as a liaison between state lawmakers and the entertainment industry.

	Sherak’s remarkable five-decade career has seen him at the pinnacle of motion picture marketing, distribution and production at companies including Revolution Studios, 20th Century Fox and Paramount Pictures.

	He was founder and chairman of the MS Hope Foundation, an organization dedicated to supporting the needs of the Multiple Sclerosis community.

	His passion and tireless energy impacted the Academy in countless ways – especially his support of our new Academy Museum of Motion Pictures.

	Statement from Cheryl Boone Isaacs, Academy President

	“In the more than 30 years I’ve known Tom, his passionate support of and excitement about the motion picture business, the Academy, his family and friends never wavered. He was truly larger than life, and he will be missed.”

	Statement from Dawn Hudson, Academy CEO

	“He was my mentor and my friend.  I learned from him, I laughed with him, and I couldn’t be more grateful for the time we shared together.  He had a huge influence on the direction of our Academy and on me personally.  I will miss laughing with him most of all.”

#### ACADEMY TAKES HISTORIC ACTION TO INCREASE DIVERSITY
 

	In a unanimous vote Thursday night (1/21), the Board of Governors of the Academy of Motion Picture Arts and Sciences approved a sweeping series of substantive changes designed to make the Academy’s membership, its governing bodies, and its voting members significantly more diverse.  The Board’s goal is to commit to doubling the number of women and diverse members of the Academy by 2020.

	“The Academy is going to lead and not wait for the industry to catch up,” said Academy President Cheryl Boone Isaacs. “These new measures regarding governance and voting will have an immediate impact and begin the process of significantly changing our membership composition.”

	Beginning later this year, each new member’s voting status will last 10 years, and will be renewed if that new member has been active in motion pictures during that decade.  In addition, members will receive lifetime voting rights after three ten-year terms; or if they have won or been nominated for an Academy Award.  We will apply these same standards retroactively to current members.  In other words, if a current member has not been active in the last 10 years they can still qualify by meeting the other criteria.  Those who do not qualify for active status will be moved to emeritus status.  Emeritus members do not pay dues but enjoy all the privileges of membership, except voting.  This will not affect voting for this year’s Oscars. 

	At the same time, the Academy will supplement the traditional process in which current members sponsor new members by launching an ambitious, global campaign to identify and recruit qualified new members who represent greater diversity. 

	In order to immediately increase diversity on the Board of Governors, the Academy will establish three new governor seats that will be nominated by the President for three-year terms and confirmed by the Board.

	The Academy will also take immediate action to increase diversity by adding new members who are not Governors to its executive and board committees where key decisions about membership and governance are made. This will allow new members an opportunity to become more active in Academy decision-making and help the organization identify and nurture future leaders.

	Along with Boone Isaacs, the Board’s Membership and Administration Committee, chaired by Academy Governor Phil Robinson, led the efforts to enact these initiatives.

#### Academy To Celebrate Oscar Night® New York At Daniel Boulud’s Iconic Restaurant Daniel
 

	For the second consecutive year, Chef Daniel Boulud’s iconic, landmark restaurant DANIEL will roll out the red carpet for local members of the Academy of Motion Picture Arts and Sciences, entertainment industry executives and several hometown luminaries to celebrate the 86th Oscars® with an exclusive viewing party and dinner.  This is the only East Coast event officially hosted by the Academy. 

	Coming off its 20th anniversary celebration this past May, DANIEL remains a fixture in the New York restaurant scene.  Chef Boulud, who hails from Lyon, France, is considered one of America’s leading culinary authorities and is one of the most revered chefs in New York City, his home since 1982.

	In addition to Chef Boulud’s award-winning contemporary French cuisine, the Oscar Night menu will feature a signature “Red Carpet Cocktail” created by head bartender Arnaud Dissais, and desserts by executive pastry chef Ghaya Oliveira that will pay homage to this year’s Best Picture nominees.  

	“Oscar Night New York brings together the local film community to celebrate outstanding achievements in cinema, and we are thrilled to return to DANIEL for another memorable evening with Chef Boulud,” said Patrick Harrison, the Academy’s director of New York programs and membership. 

	High-definition, large-screen LCD monitors augmented by Dolby® sound equipment throughout the dining room will create an immersive experience for guests. 

	“It is with great excitement that I and the DANIEL team prepare to host Oscar Night New York for a second year.  We take great pleasure in providing the East Coast Academy members a venue to enjoy the Oscars together, and infusing a bit of glamour into the evening,” said Chef Boulud.

	Two 7.5-foot Oscar® statues will greet the New York partygoers as they enter the restaurant on Oscar Night.  These golden sentinels are identical to the larger-than-life Oscars that will greet the ceremony’s attendees in Hollywood.  

	Awards for outstanding film achievements of 2013 will be presented on Oscar Sunday, March 2, at the Dolby Theatre® at Hollywood & Highland Center®, and televised live on the ABC Television Network.  The Oscars, produced by Craig Zadan and Neil Meron, also will be televised live in more than 225 countries and territories worldwide.

#### Academy Unveils Oscar® Trailer Starring Host Ellen DeGeneres, Directed By Paul Feig
 

	The Academy launched its Oscar season with a trailer starring show host Ellen DeGeneres and 250 tuxedo-clad men and women dancing to “The Walker” by indie pop band Fitz and The Tantrums.  The Oscars® will air Sunday, March 2, 2014, live on ABC.

	“I had the best time making this,” said DeGeneres.  “I love Paul, I love tWitch, I love Fitz and I like most of the Tantrums.”

	Paul Feig, a new Academy member, conceived and directed the trailer, which was choreographed by freestyle dancer Stephen “tWitch” Boss.  Feig’s directorial credits include “Bridesmaids,” “The Heat” and the upcoming comedy “Susan Cooper,” starring Melissa McCarthy.

	“To work with Ellen, tWitch Boss, Allison Holker and 250 amazing dancers to the music of Fitz and The Tantrums to promote the Oscars for the Academy of Motion Pictures Arts and Sciences was an absolute dream come true,” said Feig.  “Just typing that sentence made me giddy and exhausted. I’m going to lie down now.”

	The trailer will run in theaters nationwide beginning January 3, 2014.  It also can be viewed on the Academy’s YouTube channel at youtube.com/Oscars.

	Fitz and The Tantrums’ “The Walker” is the new single from their critically acclaimed second full length release, “More Than Just a Dream,” on Atlantic/Elektra Records.  The band’s first single, “Out of My League,” went #1 on Billboard’s Alternative Song Chart. 

	Academy Awards® for outstanding film achievements of 2013 will be presented on Oscar Sunday, March 2, 2014, at the Dolby Theatre® at Hollywood & Highland Center® and televised live on the ABC Television Network.  The presentation, produced by Craig Zadan and Neil Meron, will also be televised live in more than 225 countries and territories worldwide.

	httpvh://www.youtube.com/watch?v=DisioPE86AY

#### Academy, Mary Pickford Foundation Celebrate Silent Film With Two Restored Classics
The Academy of Motion Picture Arts and Sciences and the Mary Pickford Foundation will continue their annual celebration of silent film with screenings of two silent film classics from 1928 – “The Crowd” on Tuesday, October 22, and “The Student Prince in Old Heidelberg” on Thursday, October 24 – at the Academy’s Samuel Goldwyn Theater in Beverly Hills.  Film historian and preservationist Kevin Brownlow, who supervised the restoration of both films, will introduce the screenings, which feature a stereo musical score composed by Carl Davis.  The programs begin at 7:30 p.m.

	For event details click here

#### Academy’s Tech Council Adds 5 New Members
 

	Wendy Aylsworth, Rob Bredow, Douglas Greenfield, Rob Hummel and Bev Pasterczyk have accepted invitations to join the Science and Technology Council of the Academy of Motion Picture Arts and Sciences, bringing the Council's 2013–2014 membership roster to 25.

	Wendy Aylsworth is senior vice president of technology for Warner Brothers Technical Operations, where she oversees the establishment of new technologies for Warner Bros. production divisions. She formerly was a member of the Walt Disney feature animation department. In October 2012, Aylsworth was elected the first female president of the Society of Motion Picture and Television Engineers (SMPTE). She became an Academy member-at-large in 2012.

	Rob Bredow is chief technology officer and visual effects supervisor at Sony Pictures Imageworks, Animation, Colorworks and Post Production. As CTO, Bredow created the studios open source initiative which recently released Open Shading Language, Alembic and others to the open source community. Bredow's most recent visual effects credits include "Cloudy with a Chance of Meatballs," "Surf's Up," "The Polar Express," and many other films dating back to "Independence Day" in 1996. He has been a member of the Visual Effects Branch since 2011.

	Douglas Greenfield has been at the forefront of innovations in cinema sound for more than 30 years. During his career at Dolby Laboratories, Greenfield had contributed to many notable engineering projects and is currently senior director of content services. An active Academy member, Greenfield served as a Sound Branch governor for six years, and in 2003, he earned the John A. Bonner Medal of Commendation for outstanding service and dedication in upholding the high standards of the Academy. He is a returning member of the Council, having served previously for nine years beginning in 2003.

	Rob Hummel began his career at Technicolor Laboratories and joined Douglas Trumbull's visual effects company during the making of "Blade Runner" (1982), a Visual Effects Oscar® nominee. Hummel has served as senior vice president of production technology at Warner Bros., worked in post-production, animation and Imagineering at Walt Disney Studios, headed animation technology at DreamWorks, and helped launch digital cinema units at Technicolor and Sony. Hummel is currently president of the digital media company Group 47, LLC. A returning member of the Council, Hummel previously served for nine years beginning in 2004.

	Beverly Pasterczyk began her career with Kodak as a developmental engineer specializing in process technologies. She has held engineering/technical support positions in New York and Los Angeles, and currently is the regional technical director for the Americas region for Kodak's Entertainment Imaging Division. A SMPTE Fellow, Pasterczyk has been involved in SMPTE over the years as an author, section manager/officer and as a governor representing the Hollywood region. She has served on the Scientific and Technical Academy Awards Committee and became an Academy member-at-large in 2011.

	The 2013–2014 Council co-chairs are Academy governor Bill Kroyer (Short Films and Feature Animation Branch) and visual effects pioneer Ray Feeney (Visual Effects Branch).

	The Council's other 18 members are Lisa Zeno Churgin, Elizabeth Cohen, Doug Cooper, Paul Debevec, John Hora, Jim Houston, Randal Kleiser, Josh Pines, Rick Sayre, Milt Shefter, Garrett Smith, Dave Stump, Steve Sullivan, Bill Taylor, Beverly Wood and Academy governors Craig Barron, Richard Edlund and Don Hall.

	Established in 2003 by the Academy's Board of Governors, the Science and Technology Council provides a forum for the exchange of information, promotes cooperation among diverse technological interests within the industry, sponsors publications, fosters educational activities and preserves the history of science and technology of motion pictures.

#### ACIDMAN – Interview with Director Alex Lehmann
Co-Writer and Director Alex Lehmann talked with our Gadi Elkon about his feature, ACIDMAN.

Maggie (Dianna Agron) arrives at a small, run-down house in the middle of nowhere to find it defaced by big orange letters reading ACIDMAN and learns that this is the locals’ nickname for her reclusive father (Thomas Haden Church). After a decade apart, Maggie’s offhand explanation for her visit is that she just wanted to check in on him, but this doesn’t ring true considering how difficult he was to find. The two awkwardly want to get to know one another (Dad seems more comfortable talking through his dog Migo, or through Bobby, Maggie’s childhood sock puppet friend), but are at the same time scared about what increasing familiarity will bring.
Director Alex Lehmann and Gadi talked about the origins of the story, the fun Dallas ties, and so much more.
Interview with Director Alex Lehmann:

For more info, ACIDMAN.
In theaters & on demand March 31st. Pre-order now: https://apple.co/3EvdLkm.

 

#### ACQUIRE THE FIRE & TEEN MANIA ANNOUNCE A SPECIAL THEATRICAL RELEASE “SURGE” COMING TO THEATRES NATIONWIDE OCTOBER 9 & 16, 2013
 

	Acquire The Fire & Teen Mania present an exciting and limited theatrical engagement debut of SURGE, a high-energy interactive movie theater event that fuses music, comedy, and inspirational messages creating a moment where young people and those who believe in them fill theaters across North America.  SURGE features empowering and inspirational messages by Ron Luce interwoven between the hilarious comedy of John Gray and musical performances by award-winning Christian artists Casting Crowns, Newsboys, Lecrae and worship artists Acquire the Fire LIVE.  SURGE offers an evening that will inspire, entertain and empower generations looking to make a difference.  Screenvision, a national leader in cinema advertising sales, services and content distribution, is partnering with Acquire The Fire and Teen Mania as the U.S. distributor of SURGE, which will premiere on over 400 screens on October 9, 2013.  An encore showing is scheduled for October 16, 2013.  For theater and ticket information visit: www.SurgeExperience.com.

	Continuing to find innovative and relevant ways to reach this current generation of young people is the heart and soul of Teen Mania Ministries, led by President and Founder, Ron Luce.  Bringing, hope, good news and inspiration to the places where young people hang-out is critical. Current research by the Barna Group says: Over half of this generation with a Christian background say they are less active in church as they get older. In fact, between high school and turning 30, 43% of these once-active Christians drop out of regular church attendance.  By coming to the neighborhoods where young people live, in movie theaters where they already are, SURGE breaks through this apathy by bringing hope, fun, and inspiration to an already exciting and familiar environment.

	Mark Hall of Grammy® Award Winning Casting Crowns said: “When Ron told me about his vision for SURGE, I was in before he even finished talking.  We both are deeply passionate about inspiring the youth of today, so the SURGE platform and its distribution in movie theatres just made sense to me.  People are going to love what we have planned for them”

	Over the last twenty-five years, Teen Mania has effectively reached more than three million teenagers through its annual 30+-city Acquire the Fire tour, a live arena and stadium convention.  The tour has become the go-to place for youth ministries looking to infuse passion and life into their young people.  In the last three years alone, Acquire the Fire has partnered with over 40,000 churches nationwide to bring students to these events. The influence of Acquire the Fire has now spanned generations of young people, as former students, now parents, send their own teens to experience the spiritual encounter that marked their life for the better.

	Ron Luce of Teen Mania said: “We are excited to be able to bring SURGE to movie screens across the country.   Through our Acquire The Fire events over the past 20 years, we have brought together millions of teens looking for great music and inspiration.  In SURGE, we have assembled some of the best Christian talent in music and comedy to create a night of fun and inspiration that is totally different and easily accessible to young people in movie theatres everywhere.”

	“We are thrilled that Acquire The Fire and Teen Mania have chosen Screenvision to partner on this exciting project.  We feel the marketplace has a big appetite for a program such as SURGE, and with the talent that is associated with the project, we are confident this will be a hit with theatre-goers,” stated Darryl Schaffer, Screenvision’s Executive Vice President, Operations & Exhibitor Relations. 

	 “To be a part of this program with all of the talent amassed is quite an honor.  We will be bringing our music in a way people have not seen us perform before, so we think this will be a groundbreaking and inspiring event,” said Michael Tait, lead vocalist of Newsboys.

	“We have worked together with Acquire The Fire for many years, so when I learned about SURGE, I could not think of a better platform to release my new song.  This is going to be such a great event and I am sure people will leave energized,” said Lecrae. 

	John Gray said: "I'm so excited to be a part of SURGE, not because of the event itself, but because of the generation it will reach. I believe this will be a great time of joy, laughter and life changing teaching that will transform the thinking of the next generation’s leaders."

#### ACT OF VALOR
 
ACT OF VALOR
 
By Gary Murray
 
Starring Roselyn Sanchez, Alex Veadov, Jason Cottle and Nestor Serrano
 
Written by Kurt Johnstad
 
Directed by Mike ‘Mouse’ McCoy and Scott Waugh
 
Running time 101 min
 
MPAA Rating R
 
Selig Film Rating Matinee
 
Some will argue that the study of history is just the study of war.  From the first moments of recorded mankind, historians have noted the passage of age to age by the battles that men have fought and the consequences of those conflicts.  In the cinema, there have been films about war since the beginning of the recorded image.  These films have crossed over just about every genre and time period.  The latest to glorify the struggle of man is the Navy SEAL adventure Act of Valor.
 
At the beginning of the film, the directors Mike ‘Mouse’ McCoy and Scott Waugh explain that when they planned the film, the two found that the only performers who could honestly portray the heroic deeds of Navy SEAL teams are the actual brave men who don the uniform.  This film is not going to have actors playing roles but the actual servicemen taking on the parts.
The film is of Navy SEAL team 7.  Rorke and Dave are two best buddies and Navy SEAL members.  They both have young families yet are dedicated service men.  Rorke carries the flag that his father carried with him letting the audience know that the call of service runs long in these men. The SEAL Teams know that when called to duty, they may never see their loved ones again.  Every little moment these men have in the normal world is cherished.  The wives support their men but the look of terror is in their eyes when the SEALs leave for the call to duty.
When CIA agents are kidnapped by bad guy Christo (Alex Veadov), the team is called in to extract them. We get a giant fire-fight scene done with live rounds on what feels like actual battle conditions.  This is some of the most realistic fighting that has ever been put on the screen.  These men work in a very professional vein, waiting for their shot and not just spraying bullets like one sees in a modern action-adventure flick.
Soon, the guys find that Christo is part of a wider conspiracy that involves Islamic extremists.  The guys in the team use different methods to track down these men before a major attack can be taken out on US soil.  As the action scenes spill across the screen, the body count rises. 
 
There are some problems with Act of Valor.  While the men and women of the Navy are true in their real life roles on the theater of war stage, some of the more tender ‘acting’ moments give little satisfaction.  Putting non-actors in such emotional roles just shows how amateurish the exercise becomes.  The other element that just doesn’t work is the ‘first shooter’ aspect of filming.  We go behind the gun along with the SEALs as they take out targets but it begins to feel more like a video game and not a movie. 
 
The film is not all wall-to-wall action.  Other than the above mentioned tender family sections, there is an interrogation moment between Christo and a Navy leader.  It has the biggest ring of truth as the two men go back and forth, one trying to get information from the other.  It is both a cleaver and honest moment. 
 
The strangest aspect of Act of Valor seems that every baddie is dead with a kill-shot to the head, complete with splattering cartilage.  This is a film that earns its R rating in an orgy of blood and guts.   This is not a film for the squeamish.  It is a very brutal exercise.
 
Some are going to dub Act of Valor right-wing propaganda, promoting a jingoistic world view.   Both political sides have used war movies to argue their agenda.  The Green Berets and The Deer Hunter are both Vietnam Era films with very different ideologies.   If the film makes any true political statement, it makes a compelling argument for sealing the US borders.   
 
As a movie, Act of Valor is an interesting, popcorn chewing bit of action that is also a two hour advertisement for the Navy.  This should do for recruiting what Top Gun did for the Air Force.  It has enough action to never become boring; it just needs some actors in the lighter moments. 
 
 
 

#### Acting for Beasts–the Dwight Henry and Quvenzahane Wallis interview
 

	BEASTS OF THE SOUTHERN WILD PRESS

	By Gary Murray

	Dwight Henry and Quvenzahane Wallis are very comfortable around each other.   The two actors play father and daughter in the new independent film Beasts of the Southern Wild, The film has been a hit at a few film festivals and will be soon released nationwide. 

	The story of Beasts of the Southern Wild is of Hushpuppy (Quvenzahane Wallis) a child who lives in an area of very Southern Louisiana called ‘The Bathtub”.    Dwight Henry plays her father Wink.  As a storm approaches, the two confront his impending demise.  He tries to educate the child in the ways of surviving in the swamps and bayous.  It is a tale of fathers and daughters and how parents relate to their children. 

	For both actors, this is their first roles.  Quvenzahane is a 3rd grade elementary school student and Dwight is the owner of Buttermilk Drop Bakery & Café in New Orleans. It is their first press tour in Dallas but they have been traveling on behalf of the film.

	The movie was a hit at both the Cannes Film Festival and the Sundance Film Festival and the two novice performers have been around the world promoting the movie.   Quvenzahane said it was fun to meet all the different press and she prefers press conferences to learning her lines because she can be herself. 

	The film is shot on location in the lowest locales of the mouth of the Mississippi River.  “We had to deal with a lot of elements,” said Dwight.   Some of the scenes took place in a makeshift raft made from the bed of a pick-up truck and oil drums. 

	Being a child, Quvenzahane said that the water scenes and the burping were the most fun.  Dwight said that the mosquitoes were another element to overcome.  Quvenzahane said that working with the fire was the worst element of making Beasts of the Southern Wild. 

	Dwight has a daughter about Quvenzahane’s age so he could relate to her.  He said that he treated her in much the same way he treated his daughter. “She had to feel comfortable with the guy who would play her father,” said Dwight.  “When they told me I had to meet Quvenzahane for the first time, I brought lots of pastries (from the bakery).  I handed it to her with a big old smile and I knew I had her then.”

	Being a neophyte actor, Dwight had to work to get the performance to come about.  “We had to deal with a lot of difficult elements.  Mr. Zeitlin didn’t want to simulate situations.”  They were in the Mississippi bayous and in the woods.  “It brought a realness and authenticity to the movie being right in there,” said Dwight. 

	“It was hard getting some of these emotions out of me,” said Dwight, “Especially the ones with the storm and the flooding.”  Being from New Orleans, he knows the possibility of losing everything and not wanting to leave.  “It is an ongoing thing that we go through being on the Gulf Coast.  That brought a certain realness and passion that an outsider could have never brought to this film.”

	He refused to leave from Hurricane Katrina.  “We are not going to leave the land that we love.  Our family is buried in this dirt.  I worked so hard to build my bakery up–you think I’m going to walk away just because you tell me I have to walk away.  They will have to drag me out of there.”

	There is resilience of the people who live on the coast that Dwight wears with pride.  During the course of filming this movie was the BP oil spill.  The people who live in the area are facing a dire situation and having a party.  Dwight explained that they are making a stand for what love. “When you believe it something,” he said, “you stand up for it.”

	Dwight, having grown up in the lowest parts of Louisiana, conveyed a certain passion and realism that a trained actor would never have brought to the work.  The experience of going through these challenges cannot be faked.  Dwight said, “Denzel Washington could not have come in and done my part.”  

	Quvenzahane, Dwight and director Benh Zeithlin went over every part of the script to make sure that the dialogue came out naturally.  “He would have the same thing but in our words, the way we would naturally say it,” said Quvenzahane.

	Dwight saw the film as the ultimate in bonding between father and daughter.  “I’m dying in the movie and she is the most important thing in the world,” he said.  “You have to learn how to do these things because Daddy is not going to be here.  We are going to do everything in our power to be able to survive on your own.” 

	On the future, Dwight said that opportunities are coming but he never planned on being an actor.  “This is something I never expected,” he said.  “The bakery is my foundation.  It is something I can pass on to my kids and my grandkids.  I cannot pass an acting career on my children.  When I’m in Heaven, they can run a bakery and everything is okay with them.  Nothing in the world would jeopardize that.  A movie career would be selfish.”

	 

#### ACTOR HAAZ SLEIMAN TO RECEIVE VANGUARD AWARD AT CLOSING NIGHT RECEPTION OF THE 11TH ANNUAL FORT LAUDERDALE EDITION OF THE OUTSHINE LGBTQ+ FILM FESTIVAL
 
Acclaimed actor Haaz Sleiman will be honored with a Vanguard Award at the 11th Annual Fort Lauderdale Edition of the OUTshine LGBTQ+ Film Festival. This award, presented by the Festival to a member of the LGBTQ+ community, recognizes notable individuals in entertainment for their contributions in helping to tell LGBTQ+ stories, as well as exemplifying outstanding leadership and support of community equality, representation, and education. Previous Vanguard winners include Gloria and Emilio Estefan and Fred Rosser (aka WWE Superstar Darren Young). Sleiman will receive the award on Sunday, October 20, at 8 p.m. during the Closing Night Awards Party at Nu River Landing (511 SE 5th Avenue in Fort Lauderdale).
“As a recently ‘out,’ gay, Muslim actor in Hollywood, Haaz Sleiman has overcome tremendous obstacles to share his story of strength, truth and acceptance,” said Victor Gimenez, executive director of OUTshine LGBTQ+ Film Festival. “We’re thrilled to honor and embrace his talent and support for the LGBTQ+ community with this Vanguard Award which we hope will inspire others to excel and achieve their dreams.”
Haaz Sleiman was born and raised in Lebanon. He moved to the United States when he was 21 and developed a love for acting in film, television and theater. His breakout role was Tarek in the award-winning film “The Visitor,” for which he was nominated for an Independent Spirit Award (Best Supporting Actor) and an IFP Gotham Award (Best Feature, Best Ensemble). As Mohammed De La Cruz in Showtime’s “Nurse Jackie,” Sleiman broke barriers as the first gay Muslim character on American television. He also appeared in the ABC series “Of Kings and Prophets,” National Geographic’s “Killing Jesus” in the title role, “The Good Wife,” “Those People,” “24,” and “Covert Affairs,” in addition to the BAFTA-nominated British miniseries, “The Promise.” He was well-received on the New York stage in the critically acclaimed play, “Food and Fadwa.” Most recently, Haaz completed the Amazon/Paramount series “Jack Ryan,” opposite John Krasinski.
“I am honored to have been selected as this year’s OUTshine Vanguard Award recipient,” said Sleiman. “Growing-up in the Middle East as a gay man was extremely isolating, but they couldn’t take away my empathy and compassion. I have an immense love for the unconditional acceptance of the LGBTQ+ community. Everything I do now, publicly, is to ensure that no one ever has to feel alone and that everyone has a sense of belonging.”
The 11th annual Fort Lauderdale Edition of the OUTshine LGBTQ+ Film Festival, a bi-annual film festival whose mission is to unite the community through social events and LGBTQ+ media that inspire, entertain, and educate, takes place October 10 – 20, 2019.  This year’s hotly anticipated film festival will spotlight over 50 contemplative, comedic and creative films from 13 countries, panel discussions with filmmakers and talent, and various parties and special events. Films will be screened at the Classic Gateway Theatre (1820 East Sunrise Boulevard, Fort Lauderdale) and Savor Cinema (503 Southeast 6th Street).
Presenting sponsors of The 11th annual Fort Lauderdale Edition of the OUTshine LGBTQ+ Film Festival include Gilead, Broward County, Culture Builds Florida and GPR | Goodman Public Relations.
Tickets for OUTshine’s Closing Night Awards Party are $35 and can be purchased, online, at outshinefilm.com/events. For a full schedule of tickets and events, visit outshinefilm.com/films/program and outshinefilm.com/events.

#### Actor Neeraj Chauhan gets into Bollywood
Sagar Arts has announced their upcoming Movie with the tiltle "Veer Yodha Prithviraj Chauhan".  The Movie Will cast Neeraj Chauhan as Main Lead. Neeraj Chauhan, an Actor from tollywood will be seen doing the role of "Prithvi".  Presently Neeraj Chauhan is Learning Horse riding and Sword Fighting for his role in the movie. 

	The Movie will be the First Indian Historical Movie to be Made in 3D, The movie will be Shooted in Mumabi,Delhi,and Rajasthan and will go on sets from Late December This Year.

	
			
				
			
			
				
			
			
				
			
			
				
			
		

	 

#### Actor Neeraj Chauhan spotted at an event on with his manager Prashanth sagar
Actor Neeraj Chauhan who is currently shooting for his upcoming movie Prithviraj Chauhan 3D is seen at an event on Sunday night with his manager Prashant sagar.

	Talking to media the actor said, that he is now all set for the role and its very challenging for him to perform the character.  Prashant sagar, the manager of Neeraj Chauhan said, that the actor is lined up with several upcoming movies from both the Bollywood and Tollywood,Which are expected to go on the floor in December 2013.

	
			
				
			
			
				
			
			
				
			
		

	
	 

#### Actor’s Spotlight – Roger Yawson
https://vimeo.com/158711585

	Up and coming actor Roger Yawson talked with our Gadi Elkon about the film bug hitting the young talent.  Click through for our chat with Roger.

	

	Trailer for Imperium.

	Roger's clip from the film.

	

	Interview w/ Roger.

https://seligfilmnews.com/wp-content/uploads/2017/02/ROGER-YAWSON.mp3

	Stay in touch with Roger via IMDB and check back for our Actor's Spotlight series.

#### Actress Jane Russell, star of Howard Hughes’ ‘The Outlaw,’ dies at 89
Actress Jane Russell, who became a star with the 1943 release of "The Outlaw," Howard Hughes' challenge to the Hollywood production code, has died. She was 89.
[Updated 3:47 p.m. Russell died today at her home in Santa Maria, said her son Buck Waterfield. He did not give the cause.]
	Russell went on to play Calamity Jane opposite Bob Hope in "The Paleface" (1948), and she starred with Marilyn Monroe in the 1953 musical "Gentlemen Prefer Blondes."
	As former Times staff writer Claudia Luther explains in her obituary of the actress, "Russell's provocative performance in 'The Outlaw' — and the studio publicity shots posing her in a low-cut blouse reclined on a stack of hay bales — marked a turning point in moviedom sexuality. She became a bona fide star and a favorite pinup girl of soldiers during World War II. Troops in Korea named two embattled hills in her honor. …
 
Read More: http://latimesblogs.latimes.com/afterword/2011/02/actress-jane-russell-star-of-howard-hughes-the-outlaw-dies-at-89.html

#### AD ASTRA – A Review By Gadi Elkon
To the Star aka Ad Astra is a shortened version of what the ancient Greeks (Virgil or Seneca the Younger) believed to be an important question.  They were begging to answer the questions of this massive universe “above” them.  They wanted to know what was up there.  Well we’ve been battling that question ever since.  And the latest work from James Gray pairing with Brad Pitt does exactly that…it’s even the TITLE!
Here is my review of AD ASTRA.

A paranoid thriller in space that follows Roy McBride (Brad Pitt) on a mission across an unforgiving solar system to uncover the truth about his missing father and his doomed expedition that now, 30 years later, threatens the universe.  
Ad Astra is a complexing film.  It holds all the magic of beautiful space films like Gravity or 2001: Space Odyssey.  Hoyte Van Hoytema’s cinematographic is epic, especially if you see it on IMAX.  Add in the always haunting touch of Max Richter’s musical score and you basically have 2 of 3 quality elements in a bad ass cinematic event!  I mean this was suppose to blow our minds away.  Gray and his team have been dealing with this damn thing for YEARS.  Even back in 2016 he hinted strongly at,  I had read all this [stuff] and I thought it would be interesting to mix a [Joseph] Conrad-type idea with something that goes terribly wrong. (From Article on Playlist about a Lincoln Center chat Gray had).  He also mentioned “science fact”.  I mean his research into real life Mars exploration and the way in which NASA hoped to change the game.  There is a lot of intriguing ideas that come from this epic like idea.
The precise nature of where our push into colonization of the Moon, Mars and our overall tackling of movement into space would be both governmentally based (NASA) and entrepreneurial (Virgin, Tesla, Big Money).  Both elements are reflected mostly in the Moon sequences, especially the “flight” to the moon being like a regular plane ride to the Florida.  In fact, the film holds a wonderful joke where Brad Pitt requests a sleeping pill for the trip and he is answered by the lovely stewardess stating, “That’ll be $125”.  What is he on Spirit Airlines? The mixture of big business and government (military) involvement in the space battle is the one of the main blocks of the film.  Total Recall (the original) did the same thing to though and shit Arnie’s trip to MARS was a hell of a lot more exciting!   Another unique element is the rogue factions (never identified) who wage space war.  Yes we do have freaking LASAR GUNS in this movie.  Well technically we have that tech now, but to put it in a “thinking man’s space movie” is what some would call bold.  I mean the most exciting elements of Ad Astra is a toss up between the Lasar gun dune-buggy battle or Brad Pitt falling “back to earth” in the opening sequence.   All of this socio-economic, political, world building surrounding set fodder mixed with slightly traumatic heart pounding sequences adds a lot to what basically is a sad son misses his daddy story.
Gray does father-son tales really well.  This one is no different and the real heart or possibly downfall of the movie.  Depends entirely maybe on your own thoughts on fatherhood or lack there of.  I think the power of this film will be determined by the mindset of those watching it much more than any on-screen spectacle making.  This is where the film really weighed heavily for me.  I found myself not enjoying the narrow world of sad Brad Pitt just “going along” with the hunt for his long lost daddy.  Not only does this movie beg for a more dynamic female presence it openly pushes away all logic.  Liv Tyler (Eve) and Ruth Negga (Helen Lantos) are sadly underdeveloped figures who act merely as Pitt’s emotional trigger to basically do what we already know he will do. Even when Donald Sutherland’s Thomas Pruitt keeps asking why he wants to do this.  Well until Sutherland becomes to useless and is basically left to die on the moon.  Wow thanks for the sage Obi Wan attempt but what the hell is going on?  Pitt never has a real moment of honest truth.  He is a stone cold figure.  Until the film needs him to not be.  So he magically delivers a sad space text to daddy that causes a few tears and the government to rightly go WTF.  But mysteriously Ruth Negga takes her one small encounter with Pitt to reveal a HUGE secret that is never mentioned or warned by the all known military behind this mission.  I mean her revelation to Pitt’s Major McBride changes EVERYTHING.  And some how in a few hours Negga pulls off a slick way to “sneak” McBride onto the trip to Neptune.  Wait WHAT, the lady who didn’t have access to McBride’s mission (though she runs MARS).  Yeah in the entire 2 hour 2 mins of this film we are given a 4 minute block that completely fucks with all our knowledge of what is going on.  This isn’t like Usual Suspects OMG moment but rather it’s like a shitty horror film’s premise of wait all we had to do was NOT GO UP THE FUCKING STAIRS to our Death?  Wait I’ve been listening to Brad Pitt think about the mysteries of existence for THIS?  BUT wait.  For all it’s majestic cinematic work and the many sad Brad Pitt looks we are left with a long ride of him pouting through space, again.  And in the end?  Well I won’t spoil it, but obviously it ain’t enough to make me give this film a top grade.  I mean there isn’t a Dad meets Son and the world’s questions are answered.  The Lima or Lira or whatever the original project was called is pointless.  Instead the deep vacuum of space just stops any notion of closure.  Why?  What? HOW?  Where did this film take me?   No this isn’t a game-changer.  No it’s not Oscar worthy.  And honestly I enjoyed the realities of Downton Abbey and Hustlers more.  Basically I think Gray and Pitt work well together but lets lean more on the DARKNESS in Conrad’s work not the HEART.  Either way on their next work I hope they finally tell a story with a freaking point.  “Look to the Stars”, FOR WHAT???????  I’m still waiting to find that part out.  What the hell did we find in the stars?
 
 
AD ASTRA 
Selig Rating:  C+
Release: September 20, 2019
MPAA Rating: PG-13
Directed by: James Gray
Written by: James Gray & Ethan Gross
Run Time:  2hr 2min
Cast: Brad Pitt, Tommy Lee Jones, Ruth Negga, Liv Tyler and Donald Sutherland
 
The Selig Rating Scale:
A – Excellent movie, well worth the price.
B – Good movie
C – OK movie
D – No need to rush. Save it for a rainy day.
F – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### AD ASTRA – A Review by Hollywood Hernandez
 
AD ASTRA – A Review by Hollywood Hernandez
Even after watching the movie, I still didn’t know that the phrase, Ad Astra meant so I had to do an internet search to get the definition of the title.  According to Wikipedia, Ad Astra is a Latin phrase meaning “to the stars”.  The phrase has origins with Virgil, who wrote sic itur ad astra (“Thus one journeys to the stars”.  Knowing what the title meant gave me a much better understanding of the film.
It’s a movie, starring Brad Pitt, that’s about traveling thru time and space.  Pitt plays Roy McBride, the son of a legendary astronaut, H. Clifford McBride (Tommy Lee Jones), who was thought to be missing in space, but NASA tells the younger astronaut they believe his father to still be alive after being presumed dead for three years.
The younger McBride, Pitt, sets out to the deepest part of the universe to try and discover the truth, whether or not his father is living or dead.  Also, part of his mission is to save the universe from destruction because of scientific experiments that are being performed to try and find life in the universe.  NASA thinks the experiments are being conducted by the older McBride and Pitt wants to prove them wrong.
Pitt does an excellent job with his portrayal as a conflicted hero.  He has nerves of steel, who even in the most dangerous of situations, has never had his pulse rise above 80 while on a mission.  On the other side of the spectrum, he’s incapable of having a personal relationship because of the resentment he holds from losing his father.  His conflict makes for a very interesting story.
Ad Astra has a run time of 2 hours and 2 minutes.  It’s a very cerebral sci-fi action movie with only one fault.  The movie gets off to a very slow start.  The opening scene is action-packed but then there’s a long lull before anything really gets going again in the movie.
The movie is rated PG-13 for violence and on my “Hollywood Popcorn Scare” I rate AD ASTRA a LARGE.

#### ADIEU LACAN – Interview with Filmmaker Richard C. Ledes
Filmmaker Richard C. Ledes latest movie is a fictionalized session from the life of the infamous real-life psychoanalyst Jacques Lacan.  The story is inspired by author and psychoanalyst Betty Milan’s work about Lacan.  Richard chatted with our Gadi Elkon about the visual choices for the film, the cast, and of course Lacan’s impact.

A young woman Seriema, who is trying to understand why her path to motherhood has reached an unbearable impasse, travels to Paris to do psychoanalysis with the maverick French psychoanalyst Jacques Lacan.
The film stars David Patrick Kelly as Lacan and Ismenia Mendes as Seriema.  Richard C. Ledes and Gadi talked about the classic films that inspired the black & white look of the film.  They also discussed Richard long working partnership with his cinematographer Valentina Caniglia and much more of the visual feel of the movie.  Here is the full interview with Richard C. Ledes.
Interview with Writer/Director/Producer Richard C. Ledes:

The film is now available on VOD everywhere.
For more information on the film, ADIEU LACAN.
For more info on the filmmaker, RICHARD C. LEDES.

#### ADMISSION
ADMISSION

	 

	By Gary Murray

	Starring Tina Fey, Paul Rudd and Lily Tomlin

	Written by Karen Croner

	Directed by Paul Weitz

	Running time 117 min

	MPAA Rating PG-13

	Selig Film Rating Cable

	 

	Tina Fey is a much in-demand comic performer who became a star on SNL by writing and eventually manning the Weekend Update desk.  She has taken this late night success to prime time with 30 Rock.  Then she turned to the cinema with Mean Girls and Baby Mama.  Her latest as an actress takes on the romantic comedy genre with Admission.

	The film is of Portia (Tina Fey) who is an admission officer at Princeton.  Basically, her job is to say no to thousands of young kids who want to attend one of the best universities in the land.  She has a long-term relationship with Mark (Martin Sheen) and is on the fast track to being head of the admission department. 

	Her perfect life is shaken one branch at a time.  First, Princeton loses its ranking to #2 on universities.  This irritates the admissions boss Clarence (the underused Wallace Shawn).  He is getting ready to retire and wants to be back to the top slot before he leaves.  Portia sees Clarence’s leaving as her chance to be top dog in the department. All she has to do is defeat her rival for the job.

	The second branch is broken when her boyfriend leaves her for another.  She is now alone, facing middle age without companionship.  On her travels to sell Princeton, she meets John (Paul Rudd) a world-traveling teacher who is working at a new style of high school.  One of his students is Jeremiah (Nat Wolff) wants to attend Princeton but doesn’t have either the grades or extra-curricular activities to impress the admission officers.  He is a genius who kills on his standardized testing; he just doesn’t fit into the norms of regular academia.

	John then drops the biggest bombshell on Portia.  He knows that many years ago, Portia got pregnant and gave up her baby for adoption.  John believes that Jeremiah is Portia’s son.  This brings a large number of conflicting emotions to Portia and makes her confront her own relationship with her mother (Lily Tomlin) a feminist author and lecturer. 

	Portia’s guilt over abandoning her child and her desire to start a new life by helping her son are the twin plot devices that drive Admission to a series of ending beats that are telegraphed far in advance. 

	The problem with Admission is that it is not that romantic and not much of a comedy.  It just kind of lays there like a patient dying on a stretcher.  All of the funny moments are in the 30 second ads and 30 seconds of funny in a two hour movie is a very bad ratio. 

	Tina Fey is just an actor here, she didn’t write the script.  She is a funny woman but the Karen Croner written adaptation doesn’t have much for Tina to work with.  It is much darker than expected without any of the charms that Tina has honed over the years.  It is more of a waste of talent than a charming gem.

	The best moments are the in the search for finding the right students and not the trite romantic notions.  While Paul Rudd and Tina Fey do look like a couple, at times they act as if they are in different films.  Whenever the two are together, it just feels like something we’ve seen two dozen times before.

	The film is directed by Paul Weitz, the man behind About a Boy and American Pie.  He knows how to do outrageous comedy and romantic notions.  Here, he seems lost in the material, never sure exactly what element he needs to focus on.  By making his directing palate so large, he loses the details of what makes a movie work. 

	Admission is a weak entry and another death nail in the idea of romantic comedy.  It will not save the romantic comedy and it will not win any new fans for Tina Fey.  It is more of a product than a film, something served as a product and not art.    

#### ADO – Interview with Filmmaker Sam Henderson
Filmmaker Sam Henderson spoke with Gadi Elkon about the close-to-home inspiration for his powerful short film, ADO.

Ms. Hopkins is rehearsing Much Ado About Nothing with her middle school theatre class when it becomes a rehearsal unlike any other.
Sam and Gadi spoke about the incredible message of courage and love in this film. Sam opened up about his mother’s time as a teacher and how that led to the creation of Ms. Hopkins.  He went on to explain more about the amazing journey the film has been on since its world premiere.
Here is our in-depth chat with Filmmaker Sam Henderson:

For more info about ADO.

 

#### ADOPT A HIGHWAY – A Review by Cynthia Flores
 
ADOPT A HIGHWAY – A Review by Cynthia Flores
Adopt A Highway is the writing and directing debut of working actor Logan Marshall-Green.  He shows promise as a writer with this piece.  His ability to write natural touching scenes is impressive.  And if you can’t direct Ethan Hawke then something is wrong with you.  The man is a wonderful actor and shines in practically anything he does.  In this film, he plays Russ Millings, a forty-four-year-old man who has just been released from prison in California after serving twenty-one years for a third strike conviction.  What cost this gentle, quiet man his freedom and his youth?  It was for possessing an ounce of marijuana.  As the cashier (Juan Gabriel Pareja) that helps him out at the internet cafe says, “What? Man, that’s crazy. It’s practically legal now.”  He then helps him set up an email account and shows him how to navigate the internet.  Russ has never been on it before and is lost.  The first thing he does is google his father.  Sadly, he finds out that his dad died while he was incarcerated.
As Russ works his dead-end job at a fast food place, he continues his quiet existence consisting of mostly meeting with his parole officer Orankle (Chris Sullivan) and just going home to his cheap motel room to eat fast food.  He is desperate to adapt to a world he doesn’t recognize.  One of my favorite bits is a single night that Russ decides to check out a local carnival.  Watching him tentatively come to life and enjoying the tastes and sounds of the fair is a sweet moment.
Back at his job, after pulling a double and closing up on his own, he is putting the trash outside when he hears a baby crying in the wind.  To his amazement, he finds the child in a duffle bag in the dumpster.  He takes her inside to call the cops and realizes that he can’t get to the phone because it’s in the locked-up office.  Dazed and confused, he takes the baby home.  Once there, he finds one note with only “Her name is Ella” written on it in red.  Russ doesn’t know what to do.  He’s stuck between his impulses to be kind to the child and the panic of being put back in prison.  He has the next few days off, so he decides that this could be his chance at redemption.  He tries to keep the baby he is so ill-suited to care for.  The scenes where he’s trying to figure out what to feed her or bathing her are tender and naturally funny.  He even takes the baby to the beach and shares memories of him and his father with her.  If the film had just stayed with him and the kid, I think it might have been a better film.  Instead, due to Russ needing help with the child once she bumps her head, he is forced to turn her in and lie about when he found her.  Once he loses the child, he knows he is in trouble and runs.   Russ jumps on a bus, while still on probation, and goes home to Casper Wyoming.  That’s when the next part of the film begins.  Or what could have been a film all on its own depending on how you look at it.  It’s beautiful watching Russ travel on the cheap and meet a pretty, chatty woman named Diane (Elaine Hendrix) and have a moment with her along the trip.  However, it felt like a different film at that point.  This new film also includes a brilliant scene at his parent’s gravesite.  There, Russ finally comes home and apologies for being such a mess.  The salvation Russ finds set up by his long-dead father is heart touching and bittersweet.
Adopt A Highway has a tremendously moody score by Jason Isbell and Ethan Hawke proves that he’s at the top of his game no matter the script.   The problem with this film is that it felt like two movies cobbled together.  There are Russ and the baby, and then Russ’s redemption as storylines. I would have liked them to be more cohesive.
That said, I give Adopt A Highway a B- rating.  If you’re a fan of Ethan Hawke, then it’s still worth eighty-one minutes of your time.
 
Directed by: Logan Marshall-Green
Written by: Logan Marshall-Green
Rated NR
Selig Rating B-
Running Time: 81min
Drama
Limited Release: NOV 1st Fun Movie Grill – Irving and VOD and Digital HD
Starring: Ethan Hawke, Elaine Hendrix, Diane Gaeta, Mo McRae, Chris Sullivan, Betty Gabriel
 
The Selig Rating Scale:
A – Excellent movie, well worth the price.
B – Good movie
C – OK movie
D – No need to rush. Save it for a rainy day.
F – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### ADRIFT – A Review by Cynthia Flores
 

	ADRIFT – A Review by Cynthia Flores

	 

	Bring your motion sickness pills because you’ll feel like you were on the boat with Tami Oldman (Shailene Woodley) and Richard Sharp (Sam Claflin Grace Palmer) during the worst of the storm that hit the couple in real life in 1983.  This new film Adrift directed by Baltasar Kormakur who did a great job of putting the audience in the mix is definitely best seen on the big screen in a movie theater.  This film has some of the most horrifying scenes of being trapped on a boat in the middle of a hurricane on the Pacific Ocean that I’ve ever seen.  It’s the stuff of nightmares and the reason some of us prefer to be landlocked.

	 

	Adrift is loosely based on the true story of the lovebirds that took the job of sailing a friend’s big boat from Tahiti to San Diego in California.  With the use of flashbacks, we are shown how the two met and fell in love.

	       

	The choice to jump back and forth from the present aftermath of surviving the storm to the sweet story of their romance was a smart move but with a catch.  Smart because it kept us from being overwhelmed by the brutality of surviving on the sea for 41 days but the catch is that the romance part of it suffered because the relationship did not get a chance to take root for us.  It kept the relationship shallow and just looked like a postcard romp on the beach – pretty, but not much there.  Add to that the fact that the actress Shailene Woodley is great at the tough and gritty survival part of the story but just seems like a silly little girl on the romance parts.     

	     

	Her character is supposed to be twenty-four years old but she comes across as a very young girl.  I know this is supposed to be her movie to “break away” from the teenage parts that made her famous, so of course she spends a lot of time in bikinis showing off her grown up figure and even has a topless scene with total nudity to prove she’s not a child any longer.  I was actually surprised they were able to keep the PG-13 rating with the nudity.  Perhaps with a few more years under her belt she’ll grow into her sexuality and be able to successfully pull off an adult romantic lead.  I would like to see that because I think she is a really strong actress.

	     

	Adrift is not a great movie but it is good so I give it a solid B+ Rating.  So ditch the hot summer heat and take a bumpy ride on the high seas, and don’t forget the popcorn because it's a long movie.

	 

	Directed by Baltasar Kormakur

	Written By Aaron Kandell, Jordan Kandell, David Branson Smith

	Rated PG-13

	Selig Rating B+

	Running Time 2hrs

	Action/ Adventure/Drama

	Wide Release June 1st

	Starring: Shailene Woodley, Sam Claflin, Grace Palmer

	 

	 

	The Selig Rating Scale:

	 

	A – Excellent movie, well worth the price.

	B – Good movie

	C – OK movie

	D – No need to rush. Save it for a rainy day.

	F – Good that I saw it on the big screen but wish I hadn't paid for it.

#### ADULT BEGINNERS
ADULT BEGINNERS

	By Gary Murray

	Starring Rose Byrne, Nick Kroll and Bobby Cannavale

	Written by Jeff Cox and Liz Flahive

	Directed by Ross Katz

	Running time 90 min

	MPAA Rating R

	Selig Film Rating Matinee

	
	There are films that suck all the air out of the room, that command all the attention of media.  They are the blockbusters of summer, films that are tent pole flicks.  Then there are the quiet little films that come in under the radar and under tight budgets.  They are the films that are a personal achievement for both the film-maker and the actors who are part of the experience.  One of these little films is Adult Beginners.

	The film starts with a crash.   Jake (Nick Kroll) is an investment guru who is on the verge of making a killing with a new product.  But a manufacturing glitch destroys his entire empire in a swoop and he’s destitute and homeless.   With no place to go, he goes home.

	His sister Justine (Rose Byrne) and her husband Danny (Bobby Cannavale) are fixing up the family home in order to sell it.  They have a young son Teddy and another child on the way.  Jake has drifted away from his sister and really doesn’t know the family.  But, family is family and they take him in. 

	Eventually, he agrees to become a ‘manny’ or a male nanny.   Jake bonds with his young nephew over swimming lessons and play dates.  The latter involves Jake’s new friend Blanca (Paula Garces) and a bit of afternoon delights. 

	The film is about martial infidelity and the grind that is long term marriage.  It is also about sibling connections and how we can love people we really don’t know.  In the end, the film is also about regrets and what is ultimately important in life.   It is one of those films that have everyone learning a lesson.

	Adult Beginners is directed by Ross Katz, an award winning producer/writer/director who has worked in film and television for years.  Here, he goes to Film 101 and gives the audience simple shots, letting his actors carry the scenes.  There is nothing fancy going on with the direction or the camera movements. 

	Rose Byrne has always been a favorite actress and here she just shines as Justine the put upon sister and wife.  There is this sadness in her eyes, a world-weary existence that says she has survived everything every slammed at her and is still manages to keep a smile on her face no matter what the diversity. 

	This is a showcase role for Nick Kroll.  The comic has been doing small roles on TV and voice over works for years but this is his true chance of getting on the short list of go-to comic roles.   But, he finds some moments of tenderness with his child co-star and Rose Byrne.  The actor holds his own with two hard groups—little kids and seasoned professionals.  He performs with comic precision with each one.

	Bobby Cannavale is another actor who has been around for years but has never become one of the mainstream thespians of film.  This shows a much more varied set of performance skills for the actor and should be a calling card for more work.  He is a talented actor and has a nice range in the role of Danny.

	Adult Beginners is getting a small opening along with a VOD release.  If it does well in the few theaters released and generates positive interest via streaming content, it will get a wider and more commercial release. That is becoming the new platform release idea.  While it makes finical sense, there is still an old school adage of just wanting to see a first run film in a theater and not on the television screen. 

#### ADVENTURE TIME: DISTANT LANDS – A Blu-ray/DVD Review by John Strange
ADVENTURE TIME: DISTANT LANDS – A Blu-ray/DVD Review by John Strange
Warner Bros. Home Entertainment provided me with a free copy of the Blu-raytm I reviewed in this Blog Post.  The opinions I share are my own.
Adventure Time: Distant Lands is a set of four loosely related animated episodes that run about 45 minutes each.  The show is running on HBO Max currently and is now coming out through Warner Bros. Home Entertainment Inc.
Watching these four shows was an interesting way to spend an afternoon.  The plots are all over the place, but each is interesting in its own way.  From robots that look like old handheld game players to singing badass vampires, the shows are a good example of the animation style where everything is drawn rather loosely.
The main characters face dire situations loaded with opportunities to do good.  I can see why the shows have dedicated fans.  On behalf of those fans, this is a 5-star offering.  For the rest of us, it reaches for a 4-star rating.  And sadly, there are zero bonus extras.  The disk has the four episodes and nothing else.
For those wondering, I enjoy most of the animated offerings from the Cartoon Network.  But as with all networks, I like some shows more than others.  This one is a good example of the genre and I enjoyed watching it but I am glad there were only four episodes to watch.
 
Created By:

Pendleton Ward

Directed By:

Miki Brewster, Jeff Liu

Cast:

Jeremy Shada, John DiMaggio, Olivia Olson, Hynden Walch, Niki Yang, Steve Little

Episodes:

BMO follows the lovable little robot from Adventure Time. When there’s a deadly space emergency in the farthest reaches of the galaxy, there’s only one hero to call, and it’s probably not BMO.  Except that this time it is!
Obsidian features Marceline & Princess Bubblegum as they journey to the imposing, beautiful Glass Kingdom—and deep into their tumultuous past—to prevent an earthshaking catastrophe.
Wizard City follows Peppermint Butler, starting over at the beginning, as just another inexperienced Wizard School student. When mysterious events at the campus cast suspicion on Pep, and his checkered past, can he master the mystic arts in time to prove his innocence?
Together Again brings Finn and Jake together again, to rediscover their brotherly bond and embark on the most important adventure of their lives.

Specifications:
Runtime:
Feature:

180 Minutes (Approx.)

Studio:

Warner Bros. Home Entertainment Inc.

Release Date:

03/08/2022

Region:

A/1 (U.S. and Canada only)

Trailer:

ADVENTURE TIME: DISTANT LANDS Trailer

MPAA Rating:

TV-PG

Selig Rating:
Film Rating:

Fans: 5 Stars
Everyone Else: 3.9 Stars

Bonus Features Rating:

N/A

Picture Quality Rating:

4 Stars

Audio Quality Rating:

5 Stars

 
Selig Rating Scale:
5 Stars: Should add to your DVD collection at any cost
4 Stars: Worth owning, but try to catch it a sale
3 Stars: Plan to get it, but wait to buy it used
2 Stars: Worth taking a look at, but not owning
1 Star: Pick it up at a garage sale and use it for drinks
0 Stars: Makes a great Trap Shooting target

#### ADVENTURES IN ZEROWORLD: SHADOW OF DOOM – A Review by John Strange
The early science fiction films of the 50s and early 60s had a distinct look.  The stories were often bad aliens vs humans on Earth or, occasionally, humans out in space.  The special effects used were adequate for their time but are not up to today’s standards.  The special effects used in Star Trek (the original series) and Battlestar Galactica were done on a shoestring.  They were leaps and bounds above the quality of these early films.
Alan Ray, the writer/director of Adventures in Zeroworld: Shadow of Doom, has made a film that harkens back to the early days with cheap special effects and costuming that worked for films like the early Buck Rogers serials.  But his script is intentionally campy, and his characters, while reminiscent of Star Trek, would have been rejected by Gene Roddenberry.  And yet, his script works!
This film is campy and full of tropes borrowed from early space creature serials—characters, like Capt. J. Evermore Cake (played hilariously over the top by Matthew Tompkins, who is finally getting to display his comedic chops on the big screen) and my other favorite trope, the “damsel-in-distress” Dr. Varna (Gwendolynn Murphy), find themselves in more than one type of hot water.
The characters in the film range from lifelike mannequins to a wide assortment of odd creatures including a giant.
Adventures in Zeroworld: Shadow of Doom is a film that keeps you giggling at the story.  It could easily be made into an entire series of films starring the intrepid crew of the Space Command ship Alpha Dog.
This film is coming to a film festival near you this year.  Keep an eye out for it in your city!
 
Director: Alan Ray
Cast: Heath Allyn, Rick Appleton, Al Bianchi, Brant Bumpers, James Cable, Tom Chamberlain, Kerry Coward, Tom Davidson, Mary Farrar, Samuel French, Bobbie Grace, Matthew Hurley, Skeeta Jenkins, David Kroll, Kevin Kurz, Valerie Layne, Kelsey Mazak, Stewart McGregor, Valerie Michelson, Chad Mundo, Gwendolynn Murphy, Ray L. Perez, Angela Powers, Alan Ray, Brianna Ray, Emmy Robbin, Eric Robbins, Kaden Robbins, Eduardo Rodriguez Terry, Gene Ryan, Kacey Samiee, Kerry Tartack, Matthew Tompkins, Brian Villalobos, Katrina Waters, Christopher Winbush
MPA Rating: NR
Selig Rating: 4.5 Stars
Runtime: 73 Min.
Release Information:  ADVENTURES IN ZEROWORLD: SHADOW OF DOOM will play U.S. film festivals in the Spring and Summer of 2026. For announcements and information, follow @studiofifteam and @adventures_in_zeroworld on Instagram. The film will hit streaming platforms later this year.
Language: English
Genre(s): Adventure, Sci-Fi
Movie Site: ADVENTURES IN ZEROWORLD Official Site
Trailer: ADVENTURES IN ZEROWORLD: SHADOW OF DOOM Official Trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### ADVOCATE – A Review by Cynthia Flores
ADVOCATE – A Review by Cynthia Flores
Documentaries are supposed to show us parts of the world we may not know. Some documentaries are upbeat, but most cover some pretty grim realities. The documentary films that deal with tough subjects are frequently tough to watch. Not just because of their subject matter but because of the style of the film. Advocate, created by filmmakers Rachel Leah Jones and Philippe Bellaïche has done a tremendous job covering its subject matter while making it an accessible story. Not an easy task considering the film is about Israeli Attorney Leah Tsemel. She has been called a traitor at worst, and devil’s advocate at best, for her decades-long defense of Palestinians. She has been a lawyer to those who have been prosecuted for resisting the occupation, both violently and non-violently. The Israeli government even tried to block this award-winning film about her work.
Advocate provides insight into the uneasy complexities of representing Palestinians in Israeli courts. The occupiers effectively judge the occupied in a system that can’t escape the bloody conflict raging between the two sides. The film shows Tsemel in the trenches as she navigates a discriminatory legal system. The use of animated sequences conceals defendants’ identities with collages of indictments running as a backdrop to the animations. The style reminded me of the 1985 music video ‘Take on Me’ by a-ha. It’s a clever use of the technique. It adds to the feeling of chaos that Tsemel addresses concerning the near-impossible chances for her clients’ acquittals.
All this fly-on-the-wall kind of footage is mixed with interviews with Tsemel’s family and friends to reveal her uncanny ability to see the humanity of those accused. As she does her utmost to uphold the rule-of-law before the flood of injustice drowns everyone. This film does a great job of laying out the history and headache that surrounds Israel’s conflict and Tsemel’s involvement with it. She considers herself an angry optimist and still has faith that justice will ultimately win.
I give Advocate a 5-star rating. The film has been Oscar-shortlisted for Best Documentary feature and is a must-see this season.
 
Directed by: Philippe Bellaïche, Rachel Leah Jones
Written by: Rachel Leah Jones
Rated: NR
Selig Rating: 5 Stars
Running Time: 1hr 54min
Documentary
National Broadcast Debut: July 27th on PBS show POV (Check local listings)
Starring: Lea Tsemel, Tareq Barghout, Michel Warschawski
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### AEG Announces the Inaugural Soccer Champions Tour Featuring Real Madrid CF, FC Barcelona, Juventus, Club América and Club Deportivo Guadalajara
 
AEG, the world’s leading sports and live entertainment company, announced today the launch and schedule for its inaugural Soccer Champions Tour, a new marquee, global soccer event taking place between Friday, July 22 and Saturday, July 30. The new event features five of the world’s most iconic soccer clubs competing in top-tier matches in the span of only nine days across the western United States.
Participating clubs include current La Liga and UEFA Champions League winner Real Madrid CF, La Liga powerhouse FC Barcelona, Serie A’s Juventus, and Liga MX’s Club América and Club Deportivo Guadalajara. Host cities include Las Vegas, San Francisco, Dallas and Los Angeles. This tour marks the first return of play in the U.S. for Barcelona and Real Madrid since 2019 and for Juventus since 2018.
“AEG is excited to launch this unparalleled soccer tour as five of the most exceptional soccer clubs in the world return to the United States this summer,” said Tom Braun, AEG Senior Vice President of Soccer & Business Operations and Business Development. “Following several years without seeing some of these teams in the United States, we are thrilled to provide the opportunity for soccer fans in the U.S. to once again watch their favorite European and Mexican clubs play in person.”
Soccer Champions Tour Event Schedule
Friday, July 22
Juventus vs. Club Deportivo Guadalajara at Allegiant Stadium, Las Vegas
Saturday, July 23
Real Madrid CF vs. FC Barcelona at Allegiant Stadium, Las Vegas
Tuesday, July 26
Real Madrid CF vs. Club América at Oracle Park, San Francisco
FC Barcelona vs. Juventus at Cotton Bowl Stadium, Dallas
Saturday, July 30
Real Madrid CF vs. Juventus at Rose Bowl Stadium, Los Angeles
Exclusive pre-sale tickets will be available starting Wednesday, June 15, with the general on-sale ticket access beginning on Friday, June 17. For access to the pre-sale, all fans are invited to sign up at SoccerChampionsTour.com. All individual game and venue-specific information is also available at SoccerChampionsTour.com. AEG Global Partnerships is also currently selling sponsorship for the Soccer Champions Tour and individual matches.
The Clubs
Real Madrid, founded in 1902 and named by FIFA ‘Best Club of the 20th Century’, this season has won La Liga (35) and the Spanish Super Cup (12) under the direction of Carlo Ancelotti.  With stars like Karim Benzema, Luka Modrić, Thibaut Courtois, Vinicius Júnior, Toni Kroos, Casemiro and Dani Carvajal, among others, Real Madrid has just been proclaimed winner of the Champions League for the fourteenth time, the club with more wins in the most important European competition.
FC Barcelona, founded in 1899 and colloquially known as Barça, competes in La Liga and is one of the most successful European clubs in history. The club maintains a philosophy deeply rooted in its local Catalan identity and is owned by more than 137,000 members. Due to its very special personality, FC Barcelona is recognized as being ‘more than a club’. The team’s distinctive style of play is projected around the world by the best players and coaches in combination with club’s famous reliance on homegrown talent. The club has won 72 major domestic titles, including 26 La Liga titles and 31 Copa Del Rey titles, as well as five Champions League titles and three FIFA Club World Cup. Barcelona is led by manager and club legend Xavi Hernández and has a roster of international talent including Spaniard midfielder Pedri, Dutch forward Memphis Depay and club veteran Sergio Busquets.
Founded in 1897 in Turin, Italy, Juventus is one of Italy’s oldest and most decorated soccer teams with more Italian league championships than any other team. Also known as Juve, the club competes in the Serie A, the top tier of the Italian soccer leagues, and is the first European club to win all three major UEFA competitions. The club’s current roster includes Italian defender Leonardo Bonucci, American midfielder Weston McKennie, Colombian defender Juan Cuadrado and Serbian forward Dusan Vlahovic.
Founded in 1916, Club América is the winningest team in Mexico and North America. Throughout its history, Club América has won 34 titles, including 13 league titles, six Copa MX titles and seven Concacaf Champions League. América is led by four-time World Cup veteran Mexican National Team goalkeeper Guillermo Ochoa, defender Jorge Sanchez, midfielder Jonathan dos Santos and forward Henry Martín.
Club Deportivo Guadalajara, commonly known as Chivas, is one of Mexico’s most popular and successful teams. Founded in 1906 in Guadalajara, Mexico, Chivas has won 12 Liga MX titles, four Copa MX titles, seven Campeón de Campeones titles, one SuperCopa MX title and two Concacaf Championships. Chivas is the only soccer club in Mexico that allows only Mexican players to play for the club. Chivas’ current roster includes Mexican international players like forwards Alexis Vega and Jose Juan Macias and defenders Hiram Mier, Antonio Briseño and recently acquired Alan Mozo.
The Venues
Located adjacent to the world-famous Las Vegas Strip and home to the Las Vegas Raiders, Allegiant Stadium is an award-winning global events destination. The fully enclosed stadium, which won “Best Venue” honors at the 2020 World Football Summit Industry Awards, is also home to the UNLV Rebels football team and has hosted premier concerts and sporting events including the 2021 Concacaf Gold Cup Final, Pac-12 Championship Game, Las Vegas Bowl, and WWE SummerSlam. The venue also hosted the NFL Pro Bowl in 2022 and has been selected to host Super Bowl LVIII in 2024.
The Rose Bowl Stadium in Los Angeles is the proud home of the Tournament of Roses’ Rose Bowl Game, UCLA Bruins football, AmericaFest Fourth of July Celebration, international and Premier League soccer matches, concerts and the World’s Largest Flea Market. A National Historic Landmark built in 1922, the Rose Bowl Stadium has earned its world-class reputation by hosting five NFL Super Bowl games, the 1984 Olympic Soccer matches, the 1994 Men’s World Cup, the 1999 Women’s World Cup, four BCS National College Football Championship Games and the College Football Playoff Semifinal game.
San Francisco’s Oracle Park is a premier venue in the world of both sports and entertainment. On the diamond, more than 65 million spectators have attended San Francisco Giants games, including a franchise record 107-win season in 2021 and three World Series Championships (2010, 2012 & 2014). The ballpark has also played host to some of music’s biggest acts and was the site of the 2018 Rugby World Cup Sevens.
The Cotton Bowl Stadium has been an iconic part of Dallas since it opened in 1930. Located at Fair Park, the site of the State Fair of Texas, the outdoor stadium is best known for its football and has been home to the SMU Mustangs, the Dallas Cowboys, the annual Red River Showdown game between the University of Texas Longhorns and the University of Oklahoma Sooners, the State Fair Classic game between the Grambling State University Tigers and the Prairie View A&M University Panthers and, from 1937-2009, the Cotton Bowl Classic. It has hosted 1994 FIFA World Cup games, Concacaf Gold Cup games, Major League Soccer matches and a number of concerts including Elvis Presley and The Rolling Stones.

#### AFF 2015 – Audience Award Winner – A Single Frame – Interview
https://vimeo.com/141959523

	Austin audiences got it right with, A Single Frame.  Director Brandon Dickerson and Producer/Subject Jeff Bowden sat down w/ Selig at AFF 2015.  Click through for our interview and also more information about the special MLK day screening of the film with Jeff and Brandon in attendance.

	

	https://vimeo.com/140951294

	A Single Frame, is a documentary that highlights the extreme virtue of a inquistive Jeff Bowden with the universal connection of humanity seen in a single photo. 

	Here is our interview with A Single Frame's Director Brandon Dickerson & Producer/Subject Jeff Bowden at AFF 2015.

	Don't miss out on seeing this powerful documentary!  AFF and Hiscox Insurance are putting on a special MLK Day screening with Brandon and Jeff in attendance.  For more information about this event please go, HERE.

	For more information on the film please go, here.

AB00020017

#### AFF 2015 – BOOGER RED – Interview
 

	 

	 

	 

	 

	 

	Hybrid documentary drama, Booger Red, tackles a serious matter with a journalistic demeanor that allows for not only great suspense, but also contains a real raw emotional struggle.  Emmy-Award winning Writer/Director Berndt Mader, Co-Writer & Producer Johnny McAllister and Stars Onur Tukel & Marija Karan were at Austin Film Festival this past month to talk about their powerful film.  Click through for our in-depth interview with Johnny, Onur and Marija.

	

	

	 

	 

	 

	 

	 

	I've always loved Berndt's films and the great work him and Ben Steinbauer do with their production company, The Bear.  Booger Red though was a film that really surprised me and impressed me to a new level.  I'd read the Texas Monthly article by Michael Hall back in 2009, that first put light to this crazy child sex ring story, but I had no idea the way Booger Red film would tackle this matter.  The film is a subtle showcase of passionate people searching for the truth, no matter where it leads them.  I had the wonderful opportunity to sit down with Co-Writer Johnny McAllister and the two stars of the film Onur Tukel and Marija Karan and discuss this real powerful hybrid movie.  Here is our interview from AFF 2015.

	For more information on the film please go their website, here.

#### AFF 2015 – Interview Robert L. Camina, 5 Must See Films & Panels
 

	Trailer: https://vimeo.com/120176416

	The 22nd Austin Film Festival kicks off tomorrow and we'll be on the scene gathering all the fun stories.  For a taste of some of the really amazing films, panels and wonderful writers visiting ATX check out my top 5 films and panels.  Click through for a special look into the heartbreaking documentary Upstairs Inferno with our interview with filmmaker Robert L. Camina.

	

	

	Robert L. Camina's documentary Upstairs Inferno is a thorough and cathartic look into the devastation of the deadliest fire in New Orleans history.  The movie never shies away from asking the questions that were never dived into when the flames brought down the Upstairs Inferno.  Robert joined me at the Alamo Drafthouse in Richardson to chat about his important documentary, about his previous work and much more.  Here is our chat with filmmaker Robert L. Camina.

	Austin Film Festival pulls off being one of the most laid back and comfortable festivals while also allowing for the provocative, over-the-top and vibrant elements of the film world to take over a fall battling Austin.  This year's festival jumps back a week to make this a rather haunting good time.  Though films are always a pleasure at festivals the panels allow for a much more enlightening moment with the men, women, and even crazy alien like figures to talk their shared craft.  Here is a group of 5 panels and events I think you have to put on your schedules.

	Script-To-Screen: Seven –

	An in-depth look into Writer Andrew Kevin Walkers dark delirious serial killer hunt.  Script-to-screen series is a really enjoyable way to look at a film with the writer's full breath of explanation.  Sometimes they become an avenue for quality story telling and other times it's a really detailed breakdown of the way the script brings to life the final vision.  David Fincher's bleak and creepy film houses such incredibly memorable performances from the stoic Morgan Freeman to the wild Brad Pitt to the diabolical Kevin Spacey.  Walker's opportunity to tell the details behind the story while also allowing for time to look into his packed portfolio of wonderful films is a real treat for all comers.  http://sched.co/3eBy

	Toy Story 3: Mistakes Made, Lessons Learned – 

	Michael Arndt has become a real crowd pleasing favorite at AFF over the last few years.  His resume stands proudly out amongst most but it's his unique and thoughtful panels that blur the lines between speeches and pure entertainment.  This particular panel will be packed because there is little doubt you'll go away feeling elated you went.  Don't miss out on a really great communicator bring back to life the stories that held our hearts in the palm of his hand.  http://sched.co/4OVX

	X, Y, and Why: Writing Gender and Sexuality – 

	Writers who test the boundaries and ask the tough questions are always entertaining and memorable.  This panel pits the unique minds of Rodrigo Garcia (Albert Nobbs, Mother and Child), Jack Burditt (30 Rock, Mindy Project, Unbreakable Kimmy Schmidt), and Kathy Greenberg (The L-Word) who don't allow for stereotypes to dictate their characters' lives.  Poignant and powerful material being discussed by intelligent and bold writers!  Don't miss out on the breaking of the old barriers, http://sched.co/4OYf.

	Guess Who Died? –

	The AFF script readings are pure bliss.  The mixing of a live reading with guest readers allows for a writer's fresh material to receive a vital audience full experience.  Outstanding Television Writer Awardee Norman Lear's storied and historic career has already cemented his iconic status, but getting to see that talent in this setting will be incredible.  Don't miss out on a legendary writer, producer and creator give for this teleplay, http://sched.co/4Wsu.

	Die Hard vs Lethal Weapon – 

	"Welcome to the wonderful world of crawling through air ducts and falling off of buildings. A world of explosion-filled Christmases and f-word-filled one-liners. A world where the good guys win and you’re never too old for this shit. This is the world created by our distinguished guests and kings of 80s action flicks—Shane Black and Jeb Stuart."  HELLO IT'S DIE HARD VS LETHAL WEAPON!!  Let the battle begin Jeb and Shane!!!  http://sched.co/4OZ6.

	5 Films that caught my attention and I hope you'll take the chance to see.  

	

	Reparation – "The Past is Now"! 

	Kyle Ham and Steve Timm's honest and mysterious thriller looks at the impact inner demons can have on the next steps in life.  Marc Menchaca & Jon Huertas battling air force buddies is rather electric and captivating.  The film has it's first screening at AFF on Thursday October 29, 2015 10:30pm – 12:30am at the Alamo Drafthouse Village. 

	Trailer: https://vimeo.com/120176416

	Traficant:  The Congressman of Crimetown.

	Eric Murphy's jarring and in-your face documentary looks at the dynamic Sam Traficant and his infamous run in politics.  A man who didn't take shit from anyone and dished out some heavy blows ended up being thrown right back at him.  Eric's film doesn't shy away from allowing a truly honest and open figure to finally have a sounding board.  Funny, crazy and always wild as fuck this film doesn't allow you to take a breath.  The can't miss doc's first screening at AFF is Saturday October 31, 2015 2:30pm – 4:30pm Rollins Studio Theatre .

	https://vimeo.com/141959523

	A Single Frame

	The power and story behind a photo can unearth an amazing amount of pain, sorrow and eventual closure.  From the lone-star state to vibrant Paris to the war stained beauty of the Balkans.  One photo sets off this epic and haunting journey that is a real showcase piece for Director Brandon Dickerson and Executive Producer Jeff Bowden.  The film also houses a grand tribute to a photographer's soul finding eye.  A film that will stick with you long after watching it.  The movie's first AFF screening is Saturday October 31, 2015 6:30pm – 8:30pm Texas Spirit Theater.

	Beautiful Girl 

	A heartfelt look into a young girl's ability to cope with her parents divorce, her friendships becoming more and the difficult lessons of growing up.  Filled with a talented group of young actors the Austrian production really impresses with it's quality pacing and moving plot twists.  The film has it's first AFF screening on Sunday November 1, 2015 1:30pm – 3:30pm Hideout Theatre.

	https://vimeo.com/136280706

	Since: The Bombing Pan Am Flight 103 

	Diving back into tragedy with a keen look into the corrupt and greedy elements that cloud this historic incident of murder.  When does human life become less valuable and important then the wealth of oil?  Don't allow your AFF experience to lack the education of the tragic wake from this terrible bombing.  The documentary's first screening at AFF is Sunday November 1, 2015 6:00pm – 8:00pm Texas Spirit Theater. 

	Hope you enjoyed my suggestions.  Check out the great schedule on AustinFilmFestival.com and make your own amazing journey through AFF's great lineup of films and panels.  

	See you around ATX this weekend!

#### AFF 2015 – Interview w/ Alex Wolff
https://vimeo.com/143201310

	Coming Through the Rye, set in 1969, is a touching coming of age story of sensitive, 16 yr. old Jamie Schwartz, who is not the most popular kid at his all boys’ boarding school. Disconnected from students and teachers, he believes he is destined to play Holden Caulfield, the main character of The Catcher in the Rye, and has adapted the book as a play. After a series of increasingly hostile altercations with the boys at school Jamie runs away to search for J.D. Salinger.

	At last month's Austin Film Festival we sat down with the star of the film ALEX WOLFF.  Click through for our interview with Alex.

	

	

	 

	 

	 

	 

	"On his way he picks up Deedee Gorlin, a quirky townie. Their odyssey to find Salinger becomes a journey of sexual awakening, the discovery of love and of the meaning of one’s life."  From Coming Through The Rye website.

	Austin Film Festival 2015 – Interview with Actor/Musician Alex Wolff.  In our interview we discuss Alex's earlier film and TV work & his work with his brother Nat, and about much more!!

	Alex told me after the interview that he has some amazing films coming in 2016, so get excited for the talented young actor!!

	For more information about the film please go, here.

	For more info about Alex and his brother Nat *(who we previously met and know well!) please go, here.

#### AFF 2015 – Red Carpet Interview – John Singleton
The Austin Film Festival 2015 honored Director John Singleton with the Extraordinary Contribution to Film and Acting Award, along with actor Chris Cooper.  The festival held a special retrospective screening of Boyz n the Hood with Singleton and his producer Steve Nicolaides conducting a powerful Q & A following the screening.  Click through for our Red Carpet Interview with John Singleton!

	

	Producer Steve Nicolaides gave an emotional introduction and conducted an insightful and thorough Q & A with John about their time making the iconic Boyz n the Hood.  They discussed the tremendous ovation and reception for Boyz at the 44th Cannes Film Festival in 1991, the first time John had ever left the country.  It was an incredible time learning about this 90's classic film.  Prior to the screening, I had a great time chatting with John about the fact that he's currently filming SnowFall (FX picked up for 2016) in the same areas as Boyz was shot 25 years to the month.  We also talk about the impact the documentary Straight Outta Compton has had on Boyz n the Hood being revisited by many theaters.  And finally I had to ask John about how he'd fix his USC Trojan football team!  Enjoy our red carpet interview with the great Writer/Director/Producer John Singleton.

	John Singleton at AFF 2015.  Photo by Jack Plunkett.

#### AFF 2015 Interview w/ Emmy Award Winning Writer/Producer Jack Burditt
5 time Emmy Award Winner, Jack Burditt, returned to the Austin Film Festival this year and it was a real pleasure to have an in-depth sit down with the talented Writer/Producer.  Click through for my favorite chat from AFF 2015.

	

	https://www.youtube.com/watch?v=97f6dNilEZg

	A little fun video! 

	Writer/Producer Jack Burditt comes from a family deeply involved in the TV and Entertainment world.  He's also a long time guest and speaker at the annual Austin Film Festival.  It's almost a certainty you've seen an episode he wrote or produced.  How I know that is that he's worked on so many shows it's impossible to not have been impacted by his writing.  From Mad About You, Frasier, The Mindy Project, Just Shoot Me, The Last Man Standing, the recent Netflix hit Unbreakable Kimmy Schmidt or his amazing work on 30 Rock, you know this guy's work!  Jack was awesome enough to sit down for nearly an hour and discuss his life, his parents, his children, all of his great shows and even had time to tell me a few incredible stories about surviving life in NYC and LA. 

	By far this is the most in-depth interview we conducted at AFF 2015.  Sit back and enjoy looking at the amazing life and career of Writer/Producer Jack Burditt. 

	More information about Jack via the AFF website:

	Born and raised in Cleveland, OH, and later in Burbank, CA, graduated from Burbank High School. Worked too many odd jobs to list, but did longer stints at Six Flags Magic Mountain, Lockheed, the Los Angeles Daily News and the Los Angeles Herald Examiner, before becoming a script reader (Disney, Tri-Star) and later a TV writer.  Credits include “Mad About You,” “Frasier,” “Just Shoot Me,” “The New Adventures of Old Christine,” “30 Rock,” “The Mindy Project,” and “Unbreakable Kimmy Schmidt.”  Also, created “Last Man Standing” and co-created “DAG,” a sitcom about the Secret Service, which I sort of wish I was doing now because its bumbling antics seem ripe for comedy.  Keeps insisting he doesn’t live in New York even though he’s spent seven of the past nine years there.  Winner of four WGA Awards.

#### AFF 2015: Eric Murphy – Traficant: The Congressman of Crimetown
Gadi Elkon sits down with filmmaker Eric Murphy at the 2015 Austin Film Festival.

#### AFF 2015: Megan Brotherton – EVERYBODY DOES IT
https://www.youtube.com/watch?v=bQceb8D2QDc

	Megan Brotherton's witty short film, Everybody Does It, mixes anxiety with over-the-top humor to create an honest reaction to fear.  Megan was kind enough to sit down with us while she was in Austin for AFF 2015.  Click through for our interview with filmmaker Megan Brotherton.

	

	Another hilarious short from Megan Brotherton! 

	Here is our in-depth interview with filmmaker Megan Brotheton.

#### AFF 2015: Rodrigo Garcia – LAST DAYS IN THE DESERT
Ewan McGregor is Jesus – and the Devil – in an imagined chapter from his forty days of fasting and praying in the desert.  On his way out of the wilderness, Jesus struggles with the Devil over the fate of a family in crisis, setting for himself a dramatic test. Last Days In The Desert.

	Click through for our Austin Film Festival red carpet interview with writer/director Rodrigo Garcia. 

	

	

	Last Days In The Desert – Interview from Austin Film Festival with Writer/Director/Producer Rodrigo Garcia.

	 

	 

	 

#### AFF 2016 – Finding Sofia Interviews
One of the real treats of AFF 2016 was watching 1stAveMachine's feature film Finding Sofia.  The Writer/Director Nico Casavecchia and Star Sam Huntington sat down with me to chat about their funny film and much more!

	

	

	Here is our interview with Writer/Director Nico Casavecchia

	Here is our interview Star Sam Huntington.

	For more info go to Finding Sofia one of the latest projects from 1stAveMachine.

#### AFF announces first tier of Panelists for 21st Anniversary & Jim Sheridan to receive Screenwriter Award
 

	Austin Film Festival (AFF), the premiere film festival that recognizes the writers’ and filmmakers’ impact on film, television, and new media, is thrilled to announce accomplished screenwriter and filmmaker Jim Sheridan as their 2014 recipient of the “Distinguished Screenwriter” Award.  Sheridan’s credits include writing and directing MY LEFT FOOT, THE FIELD, IN THE NAME OF THE FATHER, THE BOXER, and IN AMERICA.  He is known for writing INTO THE WEST and SOME MOTHER’S SON, as well as directing DREAM HOUSE, GET RICH OR DIE TRYIN’, and BROTHERS.

	Sheridan’s work has achieved popular and critical acclaim worldwide.  His films have garnered sixteen Academy Award nominations and have won two Academy Awards as well as numerous prestigious international awards. 

	Austin Film Festival annually recognizes a Distinguished Screenwriter for their collective body of work that has elevated and heavily contributed to the culture of film. Previous Distinguished Screenwriter Award recipients include Robert Altman, Shane Black, Horton Foote, Buck Henry, Lawrence Kasdan, Callie Khouri, Richard LaGravanese , Barry Levinson,  Paul Mazursky, John Milius, David Peoples, Frank Pierson, Harold Ramis, Paul Schrader, William Wittliff, and Steven Zaillian.

	Sheridan will accept the award at the Festival’s annual Awards Luncheon held on Saturday, October 25, 2014, as well as speak on panels during the Conference. 

	“We are thrilled to be honoring Jim Sheridan for our 21st anniversary.  His body of work truly encapsulates the mission of Austin Film Festival,” said Conference Director, Erin Hallagan.  “As we move into this third decade of championing the writer’s role in the landscape of film and television, we look forward to continuing a strong program that addresses both new developments in media, as well as the core elements of their craft.”

	Sheridan joins a strong roundup of Panelists confirmed to speak at the 21st annual Austin Film Festival & Screenwriters Conference.  The Conference will provide unparalleled access to some of the best writers, filmmakers, and industry personnel in film and television in an intimate and impassioned atmosphere.  Registrants have the opportunity to attend an array of panels including: meet and greets with Conference speakers, roundtables, the 12th annual Pitch Competition, and panels that cater to the art, craft, and business of storytelling through film and television.

	Confirmed panelists* include:

	Michelle Ashford, creator Masters of Sex

	Eli Attie, writer/executive producer Mind Games, writer/co-executive producer House, MD, writer/supervising producer The West Wing

	William Broyles, writer CAST AWAY, APOLLO 13, THE POLAR EXPRESS, UNFAITHFUL, JARHEAD, ENTRAPMENT, China Beach

	Cary Fukunaga, director/executive producer True Detective,  director JANE EYRE, writer/director SIN NOMBRE

	Terry George, writer/director HOTEL RWANDA, SOME MOTHER’S SON, RESERVATION ROAD, writer THE BOXER, IN THE NAME OF THE FATHER

	Peter Gould, writer/producer/director Breaking Bad, creator Better Call Saul

	John Hamburg, writer/director I LOVE YOU MAN, writer MEET THE PARENTS, ZOOLANDER

	Richard Kelly, writer/director DONNIE DARKO, SOUTHLAND TALES, THE BOX, writer DOMINO

	Brian Koppelman, writer ROUNDERS, OCEAN’S THIRTEEN, RUNAWAY JURY, writer/director SOLITARY MAN

	Franklin Leonard, creator The Black List

	Kelly Marcel, writer SAVING MR. BANKS, FIFTY SHADES OF GREY

	Craig Mazin, writer IDENTITY THIEF, THE HANGOVER PART II & III, co-host ScriptNotes

	Peter Mehlman, writer/co-executive producer Seinfeld

	Scott Myers, host Go Into The Story, writer K-9, ALASKA, TROJAN WAR

	Alvaro Rodriguez, writer MACHETE, SHORTS, FROM DUSK TILL DAWN 3: THE HANGMAN’S DAUGHTER, From Dusk Till Dawn: The Series

	Dan Sterling, producer Girls, The Office, The Daily Show with Jon Stewart, writer/producer, The Sarah Silverman Program, writer King of the Hill, South Park

	Whit Stillman, writer/director METROPOLITAN, BARCELONA, THE LAST DAYS OF DISCO, DAMSELS IN DISTRESS

	Jim Uhls, writer FIGHT CLUB, SEMPER FI, JUMPER

	 

	*All speakers and events are based on permitting schedules and subject to change and/or cancellation without notice.

	For a list of confirmed 2014 AFF Panelists, visit www.austinfilmfestval.com. Join the Panelists at the 21st Annual Austin Film Festival and Conference, taking place from October 23rd to 30th, 2014. Badges and Passes are available for purchase online 24 hours a day at http://www.austinfilmfestival.com/shop/badges/ or by phone at 1-800-310-FEST from 10am to 6pm CST.

#### AFF Introduces The Scripted Digital Series Competition
 

	For its 22nd anniversary, Austin Film Festival (AFF) is introducing a new contest to its program: The Scripted Digital Series Competition. This competition will accept both filmed and written submissions in an effort to find talented voices who can adapt their vision to emerging digital platforms. From the film and script submissions from the competition, AFF will select one winner who displays the strongest voice and greatest potential for establishing a digital series.

	 “Compelling narratives are no longer confined to the movie theater or television screen,” AFF Co-founder and Executive Director Barbara Morgan said. “More and more, writers are turning to online platforms like YouTube, Vimeo, or their own websites to bring their stories to life. As a result, the entertainment industry is in the middle of an unprecedented creative expansion outwards, and AFF is proud to be one of the first film festivals to recognize and celebrate this new method of storytelling.”

	The Scripted Digital Series follows the Festival’s long history of programming new media and innovative formats. AFF was one of the first festivals to include television into its programs and Conference, and it continues to find and promote new talent annually. By incorporating the Scripted Digital Series Competition, AFF intends to support the artists behind this new medium through industry exposure and attention.

	To further support this addition to the Festival, AFF plans to showcase writers, producers, and innovators of digital platforms at its renowned Screenwriters Conference where filmmakers can refine their craft, make connections, and walk away inspired to start their next project.

	Juries for all AFF competitions consist of established writers, filmmakers, and industry insiders who often also serve as panelists for the Screenwriters Conference. Past jurors have included America Ferrera, Tom Skerritt, Ashley Miller, James V. Hart, Leigh Whannell, Jenny Lumet, Stephen Falk, Craig Mazin, and executives from companies such as The Weinstein Company, AMC, Sundance Institute, Oscilloscope Laboratories, and Gravitas Ventures.

	Entrants that advance to the Semifinalist level will be asked to provide a treatment of their vision for the series and how subsequent episodes will unfold. The winner of the Scripted Digital Series Competition will receive a $1000 cash prize, AFF’s bronze typewriter statue, and reimbursement for travel and lodging. Additionally, all filmed series finalists will be screened publicly at the 2015 Festival.

	For more information on submitting a film or screenplay, please visit www.austinfilmfestival.com.

#### AFFD 2012 – Alicia Chang
Asian Film Festival of Dallas Executive Director Alicia Chang talks with Selig Film News about this years film festival.

	httpv://www.youtube.com/watch?v=bs3Ofdwds0w

	 

	 

#### AFFD 2012 – Cecilia Lai
Asian Film Festival of Dallas Board Member and Legal Advisor Cecilia Lai talks with Selig Film News about her role in the festival and why you should be involved next year.

	httpv://www.youtube.com/watch?v=eUzBfw3KU3E

	 

#### AFFD 2012 – Eric Hanes
Asian Film Festival of Dallas Creative Director and Board Member Eric Hanes talks with Selig Film News about the digital side of producing the 2012 film festival.

	httpv://www.youtube.com/watch?v=TPYCa-NXUKo

	 

#### AFFD 2012 – Teresa Nguyen
RED iD AGENCY founder and CEO Teresa Nguyen talks to Selig Film News about the 2012 Asian Film Festival of Dallas.

	httpv://www.youtube.com/watch?v=oDNdNwZi2qQ

	 

	
	 

#### AFFD 2012 Feature Film Award Winners
Congrats from the Selig Polyscope Company and Selig Film News!

	AFFD is proud to announce the 2012 feature film award winners for excellence in film:

	Best Documentary Feature: CHINA HEAVYWEIGHT

	Best Narrative Feature: LOVABLE

	Special Jury Prize for Cinematography: PEARLS OF THE FAR EAST

	Special Jury Prize for Acting: Yoo Hae-Jung, LOVABLE

	Special Jury Prize for Advocacy Filmmaking: GIVE UP TOMORROW

	Special Jury Mention: GOLDEN SLUMBERS

	Special Jury Prize for Ensemble Performance: DAYLIGHT SAVINGS

	AFFD is proud to announce the short film award winners:

	Best Narrative Short: MODERN FAMILY

	Special Jury Prize: LOVE LIKE ALIENS

	Special Jury Award for Acting: GUEST
	 

#### AFFD 2012 Filmmaker Interview – Cuong Ngo
"Pearls of the Far East" director Cuong Ngo talks with Selig Film News at the Asian Film Festival of Dallas about his award winning film.

	httpv://www.youtube.com/watch?v=m8czcyzUnNw

	 

	 

#### AFFD 2012 Filmmaker Interview – Dave Boyle
"Daylight Savings" filmmaker Dave Boyle sits down with Selig Film News to talk about his film at the 2012 Asian Film Festival of Dallas.

	httpv://www.youtube.com/watch?v=Dgjj1HKdVOE

	 

	 

#### AFFD 2012 Filmmaker Interview – H.P. Mendoza
Director H.P. Mendoza talks to Selig Film News about his film "I am a Ghost" at the 2012 Asian Film Festival of Dallas.  

	httpv://www.youtube.com/watch?v=YFjwbnHLA_s

#### AFFD 2012 Filmmaker Interview – Jeanie Dizon & Phil Britton
Jeanie Dizon & Phil Britton talks to Selig Film News at the 2012 Asian Film Festival of Dallas about the film "Death of a Cemetery".

	httpv://www.youtube.com/watch?v=FkzKR4zDJ8M

	 

#### AFFD 2012 Filmmaker Interview – Mye Hoang
Filmmaker Mye Hoang talks with Selig Film News about her film "Viette" and the history of the Asian Film Festival of Dallas.  

	httpv://www.youtube.com/watch?v=W_WidUH0-PI

#### AFFD 2012 Filmmaker Interview – Sasha Friedlander
Filmmaker Sasha Friedlander sits down with Selig Film News at the Asian Film Festival of Dallas to talk about her film "Where Heaven Meets Hell".

	httpv://www.youtube.com/watch?v=rBIV-Unz7AQ

	 

#### AFFD 2012 Filmmaker Interviews – Harry Kim
"Too Many Villains" filmmaker Harry Kim talks with Selig Film News at the Asian Film Festival of Dallas. Jonathan Park of The Korean Daily Texas translates.

	httpv://www.youtube.com/watch?v=u7xyLgmymuA

	 

#### AFFD 2012 Filmmaker Interviews – Mye Hoang – “Viette”
Director Mye Hoang talks with Selig Film News after her screening of her film "Viette" at the Asian Film Festival of Dallas.

	httpv://www.youtube.com/watch?v=VZ92xbI59pY

	 

#### AFFD 2012 Opening Night Party
Opening Night Party for the 11th Asian Film Festival of Dallas at the Stoneleigh Hotel and Spa! Check out http://2012.asianfilmdallas.com/ for all the great films they have selected for this year!  For more photos go to our Facebook page @ facebook.com/seligfilmnews

	 

#### AFFD 2013: Bedabrata Pain
Interviews with filmmakers at the 2013 Asian Film Festival of Dallas in Dallas, Texas.
	 

	httpvh://www.youtube.com/watch?v=dVvSFpZR6FU

#### AFFD 2013: Dave Boyle & Mye Hoang
Interviews with filmmakers at the 2013 Asian Film Festival of Dallas in Dallas, Texas.

	httpvh://www.youtube.com/watch?v=2D_5Si9DHbI

#### AFFD 2013: James Y. Shih
Interviews with filmmakers at the 2013 Asian Film Festival of Dallas in Dallas, Texas.

	httpvh://www.youtube.com/watch?v=kv_pHv-Kr3A

#### AFFD 2013: Justin S. Lee
Interviews with filmmakers at the 2013 Asian Film Festival of Dallas in Dallas, Texas.

	httpvh://www.youtube.com/watch?v=LENeiq4CtqE

#### AFFD 2013: Koji Matsumoto
Interviews with filmmakers at the 2013 Asian Film Festival of Dallas in Dallas, Texas.

	httpvh://www.youtube.com/watch?v=fXzUsTwXjmU

#### AFFD 2013: Stanley Yung
Interviews with filmmakers at the 2013 Asian Film Festival of Dallas in Dallas, Texas.

	httpvh://www.youtube.com/watch?v=aIf3xZEZzk4

#### AFFD 2013: Tuyen Do
Interviews with filmmakers at the 2013 Asian Film Festival of Dallas in Dallas, Texas.

	httpvh://www.youtube.com/watch?v=y9HKT5Jl_pM
	 

#### AFFD 2014: Chuti Tiu – PRETTY ROSEBUD
Joe Huang of Selig Film News interviews Chuti Tiu about her film PRETTY ROSEBUD at the 2014 Asian Film Festival of Dallas.

	 

	ABOUT THE FILM

	Why waste one more minute of your life waiting to live it?

	Everyone thinks career-driven Cissy has an ideal life, but striving to be the perfect wife and daughter has pushed her to her breaking point. Her childless marriage to an unemployed architect has grown stale, and the cultural / religious pressures of her traditional parents propel her to defy societal taboos, unveiling shocking truths and revelatory consequences.

	httpvh://www.youtube.com/watch?v=q2GlCVcT-Gc

	 

	 

	Story photo by Holden Chang

#### AFFD 2014: Dave Boyle & Ayako Fujitani – MAN FROM RENO
Joe Huang interviews Dave Boyle & Ayako Fujitani about their film MAN FROM RENO at the 2014 Asian Film Festival of Dallas.

	 

	ABOUT THE FILM

	In a small town south of San Francisco, Sheriff Paul Del Moral (Pepe Serna) is driving home through the fog one night when he accidentally strikes a pedestrian, a lone Japanese man. However, before an investigation can take place, the man disappears from the hospital without a trace. At the same time, Japanese mystery author Aki Akahori (Ayako Fujitani) takes a trip to San Francisco in order to escape the press tour for her latest book–a potboiler in her world-famous “Inspector Takabe” series. Feeling lonely and vulnerable, shese begins a romantic affair with a mysterious Japanese traveler from Reno who is staying in the same hotel. Her new lover, Akira Suzuki (Kazuki Kitamura), is charismatic and charming but abruptly disappears from the hotel, leaving behind his suitcase and a trail of questions…

	httpvh://www.youtube.com/watch?v=Nmze7NveIVI
	 

#### AFFD 2014: James Jeffery Caldwell – INNOCENT BLOOD
Gadi Elkon of Selig Film News interviews filmmaker James Jeffery Caldwell about this film INNOCENT BLOOD at the 2014 Asian Film Festival of Dallas.

	 

	ABOUT THE FILM

	James Park, a retired detective turned college professor, is forced to face his dark past in order to find his son Cody's kidnapper. James (played by Jun Kim — LATE AUTUMN, WEST 32ND), a well decorated officer, is exposed for who he really is by his son's mysterious kidnapper. With a handful of past enemies, simultaneous murders, a wife who's losing faith in him, and two detectives in hot pursuit, James must move fast to bring his son home safely. From award-winning directors, Sun W. Kim and D.J. Holloway, INNOCENT BLOOD also stars C.S. Lee (Showtime's Dexter, The Unborn), Alexandra Chun (NBC's The Event, Saw), Justin Chon (The Twilight Saga, 21 & Over), Doug Jones (Hellboy I & II, Pan's Labyrinth, Fantastic 4: Rise of the Silver Surfer), Lance Lim, Trip Hope and James Jeffery Caldwell.

	httpvh://www.youtube.com/watch?v=yOnSiPcPBVc

#### AFFD 2014: Joon Kwon Kim – GO, STOP, MURDER
Joe Huang of Selig Film News interviews filmmaker Joon Kwon Kim about his film at the 2014 Asian Film Festival of Dallas.

	ABOUT THE FILM

	Four middle-aged men and women spend their weekends in a country horse ranch, constantly playing the Korean card game 'Go-stop'. When one of them dies mysteriously, a young worker at the ranch is forced to join the game as her substitute. The young man soon realizes that people have been dying according to the final layout of the cards in each round.

	httpvh://www.youtube.com/watch?v=7uCV1fZnwxU

#### AFFD 2014: Steven J. Kung – A LEADING MAN
Joe Huang interviews filmmaker Steven J. Kung about his film A LDEADING MAN at the 2014 Asian Film Festival of Dallas.

	 

	ABOUT THE FILM

	When a young and talented Chinese American actor is fired from a starring role on a television show, he attempts to salvage his career by entering into a romantic relationship with a successful casting director.

	Everyone is happy for rising actor GUOQIAO (GQ) — the network, his mother, his best friend — everyone except GQ himself. He's stuck playing an offensive stereotype on a television sitcom, and the day he decides to speak up for himself on set, the executive producer fires him. Struggling to pick up the pieces, he starts dating A-list casting director RACHEL. Love and work are intertwined as he gives her sex; she gives him auditions.

	httpvh://www.youtube.com/watch?v=aElyp8N54ds

#### AFFD 2014: Takayuki Hatamura – Ku_on
Joe Huang interviews Japanese filmmaker Takayuki Hatamura at the 2014 Asian Film Festival of Dallas.

	 

	ABOUT THE FILM

	Around 200 years ago, a meteorite fell in a village in the Tohoku region. There was no damage immediately after the impact, but after some time,the villagers living in the vicinity experienced genetic mutations and a few gained “special powers”.

	These powers were feared as “cursed powers”, and some were murdered, some took their own lives because of the weight of having these powers and others left the village without anyone knowing. However, the extent of the outbreak of these powers was not limited to this. In some cases, the descendants of people, who did not suffer from the outbreak at the time of the impact, suddenly exhibited these powers generations later.

	An ordinary office worker, Hiroyuki Sano, suddenly exhibits these powers one day. A man who claims to have the same powers as him appears before him.

	httpvh://www.youtube.com/watch?v=dvD2cUooSkg

#### AFFD 2014: Thien Do – FUNNY MONEY
Joe Huang interviews Vietnamese filmmaker Thien Do about his film FUNNY MONEY at the 2014 Asian Film Festival of Dallas in Dallas, Texas.

	 

	ABOUT THE FILM

	
	The stars of SAIGON ELECTRIC Vân Trang and Khuong Ngoc return to AFFD in this hilarious comedy. Director Thien Do’s latest  feature is a social satire set in modern-day Vietnam. Saigon businessman Lucky Loc makes high-end fake “ghost money” that is meant for dearly departed relatives to use in the afterlife. His good fortune comes to a sudden halt when he pays with “funny money” to an unsuspecting saleswoman, Quyen. Believing it to be his lucky charm, he’s convinced that giving away the bill caused his misfortune. At the same time, Quyen’s fortune plummets and she blames the cursed “funny money” for it. When Lucky tries to retrieve the bill and Quyen holds it for ransom, Lucky must do his best to survive in this increasingly materialistic world.

	httpvh://www.youtube.com/watch?v=SPYpjpFXAlM
	 

#### AFFD 2015: Benson Lee – SEOUL SEARCHING
Director Benson Lee talks to Gadi Elkon of Selig Film News about his film SEOUL SEARCHING. The film opened the 2015 Asian Film Festival of Dallas.

	 

#### AFFD 2016: Fabien Gaillard – THE MAHJONG BOX
Gadi Elkon of Selig Film News talks with filmmaker Fabien Gaillard about his film THE MAHJONG BOX at the 2016 Asian Film Festival of Dallas.

#### AFFD 2016: Francisco Aguilar – KOREAN FRIED CHICKEN
Gadi Elkon of Selig Film News talks with filmmaker Francisco Aguilar about his short doc KOREAN FRIED CHICKEN.

#### AFFD 2016: Larissa Lam – FINDING CLEVELAND
Larissa Lam sits down with Gadi Elkon of Selig Film News at the 2016 Asian Film Festival of Dallas to talk about her doc FINDING CLEVELAND.

#### AFFD 2022 Interview with Guest Programmer Justina Walford

Tomorrow kicks off the 21st edition of the Asian Film Festival of Dallas.  The festival runs through Sunday the 24th and will highlight 16 feature films (12 narrative 4 documentaries), 11 short films, and a weekend of pure enjoyment.  This year the festival brought in guest programmers to populate the lineup.  Filmmaker and festival director Justina Walford is one of those guest programmers and she talked with out Gadi Elkon about AFFD 2022.

AFFD 2022 begins tomorrow July 21st and runs through Sunday the 24th.  Films will be screened at the Texas Theatre and their long-time venue Angelika Film Center of Dallas.  This year the festival invited two guest programmers to help bring diverse and dynamic films to Dallas.  Justina Walford is a filmmaker, festival director and programmer who has long ties to DFW.  Justina and our Gadi Elkon talked about AFFD 2022, women in film, and much more.
Interview with Filmmaker and Festival Director/Programmer Justina Walford:

For more information about the festival, AFFD 2022.

#### AFFD DIY FILMMAKER: SECRETS REVEALED
Do-It-Yourself filmmaking has never been easier, with tools that are available for any budget. Join us for a concise 45-min panel with special guest filmmakers and a hyper-focus on two hot industry topics: Crowdfunding and Post-Production: What You Need to Know Before You Start Anything. Two AFFD alumni, Mye Hoang (also former AFFD Executive Director) and award-winning filmmaker Dave Boyle (Surrogate Valentine and Daylight Savings, SXSW '11 and '12), who have collectively raised over $100k for various projects through crowdfunding, will use their current feature film project MAN FROM RENO (in post-production) as a case study for using Kickstarter, offering ideas and advice to help your campaign succeed. Additionally, using never-before-seen clips from MAN FROM RENO, they will cover post-production and why you need to plan for it well before you begin shooting. This panel is tailored for the novice to intermediate, or even just curious.

	httpvh://www.youtube.com/watch?v=iWaJrhlf8ok

	 

#### African American Museum and Broadway Dallas Open Disney’s THE LION KING Exhibit
Broadway Dallas and the African American Museum, Dallas are pleased to announce the unveiling of a new exhibit, From Africa to the Broadway Stage: Disney’s The Lion King, that explores how African artwork and designs are reflected in one of the most breathtaking and beloved productions ever to grace the stage, Disney’s THE LION KING.
From Africa to the Broadway Stage: Disney’s The Lion King will run January 31 through July 3 at the African American Museum, Dallas, just steps from the historic Music Hall at Fair Park where THE LION KING will play 5 weeks this summer, June 4 to July 3, 2025, presented by Broadway Dallas. The exhibit will feature elements from the original Broadway production of THE LION KING alongside a curated selection of African art and artifacts from the permanent collection of the African American Museum, Dallas.
The exhibit unveiling opened with a Libation Ceremony led by the nationally recognized actor, Akin Babatunde, followed by a live performance of “Circle of Life” by THE LION KING alumna, Selloane Nkhela. Remarks were made by Dr. W. Marvin Dulaney, Deputy Director of the African American Museum, Dallas, and Mike Richman, Vice President of Marketing and Patron Services at Broadway Dallas. Additionally, THE LION KING alumni Darian Sanders and Khalifa White performed “Endless Night,” “Shadowland” and the Oscar®-winning “Can You Feel the Love Tonight.”
“The exhibit is an excellent example of the inseparable connectivity between the performing arts and the visual arts.  We are honored to collaborate with our Fair Park neighbors to display a sample of the iconic works contributing to the energetic production of Disney’s THE LION KING,” said Margie Reese, Interim Executive Director of the African American Museum, Dallas.
“We are thrilled to partner with the African American Museum, Dallas on this groundbreaking exhibit celebrating THE LION KING and its profound cultural and artistic legacy,” said Ken Novice, President and CEO of Broadway Dallas. “This collaboration also allows us to highlight the shared mission of our organizations to inspire and educate through the arts.”
THE LION KING returns to Dallas’ Music Hall at Fair Park June 4 – July 3. For tickets and more info, visit BroadwayDallas.org.

#### After – Interview with Filmmakers Pieter Gaspersz & Sabrina Gennarino & Academy & Golden Globe Nominee Kathleen Quinlan
"A searing study of denial, deception, and self-delusion, After is also a powerful portrait of the lengths we go to protect those we love."  I couldn't agree more.  Click through for phone interviews with After filmmakers Pieter Gaspersz, Sabrina Gennarino and Actress Kathleen Quinlan.

	

	After is a film that takes you on a journey while still keeping a secret until the very end and it's worth the wait.  A powerful take on an event that has impacted so many and has become an important moment in the history of our country.  I started my interview with Pieter and Sabrina who both have a long history with New York.

https://seligfilmnews.com/wp-content/uploads/2014/08/PG-SG-NYC-Since-College.wav

	Sabrina explained how her family were a major inspiration for the Valentino family in the script.

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	Pieter gave a shout out to his casting team.

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	I had to ask about getting the double WIRE whammy of John Doman and Pablo Schreiber.

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	Sabrina was so complimentary towards Kathleen Quinlan, who's performance is a so dynamic.

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	I chatted with Kathleen Quinlan about tackling this role with only 3 days notice.

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	Kathleen talked about the qualties of a character that intrigue her the most.

https://seligfilmnews.com/wp-content/uploads/2014/08/Kathleen-Quinlan-Challenging-Journey.wav

	I asked about working with the rest of the "Valentino" family.

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	We talked about what is coming up next for Kathleen.

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	Kathleen ended our wonderful chat by declaring herself Half-Texan.  🙂

https://seligfilmnews.com/wp-content/uploads/2014/08/Kathleen-Quinlan-Half-Texan.wav

	AFTER is out in LA and New York now and will be expanding this upcoming weekend to Boston, New Jersey and Chi-Town!

#### AFTER 50 YEARS, CLEOPATRA RULES AGAIN: ON BLU-RAY MAY 21
Today Twentieth Century Fox Home Entertainment is proud to announce that the four-time Academy Award® winning* classic CLEOPATRA, will be released on Blu-ray Disc for the first time on May 21 in a special golden anniversary edition and is available now for pre-order at major retailers.

	In honor of the iconic film’s 50th anniversary, the 243-minute premiere version of CLEOPATRA has been meticulously restored and presented on Blu-ray for a stunning high definition in-home viewing experience. Artfully packaged with a full-color book featuring rare images from the making of the film, the 2-disc Blu-ray  edition is packed with dazzling bonus materials featuring never-before-seen exclusive content including Cleopatra’s lost footage, commentary from Chris Mankiewicz, Tom Mankiewicz, Martin Landau and Jack Brodsky, behind-the-scenes featurettes, and more. Additionally, fans can watch footage from the film’s original theatrical premieres in both New York and Los Angeles.

	To kick-off a global celebration commemorating the film and its special edition Blu-ray release, Richard Burton will receive a posthumous star on the Hollywood Walk of Fame on Friday, March 1. Burton’s star will be placed next to Elizabeth Taylor’s, honoring one of the most famous theatrical relationships and greatest love stories in history. The campaign for Burton’s star was spearheaded by the Royal Welsh College of Music & Drama to celebrate the actor’s heritage.  Only one posthumous star is awarded each year, making this event a true honor for Burton’s family and fans.

	Directed by Academy Award winner Joseph L. Mankiewicz, the historical epic shot on 70mm film was the highest grossing film of 1963, bringing in more than $24 million in its initial release. The film cost an unprecedented $42 million to make (equivalent to over $300 million today) and nearly bankrupted Twentieth Century Fox.  In addition to elaborate sets and costumes, production delays and the relocation of principal filming from London to Rome added to the skyrocketing budget.  A very public love affair between Taylor and Burton that blossomed during the three-year production meant that there was as much romance and intrigue off-screen as on-screen.  The film later won four Academy Awards, and was nominated for five more, including Best Picture.*

	The opulence and grandeur of this epic spectacle has never been more glorious, as it comes to Blu-ray for the very first time. This 2-Disc 50th Anniversary Edition includes a collectible book that provides a fascinating behind-the-scenes look at the making of this legendary film.

	Elizabeth Taylor stars as Cleopatra, the glamorous and cunning queen of Egypt. To secure her hold on power, she seduces the rulers of Rome, only to meet her match in Mark Antony, played by Richard Burton. Their passionate romance could decide the fate of the world’s greatest empires.

	CLEOPATRA Blu-ray Features:

	Disc 1

	Cleopatra Through The Ages: A Cultural History
	Cleopatra’s Missing Footage
	Fox Movie Channel presents Fox Legacy with Tom Rothman
	Commentary with Chris Mankiewicz, Tom Mankiewicz, Martin Landau and Jack Brodsky
	The Cleopatra Papers: A Private Correspondence

	 

	Disc 2

	Cleopatra: The Film That Changed Hollywood
	The Fourth Star of Cleopatra
	Fox Movietone News

	Archival Footage of the New York Premiere
	Archival Footage of the Hollywood Premiere

	Commentary with Chris Mankieqicz, Tom Mankiewicz, Martin Landau and Jack Brodsky
	Theatrical Trailers

	 

	* Best Art Direction (won); Best Cinematography (won); Best Costume Design (won); Best Visual Effects (won); Best Picture (nominated); Best Actor (Rex Harrison) (nominated); Best Film Editing (nominated); Best Original Score (nominated); Best Sound Mixing (nominated)

	 

	ABOUT TWENTIETH CENTURY FOX HOME ENTERTAINMENT

	Twentieth Century Fox Home Entertainment, LLC (TCFHE) is a recognized global industry leader and a subsidiary of Twentieth Century Fox Film, a News Corporation company. Representing over 75 years of innovative and award-winning filmmaking from Twentieth Century Fox, TCFHE is the worldwide marketing, sales and distribution company for all Fox film and television programming, acquisitions and original productions as well as all third party distribution partners on DVD, Blu-ray™, Digital Copy, Digital HD™, and VOD (video-on-demand). Each year TCFHE introduces hundreds of new and newly enhanced products, which it services to retail outlets from mass merchants and warehouse clubs to specialty stores and e-commerce throughout the world.

#### AFTER EARTH
AFTER EARTH

	 

	By Gary ‘Past Ground’ Murray

	Starring Will Smith and Jaden Smith

	Written by Gary Whitta and M. Night Shyamalan

	Story by Will Smith

	Directed by M. Night Shyamalan

	Running time 100 min

	MPAA Rating PG-13

	Selig Film Rating—Get out the Torches!

	 

	M. Night Shyamalan is probably the most loathed filmmaker working today.  Over the last few years, he has directed some of the most over-hyped films in Hollywood.  He was in charge of The Village, Lady in the Water, The Happening and The Last Airbender.  All these films have been critical and financial failures.  The latest flick to go down this road is After Earth.

	The story takes place in the far distance future.  Mankind has abandoned Earth and moved to Nova Prime, a world outside the solar system.  General Cypher Raige (Will Smith) is the commander of the Ranger Corps ship.  He is a serious man, unscarred in battle but who has one of the more irritating accents.  But, he sounds more like a Rastafarian farmer than a space commander. 

	On board is his son Kitai (Jaden Smith).  He’s a mischievous young man and his father thinks that he shows no discipline.  The boy keeps having flashbacks to a tragedy that happened when he was a boy.  He comes across as a wimpy little snot.

	The ship gets caught up in an asteroid field and is severely damaged.  The commander has no other choice than to land on Earth, a planet that is considered dangerous and is quarantined.  It seems that evolution has gone into overdrive and every animal on the planet is now a hazard to humans. 

	Cypher has two broken legs and one broken ship in two pieces.  He must get Kitai to travel 100 kilometers to the other half of the ship to retrieve the rescue beacon.  The planet is on the crest of another Ice Age so the nights get very cold.   Kitai must follow a path of hot spots in order not to freeze to death

	The young man must find inner courage in order to save his father and save himself.  Along the road to the back of the ship, he must battle packs of lions and groups of simians that are trying to protect their territory from this hostile element known as man. 

	So a kid who is not at home anymore must go down a bright path and deal with lions and tigers and bears…oh my!

	This could be the greatest waste of time and talent in 2013.  Will Smith is one of the biggest action stars on the planet and in this film he has NO action.  With his legs broken, all he does is watch his son.  Some people may see this as him passing the action torch to Jaden but the young man is just not up to the task.  Jaden Smith was effective in The Karate Kid remake but here is totally out of his league. He does not come across as an action star but as someone lost and out of his league.

	For a film that purports to be an action film, there is little true action in After Earth.  The young man has to go against different wilderness beasts but never for that long.  The actions scenes are short and ineffective.  Much more of the film is of young Kitai walking around the planet, trying to find his way. 

	The scenery looks wonderful but it takes more than pretty pictures to make a great movie. Also, the special effects are impressive.  The vision of the future has many cool gadgets but cool effects to do not make a great movie.  This film is not a great movie.

	There are many rumors running around Hollywood that After Earth is somehow linked to Scientology.  The final cut of the film does feel like something that could have come from the mind of L. Ron. Hubbard.  That is another problem with the film.  It feels more like something that was thought up in the Golden Age of Pulp Fiction and not modern science fiction.  The plot is more serial Buck Rogers than Prometheus.

	Fourteen years ago (1999), a great movie called The Sixth Sense was released to theaters.  The surprise ending shocked audiences for months and those who saw it didn’t give away the final climax.  Everyone would say “You have to see it” and tell no one.  M Night has been trying to live up to that promise of greatness ever since.  Please, Hollywood, stop giving him money to make films.  We have suffered enough. 

	 

#### After Her Death, Elizabeth Taylor’s Connection With Israel Is Revealed
Yesterday, the world lost one of its greatest stars as Elizabeth Taylor passed away at the age of 79. While she will go down in the history books as an Oscar winner and remembered in her iconic role as Cleopatra, her connection to the State of Israel played a significant role throughout her life.
	Thanks to researchers pouring the archives at JTA, we now see a picture of a woman who worked tirelessly to defend the Jewish State, even if it meant her life. In an amazing story lost for years but not forgotten, it turns out that Elizabeth Taylor offered herself up as a hostage during the Entebbe hostage crisis of 1976!
 
Read More: http://www.isrealli.org/after-her-death-elizabeth-taylors-connection-with-israel-is-revealed/

#### AFTER THE HUNT – A Review by Cynthia Flores
The tag line on the poster for the new film, After The Hunt, is “not everything is supposed to make you comfortable.” I would call it a warning to the audience, rather than just a tagline for the film.
This whole movie, from the nerve-wrackingly tense score by the team of Trent Reznor and Atticus Ross to the confining locations such as small college classrooms and the home of the lead character Alma Olsson (Julia Roberts) and her husband Frederik Olsson (Michael Stuhlbarg), is the components that keep the audience boxed in and on edge. However, it never really earns our unease with the storyline. It’s just the mood that the brilliant director Luca Guadagnino, nominated for a directing Oscar for 2017’s Call Me by Your Name, and his production team have put on the screen that makes this happen. This is disappointing, as the film features Oscar-winning and nominated performers stuck with a stilted and play-like script. 
The movie is about two friends and professors trying to get tenure in Yale University’s Philosophy Department. Alma Olsson (Julia Roberts) and Henrik Gibson (Andrew Garfield). Add to the mix Maffie Price (Ayo Edebiri), who is a young graduate student from a wealthy family and Alma’s protégée, who is working on her thesis. After a student-teacher mixer, Maffie is walked home by Frederik. This leads to accusations of sexual assault against Henrik. Putting Alma in a difficult position between her colleague and protégée. 
The rest of the film, using only three main characters and three supporting characters, slowly explores the complex epistemological failures inherent in a social matrix defined by politically charged rhetoric and pedagogical structures. Through a critical analysis of constructed guilt and the discursive mechanics of slander, it is postulated that truth is not a static endpoint but a perpetually contested site, inaccessible amidst competing narratives. Ok, now if you had to break out Google or an old-fashioned dictionary to look up any of the bigger words I used in this description, this film may not be for you. 
Don’t get me wrong, there have been amazing films that dealt with intellectually challenging stories like the creation of the atomic bomb or complex mathematics. They have even been nominated and have won Academy Awards. However, those films managed to make their topics accessible and human. After The Hunt just seems to be so in love with its highbrow, Yale-esque way of talking that it shuts the door on quite a few moviegoers who may have enjoyed this story of a modern-day witch hunt.
I give After The Hunt 2.5 stars. Even though Julia Roberts is great in it and Michael Stuhlbarg steals every scene he is in as her ever-loving husband, it’s hard to follow sometimes. It is an arthouse film that I only anticipate a small, highly educated audience able to find the movie interesting enough to stick with it long enough for its enigmatic, weak ending payoff.
 
Directed by: Luca Guadagnino
Written by: Nora Garrett
Rated: R
Running Time: 2hr 19min
Psychological Drama
Release: In Theaters Oct 17th
Starring: Julia Roberts, Ayo Edebiri, Andrew Garfield, Michael Stuhlbarg
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### AFTER THE WEDDING – A Review by Cynthia Flores
 
AFTER THE WEDDING – A Review by Cynthia Flores
This film is the English remake of the 2006 Danish Academy Award-nominated for best foreign-language film Efter Brylluppet.  It has the same exact storyline with the only exception of the leads being switched to women instead of men.  Something must have been lost in translation because this film does not have the gravitas of the original.  Despite the fantastic acting abilities of Julianne Moore (who co-produced the film) with Michelle Williams and the always steady Billy Crudup.  This film is a drama you have to fight to enjoy.
The story for this film is as follows.  Isabel (Michelle Williams) has devoted her life to running an orphanage in a Calcutta slum.  With funds running dry, a potential donor Theresa Young (Julianne Moore) a multimillionaire media mogul accustomed to getting what she wants, is found.  Theresa requires Isabel travel from India to New York to deliver a presentation in-person.  Isabel doesn’t want to leave her orphanage but relents.  Telling the woman in charge of it, Preena (Anjula Bedi), that she won’t come back without a suitcase full of money.
Isabel travels to a city she deliberately hasn’t returned to in over two decades.  Once in New York, she meets the orphanage’s possible benefactor and finds out Theresa is offering even more money than first proposed.  While Isabel thinks she’ll soon be returning to her beloved orphanage, Theresa has other plans.  Insisting Isabel attend Grace’s (Abby Quinn) wedding at the family’s estate, she tells her that with the wedding happening she doesn’t have the bandwidth to thoroughly go over Isabel’s proposal for the orphanage.  She promises that she will go over it all on Monday after the wedding.  The joyful event becomes a catalyst for a revelation that overturns the lives of both women and the people who love them most.
From the skyscraper where Theresa runs her successful business, to the glorious estate, where she lives happily with her family which includes artist husband, Oscar Carlson (Billy Crudup), 21-year-old daughter, Grace, and eight-year-old twins, Theo (Tre Ryder)  and Otto (Azhy Robertson), Theresa’s life couldn’t be more perfect and different from Isabel’s simple life back in Calcutta.  But appearances can be deceiving, and the two women have more in common than meets the eye.
After The Wedding is a slow-burn drama. While it gives us some memorable scenes that are heart-wrenching to their core, it ultimately doesn’t give us a big enough pay off in the end.  I give this film a B- rating only because of the excellent acting skills brought to the movie by its female leads.  If it were not for them, I would have given it a C- rating.
 
Directed by Bart Freundlich
Written by Bart Freundlich
Rated PG-13
Running Time 112min
Drama
Limited Release August 23rd The Angelika Film Center Plano, Landmark Magnolia
Starring: Julianne Moore, Michelle Williams, Billy Crudup, Abby Quinn, Will Chase
 
The Selig Rating Scale:
A – Excellent movie, well worth the price.
B – Good movie
C – OK movie
D – No need to rush. Save it for a rainy day.
F – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### AFTER THE WEDDING – A Review by John Strange
 
AFTER THE WEDDING – A Review by John Strange
What happens in our past can often come back upon us years later.  Isabel (Michelle Williams) is happy running an orphanage in Kolkata.  Always in need of money to do more for the kids, she is convinced to travel to New York City to meet with a benefactor to discuss a two million dollar grant.
Arriving in New York, the benefactor, Theresa (Julianne Moore), delays the decision until after her daughter’s wedding which is occurring that weekend.  She invites Isabel to the wedding.  At the wedding, Isabel realizes that Theresa’s husband, Oscar (Billy Crudup), and she have a shared history and that history is the real reason why Theresa had insisted that Isabel was required to come in person to discuss the money.
This film is a soap opera that is VERY slow to get any momentum going but once it does you are sort of steamrollered with emotions as the truth of the situation comes out and all affected parties react.  Abby Quinn as daughter Grace does an excellent job.
The script is pretty tight for a film of this genre, revealing the news to each person slowly (and painfully).  There are several levels to this story that make it complicated but very believable.  The cast is well-chosen and each actor plays their part well.
For those of you who are prone to tears at sad or emotional films, snag a couple of napkins.  This is a strong story filled with several social issues and hot buttons.  The writer’s treatment of those social issues is very even and without overt judgment.  It’s plot twists are not subtle but they are timed properly to advance the story smoothly.  After The Wedding is a good strong B in my book.
 
Directed by: Bart Freundlich
Cast: Michelle Williams, Julianne Moore, Billy Crudup, Will Chase, Doris McCarthy, Abby Quinn, Azhy Robertson, Alex Esola, Alex Cranmer, Eisa Davis, Susan Blackwell, Eric D. Hill Jr., Mackenzie Owens, Jeff Kim, Greta Quispe
MPAA Rating: PG-13 (for thematic material and some strong language)
Selig Rating: B
Runtime: 112 Min.
Movie Site: www.sonyclassics.com/afterthewedding/
 
The Selig Rating Scale:
A – Excellent movie, well worth the price.
B – Good movie
C – OK movie
D – No need to rush. Save it for a rainy day.
F – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### AGAINST ALL ENEMIES – Interview with Director and Producer Charlie Sadoff
Producer Charlie Sadoff’s feature film directorial debut is the jarring documentary, AGAINST ALL ENEMIES.  Charlie talked with our Gadi Elkon about the film, the upcoming election and so much more!

A documentary feature film that explores the critical role of military veterans in domestic violent extremist groups.
AGAINST ALL ENEMIES gives us the grim reality of our current political system being impacted by numerous violent extremist groups and how this has been escalating for decades.  Director and Producer Charlier Sadoff talked with our Gadi Elkon about the importance of 2024, the tremendous fear about potential violence happening and why it was important to make this documentary.
Here is our Interview with Director and Producer Charlie Sadoff:

The film is available in select theaters and on all major VOD Platforms beginning March 29th.
For more info, AGAINST ALL ENEMIES.

#### AGENTS OF CHANGE: PROJECT POLYMER – A Review by Jenn Rohm
AGENTS OF CHANGE: PROJECT POLYMER – A Review by Jenn Rohm
Short films are often used to convey messages about social changes.  Agents of Change: Project Polymer, written by Shaan Dasani based on characters created by Dasani and Mitch del Monico falls in this category.  The message is about single-use plastics, such as drinking straws that create large amounts of waste that does not disintegrate over time.  The waste must go somewhere and or be dealt with and that is not always cheap. 
There is a balance necessary to tell a full story that includes enough facts to promote change and not so many facts the audience zones out.  I found the piece well-paced, entertaining, and somewhat informative.  I know using plastic straws is bad, and natural fabrics are better choices, I did not pick up on other choices that should be looked at for the health of the planet.
The style of the film is a mixture of a bit of film noir, nods to James Bond, and a touch of Get Smart.  Agents Guy Longani (Shaan Dasani) and Evelyn Quinn (Rain Valdez) are working to take down plans for waste of single-use plastics being shipped to other countries.  Guy must earn Evelyn’s trust and Evelyn must learn to work with others. 
When researching the cast, I found a second message being conveyed that I did not pick up on while watching.  This was something Dasani wanted to achieve as explained in an interview with Chris Angel Murphy for their podcast Allyship is a Verb.  Dasani said, “…so I wanted to center like queer and trans people of color at the forefront of that movement that are making a difference. So, some people may look at and they say, “Oh, it’s not a queer film.” But I’m like, “No, it is a queer film. It, it’s gonna impact our communities first.” So, I do see it as a queer film, and also all of us are out queer and trans actors. If anyone chooses to Google us, then they’ll know.” (Chris Angel & Dasani 2023/04/11 00:48:51) And “I think one of the things that I do think about too is, you know, there’s, there’s a conversation of representation in the entertainment industry and what I want is for queer and trans folks and Black folks and South Asian folks and you know, folks of all identities to get a chance to come into writer’s rooms and positions, to direct projects that aren’t just about those identities.” (Chris Angel & Dasani 2023/04/11 00:49:09).  Using a style of “spy film” that has traditionally been about strong masculine men and damsels in distress and tweaking it for the feminine characters to be more independent and have their own strengths is a nice change as well.   
With a few moments, like the fight scene where the reaction to being hit and the hit itself was obviously choreographed and the timing a smidge off, there is room for growth for the next adventure of The Agents of Change.  
Bentonville Film Festival short entry
 
Director: Jett Garrison
Written By: Shaan Dasani
Cast: Shaan Dasani, Rain Valdez, Michael D. Cohen, Gretchen Wylder, Dalila Ali Rajah
MPAA Rating: Not yet rated.
Genres: Short, Comedy, Crime, Mystery
Selig Rating: 2.8 stars
Runtime: 15m 17s
Trailer: Agents of Change: Project Polymer trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well there was nothing else…
1 Star – Total waste of time.

#### AGLIFF 2019 – Interview with President Ashley L. Marshall and Artistic Director Jim Brunzell
https://www.youtube.com/watch?v=4Nc_VZr3Vdk
This week opens Austin’s The All Genders, Lifestyles, and Identities Film Festival (aGLIFF).  From the 22nd through the 25th the festival will showcase 28 feature-length films (15 narrative, 13 documentary), and 56 short films (50 narrative, 6 documentary).  I chatted with the festival’s President Ashley L. Marshall and Artistic Director Jim Brunzell about all things aGLIFF 2019.

Austin’s longest running film festival screens exclusively at the Alamo Drafthouse Lamar and runs August 22nd-25th.
Here is our chat with President Ashley L. Marshall and Artistic Director Jim Brunzell
 
https://seligfilmnews.com/wp-content/uploads/2019/08/AGLIFF-2019-Jim-and-Ashley.mp3
 
For more information about this year’s festival, aGLIFF 2019.
Stay tuned to our social media pages for festival coverage.
For a look back at last year’s festival interview please go, HERE.
 

#### AGLIFF Interview with Program Director Jim Brunzell
The 31st All Genders, Lifestyles, and Identities Film Festival (aGLIFF) begins tomorrow evening.  Screening exclusively at Alamo Drafthouse Lamar in Austin, Tx on September 6-9th, aGLIFF will open with PJ Ravel's, CALL HER GANDA.  The Closing Night film is Ondi Timoner's MAPPLETHORPE.  aGLIFF program director Jim Brunzell chatted with our Gadi Elkon about those films, the other special honorees and much more.    

	

	Program Director Jim Brunzell talked about the debut of the festival's Breakthrough Award and the festival's first ever Tribute Award.  He also discussed the wide variety of films showcased at this year's festival and so much more!  

	Here is Program Director Jim Brunzell chatting with Gadi Elkon about aGLIFF 2018.

	 

https://seligfilmnews.com/wp-content/uploads/2018/09/AGLIFF-2018-Jim-Brunzell.mp3

	 

	For more Information:

	aGLIFF

	 

	

	

	 

	 

#### Ai Weiwei Teams with Participant Media and AC Films on Human Flow
 

	Participant Media and AC Films are partnering on Human Flow, a documentary directed by world renowned artist, activist and filmmaker Ai Weiwei. The feature-length film, which explores the global refugee crisis through footage and interviews in more than 22 countries, is produced by Ai Weiwei, Chin-chin Yap, and Heino Deckert. Andy Cohen of AC Films with Jeff Skoll and Diane Weyermann of Participant Media are executive producing. The film is currently in post-production.

	Ai Weiwei notes, “Human Flow is a personal journey, an attempt to understand the conditions of humanity in our days. The film is made with deep beliefs in the value of human rights. In this time of uncertainty, we need more tolerance, compassion and trust for each other since we all are one. Otherwise, humanity will face an even bigger crisis.”

	Filmed over the span of a year, Human Flow was shot by 25 film crews in Afghanistan, Bangladesh, France, Greece, Germany, Hungary, Iraq, Israel, Italy, Jordan, Kenya, Lebanon, Macedonia, Malaysia, Mexico, Pakistan, Palestine, Serbia, Switzerland, Syria, Thailand and Turkey. Ai Weiwei artfully captures the massive and shocking breadth of the global migration crisis in this epic film, which portrays the plight of today’s 65 million forcibly displaced individuals – the highest number ever – forced out of their homes by war, famine and climate change on long, treacherous journeys in search of new lives.

	Human Flow comes at a crucial and defining time, striking an important and emotional chord in light of recent events regarding refugees and immigrants.

	Diane Weyermann, Participant’s Executive Vice President of Documentary Films, added, “Ai Weiwei is a master of his craft and infuses emotion and urgency in this poignant and compelling film about the global refugee crisis.”

	Executive producer Andy Cohen said, “From wastelands of war and persecution, Ai Weiwei takes us on a global odyssey, never losing sight of the individual among this massive human flow – even when confronted by the guns and walls of the ‘free’ world.” 

	David Linde, CEO Participant Media, commented, “There is no better place than being here in Berlin at this critical moment to announce this powerful film to a global audience. We are thrilled to be working with an artist and filmmaker of Ai Weiwei’s caliber and exceptional vision to tell this essential story.”

	Ai Weiwei’s recent exhibitions include Laundromat at Jeffrey Deitch in New York, Ai Weiwei: Libero at Palazzo Strozzi in Florence, #SafePassage at Foam in Amsterdam, and Ai Weiwei at Cycladic at the Museum of Cycladic Arts in Athens. Ai Weiwei was born in Beijing in 1957 and now lives in Berlin. He has made twenty documentaries about social and political issues that have won major film festival awards.

	Human Flow continues Participant’s strong track record of producing influential documentaries that empower social change. Most recently, the company premiered An Inconvenient Sequel: Truth to Power at the 2017 Sundance Film Festival to critical acclaim and sparked a growing dialogue on the pressing issue of climate change.

	Ai Weiwei is represented by United Talent Agency for Human Flow.

#### AIN’T TOO PROUD – THE LIFE AND TIMES OF THE TEMPTATIONS Presented by Broadway Dallas | Tickets On Sale July 29
 
Broadway Dallas and Broadway Across America (BAA) are thrilled to announce that single tickets for the Broadway smash hit musical AIN’T TOO PROUD – THE LIFE AND TIMES OF THE TEMPTATIONS, will go on sale Friday, July 29. Tickets will be available online at BroadwayDallas.org and by phone at 800-982-2787. Orders for groups of ten (10) or more may be placed by calling 214-426-4768 or emailing Groups@BroadwayDallas.org. AIN’T TOO PROUD will play the Music Hall at Fair Park September 6-18, 2022 as part of the Germania Insurance Broadway Series presented by Broadway Dallas.
Featuring the Grammy® winning songs and Tony® winning moves, AIN’T TOO PROUD is the electrifying new musical that follows The Temptations’ extraordinary journey from the streets of Detroit to the Rock & Roll Hall of Fame. With their signature dance moves and unmistakable harmonies, they rose to the top of the charts creating an amazing 42 Top Ten Hits with 14 reaching number one and being voted the greatest R&B group of all time by Billboard Magazine in 2017. The rest is history — how they met, the groundbreaking heights they hit, and how personal and political conflicts threatened to tear the group apart as the United States fell into civil unrest. This thrilling story of brotherhood, family, loyalty, and betrayal is set to the beat of the group’s treasured hits, including “My Girl,” “Just My Imagination,” “Get Ready,” “Papa Was a Rolling Stone,” and so many more.
After breaking house records at Berkeley Rep, The Kennedy Center, CTG’s Ahmanson Theatre, and Toronto’s Princess of Wales Theatre, AIN’T TOO PROUD opened on Broadway in March 2019, where it continued to play sold-out audiences and broke the Imperial Theatre’s box office record. Written by Kennedy Prize-winning playwright Dominique Morisseau, directed by two-time Tony Award® winner Des McAnuff, and featuring the Tony Award winning choreography of Sergio Trujillo, this dazzling production now brings the untold story of the legendary quintet to audiences across the country.
The creative team also includes Tony Award nominee Robert Brill(scenic design), Tony Award winner Paul Tazewell (costume design), Tony Award winner Howell Binkley (lighting design), Tony Award winner Steve Canyon Kennedy (sound design), Drama Desk Award winner Peter Nigrini (projection design), Drama Desk Award winner Charles G. LaPointe (hair and wig design), Steve Rankin (fight direction), Brian Harlan Brooks (tour resident director), Edgar Godineaux (associate choreographer), John Miller (music coordinator), Molly Meg Legal (production supervisor), and Nicole Olson (production stage manager). Orchestrations are by Tony Award recipient Harold Wheeler, with music supervision and arrangements by Kenny Seymour. Casting is by Tara Rubin Casting, Merri Sugarman, C.S.A.
The national tour of AIN’T TOO PROUD is produced by Ira Pittelman and Tom Hulce, in association with Stephen Gabriel, executive producer. General management and production management by Work Light Productions.
For more information, please visit www.AintTooProudMusical.com

#### AJFF 2020 – HAPPY TIMES – INTERVIEW WITH DIRECTOR MICHAEL MAYER
Shabbat takes a violent turn in the latest dark comedy from Director Michael Mayer.

Over the course of a Shabbat dinner at a fancy Hollywood Hills mansion, a toxic mix of alcohol, egos, cultural differences, lust and greed derails the evening rather quickly and things spin out of control. Secrets are revealed, relationships are tested and getting out in one piece will be the ultimate challenge.
The witty and wild nature of HAPPY TIMES seems to be a mixture of CLUE being told by Quentin Tarantino.  Michael Mayer, Co-Writer Guy Ayal and a tremendous ensemble cast test the bloody waters of humor and decorum.  Set in one solitary Shabbat evening we are treated to a real indie gem.  I especially loved performances by Liraz Chamami and the always game Michael Aloni who shine.  Michael was awesome enough to chat with me about his many filmmaking nods, his awesome cast, the cool home showcased in the movie and even talked about using a Shofar as a deadly weapon.
Interview with Director and Co-Writer Michael Mayer
 
https://seligfilmnews.com/wp-content/uploads/2020/11/Michael-Mayer.mp3
 
The movie held it’s North American Premiere at the 18th Austin Jewish Film Festival.
Michael Mayer is a director/writer to keep on your radar and can’t wait to see what’s next!!
 

 
 

#### AJFF 2020 – THE CROSSING – Interview with Director Johanne Helgeland
The 18th annual Austin Jewish Film Festival opened the festival with Johanne Helgeland’s tremendous children’s holocaust survival tale, THE CROSSING.  Johanne was awesome enough to answer Selig Film News’ questions about the film project and much more.

THE CROSSING tells the story of the adventurous 10-year-old Gerda and her brother Otto, whose parents are in the Norwegian resistance movement during the Second World War. One day, just before Christmas in 1942, Gerda and Otto’s parents are arrested, leaving the siblings on their own. Following the arrest, they discover two Jewish children, Sarah and Daniel, hidden in a secret cupboard in their basement at home. It is now up to Gerda and Otto to finish what their parents started: To help Sarah and Daniel flee from the Nazis cross the border to neutral Sweden and reunite them with their parents.
Director Johanne Helgeland chatted with Selig Film New’s Gadi Elkon about her film and much more:
Email Questionnaire –
1. How did this story come to you? Can you talk about working with Maja and Espen to connect the story to the reality going on in Norway?   You have a strong production team with Cornelia Boysen, Synnove Horsdal and Lina Pedersen can you discuss working with them to bring the film to life? Also what does it mean to have Menemsha Films be apart of getting the film out?
“The Crossing” is my debut feature film. To have a strong production team like this meant the world. I could lower my shoulders and focus on the right things. We had a very modest budget, so all of us had to find creative solutions. When Neil / Menemsha Films wanted the film we were really happy. It just feels right, he seems to really care for the film, to get it out there – even though times are challenging. 
 
3. I love the amazing scenery of Norway we witness in the film. Can you discuss the visual element you, your cinematographer John-Erling H. Fredriksen wanted to capture. Also the tree sequences are especially scenic can you talk about shooting the final chase scenes?
We wanted to make a film with a flare of both adventure and reality. We wanted it to feel visually “rich”, with mood changes, colour temperatures shifts and a camera that moves with the children. It was important to be on level with the children all the way through. John Erling had the camera on a Gimbal rig, which makes it possible to move with the characters as they run (without using tracks etc). 
 
4. Working with these young actors what was that experience like? Also I do love the Muskateer elements and the “story” version can you talk about shooting that scene as in its dream like feel?
Working with the children was just a really good experience. They are very professional, although none of them had any experience. It was important to find a group that worked socially, and to make them feel safe. We spent a lot of time together in pre prod and had a lot of good talks. We shot the muskateer scene in the forest and had to do everything in a very short amount of time – a lot of impro, with me standing on the side line giving instructions and John Erling hanging on with the camera. It was a lot of fun, and something totally different from the rest of the scenes. The children really enjoyed their costumes and the playfulness of this scene.
 
5. What did it mean to win the Best Children Film at Norway’s Amanda Awards? What does it mean to have your film showcased at Austin Jewish Film Festival?
I’m so happy that the film reached the Norwegian audience, that means a lot to all of us who made the film. It’s a film that unfortunately still is very topical, with 70 mill refugees that needs protection and the rising of fascism in both Europe and the US. I think we shouldn’t underestimate telling stories to children with an important message. Part of what we wanted was to start a conversation between children and their parents. We hope the film can make the young audience curious about history and ask questions. It means a lot to be able to screen the film for an audience outside Norway as well, because think our theme is universal.
6. Johanne now that you’ve made a wonderful feature film are you planning on more films? What is your next project?
 I’m currently working on developing new projects, and reading some scripts. I’m open – as long as the story hits me emotionally and has a heart and message.
 

#### AJFF 2020 AULCIE Interview with Writer Director Dani Menkin
The Austin Jewish Film Festival kicked off its 18th year this weekend and runs through Friday the 13th.   Filmmaker Dani Menkin chatted with our Gadi Elkon about AULCIE, his previous documentaries and much more!

AULCIE tells the inspiring story of Aulcie Perry, a basketball legend who led Maccabi Tel Aviv to an upset win in the European Championship. During the summer of 1976, Aulcie Perry was spotted by a scout for Maccabi Tel Aviv while playing at the Rucker courts in Harlem and was quickly signed to play for their fledgling team. The Israeli players immediately responded to Aulcie’s leadership and that year they had what one Sports Illustrated writer described as “the most extraordinary season in its remarkable history” and what Perry later called “the best nine months of my life.” In 1977, Perry helped the team to its first European Championship, a prize they took four years later again under his leadership.  
Dani Menkin chatted with Gadi about the feature doc AULCIE, his previous films, the similarities and difference of fiction vs documentary filmmaking, and his love Paul McCartney.
Here is our interview with filmmaker Dani Menkin.
 
https://seligfilmnews.com/wp-content/uploads/2020/11/Dani-Menkin.mp3
 
The Austin Jewish Film Festival runs through November the 13th.
For more information about Dani and his films please go to Hey Jude Productions.
 

#### AKFPL & TUMBHI TO RELEASE SHORTS on JULY 12
 

	Renowned for his directorial skills and for providing a platform to numerous filmmakers, Anurag Kashyap and producer Guneet Monga under their banner, AKFPL, will be seen releasing SHORTS on July 12 2013, along with TUMBHI.

	An anthology of 5 accolade-winning short films, the films will be release by PVR Directors Rare across Mumbai, Delhi, Pune, Kolkata, Surat, Cochin, Ahmedabad and Bangalore in select theatres. Directed by upcoming directors Shlok Sharma, Neeraj Ghywan, Rohit Pandey, Siddharth Gupt and Anirban Roy, the films mark the re-uniting of the Gangs of Wasseypur cast who star in the film.

	Starring Huma Qureshi, Nawazuddin Siddiqui, Richa Chadda, Vineet Singh, Satya Anand, Preeti Singh among others, the films represent the new age of storytelling in the country.

	"Short films are where some of the best film directors cut their teeth. Despite the dominance of feature films, short films have retained a sense of purpose and continue to reach out to filmmakers and audiences alike, providing a platform to showcase good talent. SHORTS is a compilation of films by some very promising, talented and upcoming directors, who are also gearing up for their first feature." Says producer-director Anurag Kashyap at the event to announce SHORTS.

	"We are happy to partner with AKFPL in the release of Shorts and believe that films such as these stand to present to people a new wave of directors and talent that is emerging in our country” says L.C.Singh, CEO, TUMBHI.

	"We at PVR are open to all kinds and formats of cinema. This is the first time that a package of handpicked short films is getting a proper theatrical release in India and we are really proud that PVR Director's Rare is facilitating the release and working as a torch bearer in this area." says Mr. Sanjeev Kumar Bijli, Joint Managing Director, PVR Limited.

	With new voices coming to the forefront in storytelling, SHORTS is a presentation of these films made by directors who are in the midst of gearing up to either release or commence their first feature film.  SHORTS is scheduled to release on July 12, 2013.

	 

	
			
				
			
			
				
			
			
				
			
			
				
			
			
				
			
			
				
			
			
				
			
			
				
			
			
				
			
		

	 

	1. SUJATA by Shlok Sharma 

	Starring: Huma Qureshi, Shweta Tripathi, Satya Anand & Aditya Kumar.

	Sujata is a riveting tale of a young girl, who is struggling to come out of the clutches of her tormenting cousin brother. At a very young age, she is forced to live with her cousin and his family. Herein, begins a life of incessant harassment by her cousin brother. 

	Even as an adult she lives in the shadow of fear. For years, she changes addresses and identities in the hope of finding freedom; but each time he hunts her down. Neither the police, nor the NGOs are able to help her. Pushed to a corner, she decides to take the extreme step. 

	 

	2. EPILOGUE by Siddharth Gupt

	Starring: Richa Chaddha  and Arjun Shrivastav

	A relationship that has already fallen apart and is just about to snap. It describes the love and intimacy, the entangling of two lives and the completely symbiotic nature of a couple.

	It reflects the possessiveness  control isolation, depression and desperation that a relationship can lead to, representing a cycle that needs to be broken in order to keep sane. 

	 

	3. AUDACITY by Anirban Roy

	Starring Preeti Singh, Sankar Debnath and Kanchan Mullick.

	A thirteen-year-old girl has her first real confrontation with authority when her father forbids her to play the American dance music she loves. When she decides to take revenge, the situation escalates to become a neighbourhood scandal.

	A dark comedy about parental authority, teenage rebellion, curry, whiskey, and house music.

	 

	4. MEHFUZ by Rohit Pandey

	Starring: Nawazuddin Siddiqui and Aditi Khanna

	In an ambiguous space and time. The city has turned mad, as violence has taken its toll. But, far away in the sounds of silence at the border of the town, a man takes care of all the death around. He drags away this usual routine with every passing night.

	One night, he notices a strange woman wandering on empty streets. As her behavior changes, so does his journey.

	 

	5. SHOR by Neeraj Ghaywan

	Starring: Vineet Singh and Ratnabali Bhattacharjee

	Lallan and Meena, a couple from Banaras, are consumed by their pursuit to survive in the city of  Mumbai. Meena takes up a job in a sewing factory. 

	One day over a phone call, they find each other while embracing death, divorce and redemption. It takes the darkest hour of our life, the fear of death, to regain our consciousness back in to life.  To find the beauty that is lost in our relentless angst towards an unyielding life.

	 

#### AL FRANKEN TO RECEIVE THE ERNIE KOVACS AWARD FROM DALLAS VIDEOFEST SEPT. 22 IN PERSON AT TEXAS THEATRE
 
Dallas VideoFest is proud to award comedian and former US Senator Al Franken, best known for his work on the NBC staple, “Saturday Night Live,” with the coveted Ernie Kovacs Award at 7:30 p.m. Thursday, Sept. 22, at the Texas Theatre (231 W. Jefferson Blvd. – Oak Cliff/Dallas). Immediately following the Kovacs event, DVF will show the 2006 documentary, AL FRANKEN: GOD SPOKE. VIP meet-and-greet reception with Al Franken and; event and film at Texas Theatre.
To purchase tickets, go to http://VideoFest.org.
Ernie Kovacs has been a key component of the Dallas VideoFest since the Festival began in 1987. Franken will be on hand to receive the award from Dallas VideoFest’s Founder and Artistic Director Bart Weiss. Joshua Mills, son of Edie Adams and keeper of the Kovacs flame, will also attend.
Of course, Al Franken
Throughout the 15 years Franken was associated with “Saturday Night Live” starting with the very first show in 1975, he wrote, performed in and produced hundreds of sketches, including the well-known and often recited “Daily Affirmations with Stuart Smalley.” Franken won five Emmys for writing and producing during his 15 seasons with “SNL.”
Al Franken on learning he would be the recipient of the 2022 Ernie Kovacs Award:
“Ernie Kovacs’ influence on comedians of my generation is not often told these days. I was maybe ten years old when I first watched ‘The Ernie Kovacs Show.’ Like many young avid fans of comedy, I was immediately struck by his wholehearted and brilliant embrace of absurdity. The Nairobi Trio, for example, was nothing like anything anyone had ever seen. Many comedians today talk about the tremendous influence of David Letterman and Conan O’Brien – and deservedly so. Both have inspired today’s generation of comedians in the same way that Kovacs inspired me and so many others. I am humbled that the Dallas VideoFest is honoring me with The Ernie Kovacs Award. I’m not sure I deserve it.”
Bart Weiss, founder/artistic director of Dallas VideoFest, on the importance of Ernie Kovacs:
”The very first program of our festival in 1987 was Edie Adams showing the work of Ernie Kovacs. Ernie’s innovative spirit has been with us these 35 years. The Kovacs Award became the perfect way to honor those whose comedy change the way we look at TV/Video much like Kovacs did.
“One can draw a very clear line between Ernie Kovacs’ characters like Percy Dovetonsils and Al Franken’s Stuart Smalley. Both understood how to harness the power of TV comedy to help us see the world differently.
“Yes, Al, we obviously think you are good enough, smart enough and doggone it people like you.”
Joshua Mills, Edie Adams’s son and keeper of Ernie Kovacs Estate:
“Al Franken’s humor, his dry wit and his irreverent characters are part of a long comedy continuum that connects everyone and everything from Ernie Kovacs to Monty Python to David Letterman, Conan O’Brien and others who helped shaped modern comedy. From Stuart Smalley to Medieval Barber Theodoric of York, it’s about time we usher in the Al Franken Decade in 2022 with The Ernie Kovacs Award.”
 

#### ALADDIN – A Review by Cynthia Flores
ALADDIN – A Review by Cynthia Flores
When I realized that the director and co-writer for the new Disney live-action version of the famous Aladdin story was going to be Guy Richie I was surprised.  He’s known for super cool, violent, hip films and not so much for any family movies. I was afraid that as the new live version of Dumbo, Aladdin would be a much darker and bloodier story. To my surprise, it stayed pretty true to its source material of the animated 1992 film of the same name. Mix in some of the music and songs from the successful Broadway musical of that same animated  film. The only real sign of Mr. Richie at the helm was shaky, “sped up look” that is his stock and trademark in any action sequences. It works for his other films, but here it was distracting and out of place.  It made the chase scenes look like everyone had drunk too much coffee or had way too much caffeine before they did them. It gave the film a jittery feeling before it would settle back into an average pace or song.
This new film tells the exciting tale of a charming street thief named Aladdin (Mena Massoud) and the courageous and beautiful Princess Jasmine (Naomi Scott). They meet on the streets of Agrabah in Arabia when the princess is disguised as a common girl so she can see for herself how her people are doing. Aladdin falls for her not knowing who she really is until he is captured while visiting her in the palace by the evil Jafar (Marwan Kenzari) Royal Vizier, to the Sultan (Navid Negahban) of Agrabah. Jafar himself once a thief sees that Aladdin is the “Diamond in the rough” that he needs to enter a magic cave and retrieve the lamp that holds the Genie (Will Smith). An all-powerful Genie that can grant three wishes to whoever owns and rubs the lamp.
In case you live under a rock and don’t know the rest of the story, it follows the following plot line. A boy meets a girl. The boy, with the help of a Genie, becomes a prince and tries to win the girls hand in marriage. The boy is bested by an evil power-hungry man.  All looks lost. Good fights against evil and…. You will just have to go see this movie to know how it ends.
If you do decide to see this film, you’ll get to enjoy a fantastic score by eight-time Academy Award-winning composer Alan Menken and Oscar-winning lyricists Howard Ashman and Tim Rice. As well as songs by Menkin and Oscar, Tony Award-winning songwriters Benji Pasek and Justin Paul. Because of the times we live in there are more “Girl Power” type songs in this version of Aladdin than there were in the original animated film. I can hear it now, all the little girls in the audience, including my four-year-old niece singing those new songs aloud after the movie.  Much like the song “Let It Go” from the other Disney animated hit Frozen.
Is this newest live-action version of an iconic animated classic like Aladdin perfect? I would say a big no to that.  I will, however, say that it’s fun to watch and the music is excellent. Also, I was afraid that the very long shadow of the late great actor Robin Williams who created the voice for the original animation would be a huge stumbling block to overcome. So, I was pleasantly surprised to see Will Smith make the role of the Genie his own despite such a big challenge. The new live version film Aladdin is a solid family film that I give a B- rating.
 
Directed by Guy Richie
Written By John August, Guy Richie
Rated PG
Selig Rating B-
Running Time 2hrs 8min
Drama / Comedy
Wide Release May 24th
Starring: Will Smith, Mena Massoud, Naomi Scott, Marwan Kenzari, Navid Negahban, Nasim Pedrad
 
The Selig Rating Scale:
A – Excellent movie, well worth the price.
B – Good movie
C – OK movie
D – No need to rush. Save it for a rainy day.
F – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### ALADDIN – A Review by Hollywood Hernandez
ALADDIN – A Review by Hollywood Hernandez
Aladdin is spectacular and Will Smith’s performance as the Genie will have you asking Robin Who?  (Robin Williams played the Genie in Disney’s animated version of the film.)  All of Will Smith’s scenes as the Genie are CGI (Computer Generated Images).  The Genie comes to life on the big screen in the most magical and realistic way possible, using today’s technology.
With a great supporting cast, the movie has incredible music, singing, and dancing, a fantastic story about love and friendship and it is an absolute joy to watch.  After seeing it once, I already want to see it again.
After being captured by Jafar, the sultan’s most trusted advisor, he forced into a cave to bring back The Gene’s magic lamp. After spending 1,000 years trapped in the lamp the Genie is ready to do his magic.
Aladdin’s first wish is to be a prince so that he might have a chance hooking up with the kingdom’s princess, Jasmine.  His second wish is made by The Genie to save him from drowning when he unconscious underwater. That leaves him with one more wish for the rest of the movie.
Will Smith, who says it was the music that first attracted him to the movie, adds a real hip hop feel with all of the characters rapping as part of the movie’s musical soundtrack.  They even throw in a little beat boxing.  The movie is an absolute joy and is entertaining from its first scene until the closing dance number.  I loved it!
Mena Massoud plays Aladdin and Naomi Scott is Princess Jasmine.  Together the two actors make for a classic big screen couple.  Marwin Kenzari does an amazing job as a Middle Eastern antagonist as Jafar, especially considering he is a well know Dutch actor.
The movie runs 2 hours and 8 minutes and is appropriate for any age with a PG rating.  On my “Hollywood Popcorn Scale” I rate Aladdin a JUMBO with extra butter (my highest possible rating).

#### ALADDIN – A Review by John Strange
ALADDIN – A Review by John Strange
When I saw the first announcement for this film I was worried.  The animated feature was amazing.  How could they possibly expect to top it?  And Will Smith trying to follow in the footsteps of the late Robin Williams?  That’s just nuts!
Disney showed me that they are smart.  They wisely kept the major story points while adding a few scenes that I truly enjoyed, giving the story a slightly different flavor from the classic version.  The base story of Aladdin gaining the genie’s lamp, falling in love with the princess, and their story of love is basically intact.
Like the film’s predecessor, Aladdin is a musical film complete with the songs you love, performed beautifully by the new cast.  We all knew Will had a great voice but it was wonderful to hear Naomi Scott (Princess Jasmine) and Mena Massoud (Aladdin) singing some of my favorite Disney songs.
The visuals of this film, the special effects and cinematography, are excellent and Guy Ritchie’s direction is superb.  This film will do very well because it works on so many levels.  Good music, great visuals, and a story we grew up on.
Jafar, played to a “T” by Marwan Kenzari, is really more evil than bad.  I love that we get more backstory on why he is the way he is.  Mena and Will play well off each other.  This is also something I feel that the new version did a better job of than the animated one.  But perhaps it is because this one felt a bit more adult than its predecessor.  It is still a wonderful film for the kids but adults will enjoy it more!
I watched it in IMAX and it was wonderful.  Take your kids to see Aladdin.  Heck, take your siblings and friends and your siblings’ friends and your friends’ siblings to see this film!  Everyone will love it!
 
Directed by: Guy Ritchie
Cast: Naomi Scott, Will Smith, Mena Massoud, Billy Magnussen, Alan Tudyk, Nasim Pedrad, Marwan Kenzari, Numan Acar, Frank Welker, Navid Negahban, Nikkita Chadha, Ocean Navarro
MPAA Rating: PG (for some action/peril)
Selig Rating: A+
Runtime: 128 Min.
Movie Site: movies.disney.com/aladdin-2019
 
The Selig Rating Scale:
A – Excellent movie, well worth the price.
B – Good movie
C – OK movie
D – No need to rush. Save it for a rainy day.
F – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### ALADDIN (1992) – A Blu-ray/DVD and Digital HD Review by John Strange
 
ALADDIN (1992) – A Blu-ray/DVD and Digital HD Review by John Strange
In 1992, just before Thanksgiving, Walt Disney Pictures and Walt Disney Feature Animation gave us a new animated film destined to be a classic.  Aladdin starred the voices of some actors and actresses we didn’t know well yet but also several we already loved.  Aladdin (Scott Weinger) and Princess Jasmine (Linda Larkin) were mainly known for their TV work while Robin Williams (Genie) and Gilbert Gottfried (Iago) were well known for their wild humor and quick wit.
The story, taken from the stories of “The Arabian Nights”, was modified by the Disney filmmakers to better fit their needs.  The witty ad-libs from Robin and Gilbert further modified the job of the storytellers and animation teams.
The teams, under the direction of the head of the studio Jeffrey Katzenberg, worked hard to make a film that would be well received by the public.  This means that there were all sorts of tweaks to both the story and the way individual characters looked!
The resulting story of a poor boy/thief with the heart of gold who falls in love with the princess has been the favorite film of millions of fans.  Multiple generations have been raised watching this story where good must defeat evil, Aladdin defeating the evil Jafar (Jonathan Freeman) with the help of the wise-cracking Genie.
For this release, as a part of the Disney Signature Collection, the studio appears to have taken every bonus extra they have ever created for Aladdin and put them on either the Blu-ray or the digital offerings.  The majority of these offerings are located on the digital offering.  This does not surprise me with the studio’s preparations to start their own online video streaming service.
The odd thing is the duplications I found in the digital offerings.  There are two sets of the “Deleted Scenes”.  Each one being offered comes with a commentary by the co-directors Ron Clements and John Musker.  One featurette has both scenes packaged together and then we have each scene offered separately as individual featurettes.
The other duplicate is “The Art of Aladdin: Art Review with Filmmaker’s Commentary”.  As close as I can tell, these two offerings are identical.
I have two favorites in the featurettes.  The first is given to us as a group of featurettes.  The four featurettes were originally made as one program to celebrate the first video release.  “A Diamond in the Rough: The Making of Aladdin” is hosted by Leonard Maltin.  The special is one large Q&A session with Leonard asking questions of each of the groups after they are introduced.  It came out in October 2004.
My absolute favorite featurette was “The Genie Outtakes” which celebrated the genius and warmth that Robin Williams brought to his role.  I have to admit to a tear or two as I watched this one.  Robin William’s death was such a tragedy.
I enjoyed all of the extras for this offering.  As always, the audio commentaries were excellent.  Yes, I said COMMENTARIES!  There are two, one with the co-directors and the other with the supervising animators.  Of the two, my favorite was the one with the animators, but only by a very small amount.
This is a must-have disk for collectors because we finally get all of these extras packaged together!  But be aware that if, like me, you plan to watch all of these extras that you plan to schedule time over a few days because they will take you over nine hours (but oh so worth it)!
I rate the film a “Brand New” on our scale and the extras get an A+ rating as well!
 
Directed By:

Ron Clements, John Musker

Cast:

Scott Weinger, Robin Williams, Linda Larkin, Jonathan Freeman, Frank Welker, Gilbert Gottfried, Douglas Seale, Charlie Adler

Extras:
Digital Extras:
 

Drawing Jasmine
A Diamond in the Rough: The Making of Aladdin – The Producers
A Diamond in the Rough: The Making of Aladdin – The Music
A Diamond in the Rough: The Making of Aladdin – The Voice Talent
A Diamond in the Rough: The Making of Aladdin – The Animators
Deleted Scenes

Deleted Scene: Aladdin & Jasmine’s First Meeting
Deleted Scene: Aladdin In The Lap of Luxury

Play Movie with Audio Commentary from Animators
Aladdin: Creating the Broadway Magic
Anti-Smoking PSA
Alternate Endings
Play Movie with Sing-Along
Aladdin on Aladdin
Let’s Not Be Too hasty: The Voices of Aladdin
Drawing Genie
Music Video: “Proud to be Your Boy” – Performed by Clay Aiken
Behind the Scenes: “Proud to be Your Boy” – Performed by Clay Aiken
Music Video: “A Whole New World” Performed by Jessica Simpson & Nick Lachey
Behind the Scenes: “A Whole New World” Performed by Jessica Simpson & Nick Lachey
“A Whole New World” Performed by Regina Belle & Peabo Bryson
Deleted Scene: Aladdin & Jasmine’s First Meeting
Deleted Scene: Aladdin In The Lap of Luxury
Unboxing Aladdin
Inside the Genie’s Lamp: Guided Tour
The Genie World Tour
Alan Menken: Music Renaissance Man
The Art of Aladdin: Art Review with Filmmaker’s Commentary
Original Theatrical Trailer
The Genie Outtakes
Genie 101
Ron and John: You Ain’t Never Had a Friend Like Me

Blu-ray Extras:
 

Aladdin on Aladdin
Let’s Not Be Too hasty: The Voices of Aladdin
Alternate Endings
Classic Bonus Preview
The Genie Outtakes
Aladdin: Creating the Broadway Magic
Genie 101
Ron and John: You Ain’t Never Had a Friend Like Me
Song Selection
Audio Commentaries:

Play Movie with Audio Commentary by Producers/Directors John Musker and Ron Clements & Co-Producer Amy Pell
Play Movie with Commentary by Supervising Animators Andreas Deja, Will Finn, Eric Goldberg, and Glen Keane

Specifications:
Runtime:
Feature:

91 Minutes

Bonus Features:

553 Minutes (* approximate length – may vary between retailers)

Studio:

Walt Disney Studios Home Entertainment

Release Date:

09/10/2019

Region:

A/1 (U.S. and Canada only)

Website:

https://movies.disney.com/Aladdin

MPAA Rating:

G

Selig Rating:

BRAND NEW

 
Selig Rating Scale:
BRAND NEW: Should add to your DVD collection at any cost
SALE ITEM: Worth owning, but try to catch it a sale
SECOND HAND: Plan to get it, but wait to buy it used
RENTAL: Worth taking a look at, but not owning
COASTER: Pick it up at a garage sale and use it for drinks
PULL!: Makes a great Trap Shooting target

#### ALADDIN (2019) – A Blu-ray/DVD and Digital HD Review by John Strange
 
ALADDIN (2019) – A Blu-ray/DVD and Digital HD Review by John Strange
Earlier this year when I first saw Aladdin, I entered the theater with trepidation.  Could Will Smith do justice to the role of the Genie?  Could Guy Ritchie handle making a family film based on his previous films?  I was pleasantly surprised by what I saw on the big screen.
Disney decided to take an animated story we already knew and loved and make a live-action version.  Had they simply stopped there, this would not be anything special.  This story has been reimagined to allow for a totally different personality in the genie role not to mention the addition of two amazing talents in Mena Massoud (Aladdin) and Naomi Scott (Princess Jasmine).  No one could ever replace Robin Williams in our hearts but Will Smith does an amazing job in the modified role.  It has more dancing and fewer voice impersonations.
And the story gives us a wonderful view of the Genie’s life after the cuffs come off!  This is one of two things about the new version that I absolutely love.  The other is that they gave Naomi Scott some great songs to sing.  The songs that are shared by Aladdin and Princess Jasmine are wonderful.  The Genie’s songs add a lot to the film’s new flavor.
Did I love the animated version?  Yes, absolutely.  Did I love the live-action?  I am happy to say, yes!  Each gave me an excellent experience.  Each was an awesome film with their own brands of music and humor.
Now to my favorite part of these reviews, the bonus extras!  The featurettes provided by Disney reside on both the digital and Blu-ray offerings.  They are supposed to enhance your enjoyment of the film and these really do the job.
As always, I give you my favorites.  This is tough this time as they are all great.  “A Friend Like Genie“ addresses the big question you all approach this film with.  Why Will Smith and how can he replace Robin Williams.  He tells us that this was a question he had going in but after reading the reimagined story in the script he knew that the role was not making him a replacement for Robin.  The role was both different and an homage to the performance that his predecessor gave.  I agree.  Each brought different talents and abilities to the role and made it theirs and theirs alone.
“Guy Ritchie: A Cinematic Genie” answers the many questions I (and I suspect many of you as well) had about the suitability of Mr. Ritchie for the director’s chair.  After all, this IS the man who gave us Lock, Stock and Two Smoking Barrels and Snatch!  But he also gave us Sherlock Holmes and its sequel Sherlock Holmes: A Game of Shadows so he knows how to shot humor with his action.  It turns out that Guy had the desire to make a family film that his kids would love.
The deleted scenes are interesting but sadly the bloopers are (as usual lately) best left on the “cutting room floor”.  There are four music videos (one that was deleted from the movie) that are very good.  Two (adding in the song from the digital exclusive) have Naomi’s wonderful voice plus a third, which was sadly deleted from the film, that was a duet with Mena Massoud.  “Speechless”, wow, loved the song and Naomi’s performance!
The other two music videos are duets of “A Whole New World” performed by ZAYN plus a different lady in each.  They are both good, one is bilingual (English and Spanish).
Last was a decent addition, “Aladdin’s Video Journal: A New Fantastic Point Of View”.  The filmmakers gave Mena Massoud a cell phone and asked him to journal his adventures during the making of the film.  It’s nice but some of the footage looks like the filmmakers fudging a bit and adding in some additional footage to round what Mena shot.
So for the ratings.  The film and overall package rating are a solid “Brand New”.  I rate the bonus extras as a solid A!  Get this one today!
Directed By:

Guy Ritchie

Cast:

Will Smith, Mena Massoud, Naomi Scott, Marwan Kenzari, Navid Negahban, Nasim Pedrad, Billy Magnussen, Jordan A. Nash, Taliyah Blair, Aubrey Lin, Amir Boutrous, Numan Acar, Alan Tudyk

Extras:
DIGITAL PRESELL BONUS:

MAKE WAY FOR PRINCE ALI – Take a look at the gigantic design extravaganza that came together for this scene of Genie-sized proportions.

 
DIGITAL EXCLUSIVE BONUS:

“SPEECHLESS”: CREATING A NEW SONG FOR JASMINE – Follow the story of Jasmine’s inspirational song “Speechless,” written by Alan Menken, Benj Pasek and Justin Paul especially for this version of “”

 
BLU-RAY & DIGITAL BONUS:

ALADDIN’S VIDEO JOURNAL: A NEW FANTASTIC POINT OF VIEW – Watch behind-the-scenes moments captured by Mena Massoud (Aladdin) in this fun, fast-paced look at his personal journey.
DELETED SONG – “DESERT MOON” – Experience a moving duet performed by Jasmine and Aladdin, fully shot and edited, with an introduction by Alan Menken.
GUY RITCHIE: A CINEMATIC GENIE – Discover why director Guy Ritchie was the perfect filmmaker to tackle this exhilarating reimagining of a beloved classic.
A FRIEND LIKE GENIE – Discover how Will Smith brings talent, experience and his own personal magic to the iconic role of Genie.
DELETED SCENES

Falling Petals Into OJ
Jafar’s Magic Orrery
Anders’ Gift
Wrong Wishes
Silly Old Fool
Post Yam Jam Debrief

BLOOPERS – Laugh along with the cast and crew in this lighthearted collection of outtakes from the set.
MUSIC VIDEOS

“Speechless” – Music video performed by Naomi Scott
“A Whole New World” – Music video performed by ZAYN and Zhavia Ward
“ A Whole New World” (“Un Mundo Ideal”) – Music video performed by ZAYN and Becky G.

Specifications:
Runtime:

128 Minutes

Studio:

Walt Disney Studios Home Entertainment

Release Date:

09/10/2019

Region:

A/1 (U.S. and Canada only)

Website:

https://movies.disney.com/Aladdin-2019

MPAA Rating:

PG

Selig Rating:

BRAND NEW

Selig Rating Scale:
BRAND NEW: Should add to your DVD collection at any cost
SALE ITEM: Worth owning, but try to catch it a sale
SECOND HAND: Plan to get it, but wait to buy it used
RENTAL: Worth taking a look at, but not owning
COASTER: Pick it up at a garage sale and use it for drinks
PULL!: Makes a great Trap Shooting target

#### Alamo DFW Special Program: Contest, Field Trip, Film RUSH Opens September 27
 

	Special events at the Alamo Drafthouse Cinema in Richardson take programming to the next level with a contest and a field trip for the Speed Demon living inside in anticipation of the film, RUSH, opening September 27 at Alamo Drafthouse, 100 S. Central Expressway #14, Richardson, TX 75080 http://drafthouse.com/dfw/richardson.
	 
	"In the spirit of Alamo and enhancing the movie going experience, we're thrilled to offer the opportunity to take people from the screen to the track in honor of Ron Howard's highly anticipated film, RUSH. Not only that, but the chance to win one of the greatest arcade racing games of all time just for going to the movies!" exclaimed James Wallace, Alamo DFW programmer.
	 
	THE CONTEST

	Alamo went to great lengths (just ask James; he’s got a great story!) to acquired a 1982 Atari Pole Position F1 racing arcade cabinet in honor of the upcoming new release, the Formula One racing biopic RUSH, directed by Ron Howard and starring Chris Hemsworth as British racing legend James Hunt. Come and play the game for FREE in the lobby.
	 
	From now until September 30, every ticket for every movie you attend at Alamo Richardson serves as an entry for the drawing. Just write your name, email and phone number on the back of your ticket and drop it in the box located next to the arcade game in our lobby. The more movies you attend, the more chances you have to win. On October 1, the winner will be announced.
	 
	THE FIELD TRIP

	Alamo Drafthouse Richardson is offering movie lovers and speed junkies THE SUPERCHARGED RUSH EXPERIENCE: a $40 ticket bundle that will include one-hour of private racing at POLE POSITION RACEWAY in Frisco, bus transportation from and to Alamo, and 2 beers per person for the bus ride topped off with a private showing of RUSH on opening night, Friday, September 27.
	 
	Advance tickets available online at http://drafthouse.com/dfw/richardson.
	 
	THE FILM

	RUSH, directed by Ron Howard, stars British Formula 1 racer Chris Hemsworth. Set against the sexy, glamorous golden age of Formula 1 racing in the 1970s, the film is based on the true story of a great sporting rivalry between handsome English playboy James Hunt (Hemsworth), and his methodical, brilliant opponent, Austrian driver Niki Lauda (Daniel Bruhl). The story follows their distinctly different personal styles on and off the track, their loves and the astonishing 1976 season in which both drivers were willing to risk everything to become world champion in a sport with no margin for error: if you make a mistake, you die.
	 

#### Alamo DFW Special Program: TEEN WOLF in 35MM with James Hampton in attendance Monday, September 23 at 7:00p
 

	Alamo Drafthouse Richardson is honored to have veteran actor James Hampton in attendance for a special showing of TEEN WOLF in 35MM on Monday, September 23. Mr. Hampton starred in the 1985 supernatural comedy as Harold Howard, the father of Michael J. Fox’s Scott Howard – a high schooler that discovers he’s a werewolf (and that it runs in the family). The actor will be in attendance for a retrospective Q&A before the film and an autograph signing after.

	“We’re howling at the moon over the opportunity to have James Hampton in attendance for this showing of TEEN WOLF! I remember the first time I saw the film as a kid…not only did it make you want to be a van surfing, slam dunking, breakdancing werewolf…it made you want to have a dad that was a werewolf. Mr. Hampton has been a movie dad to all of us not to mention an acting legend.“ exclaimed James Wallace, Alamo Richardson programmer.

	Hampton also appeared in the 1987 sequel, TEEN WOLF TOO starring Jason Bateman, and lent his voice talents to the late ‘80s Saturday morning cartoon series, “Teen Wolf”. He has also starred in over 90 other film and TV roles including “F Troop” and SLING BLADE. 

	Alamo is showing TEEN WOLF as a part of September’s “Back To School”-themed programming. 

	Advance tickets available online at  http://drafthouse.com/movies/teen-wolf/dfw
	 

#### Alamo Drafthouse – Siri “Don’t Talk or Text” PSA in celebration of HER
 

	The Alamo is in love with HER.  Writer/director Spike Jonze's  gorgeous, poignant love story between man and artificial intelligence was chosen as one of the top 10 movies of 2013 by Alamo programmers. The January edition of the Alamo's monthly print magazine, BIRTH.MOVIES.DEATH., also celebrates HER on the cover of the magazine, as well as in the editorial. And now, when the film opens at Alamo locations on January 10, it will be the latest "Drafthouse Recommends" title.

	With previous titles that include SPRING BREAKERS and ONLY GOD FORGIVES, the "Drafthouse Recommends" series highlights groundbreaking, innovative, and provocative films that push the boundaries of genre, represent enigmatic subjects or highlight emerging new talent.  Quite simply, these are films the Alamo feels deserve to be seen by as many people as possible — especially on the big screen. 

	Naturally, the film's premise of a man falling for the voice of a computer operating system in the not-too-distant future also brings to mind the disembodied voice of another, current OS familiar to millions: iPhone's Siri. Alamo reached out to the real live human voice of Siri, Susan Bennett, and asked her to record one of Alamo's famed, exclusive "No Talking, No Texting" in-theater PSAs. The result will play before all screenings of HER throughout the film's run at Alamo locations everywhere. 

	Just don't ask your own iPhone's Siri about HER or Samantha, the AI played by Scarlett Johansson in the film. Better yet, do. According to reports circulating around the web, Siri is not a fan.

	httpv://vimeo.com/83350609

#### Alamo Drafthouse “Don’t Talk” PSA Featuring Edgar Wright, Simon Pegg and Nick Frost
In THE WORLD'S END, five friends reunite in an attempt to top their epic pub crawl from 20 years earlier and unwittingly become humankind's only hope for survival.  

	THE WORLD'S END opens in theaters on August 23rd!

	httpvh://vimeo.com/70954115

#### Alamo Drafthouse & Annapurna Pictures Join Forces to Keep Le Video Collection Together
 

	Following the November closing of long-running San Francisco neighborhood video store and archive Le Video, it was announced today that Alamo Drafthouse founder and CEO Tim League, along with Academy Award-nominated producer Megan Ellison and her Annapurna Pictures, has arranged for the preservation of the Le Video collection.

	Bay Area residents will soon be able to access portions of the Le Video archive at San Francisco's new Alamo Drafthouse Cinema.  Exact details are still pending, but Alamo Drafthouse will partner with Mission neighborhood video store Lost Weekend to rent selections from the Le Video archive in the spacious lobby of the new theater, along with a deeply curated collection of films from the Lost Weekend archive.

	"The experience of going to my local video store when I was young made me the movie fan I am today," says Drafthouse founder and CEO Tim League.  "Despite the fact that great video stores like Le Video are closing all over the country, I am confident that a new iteration of the video store experience can exist, and even thrive today.   A passionate video store clerk can do what no algorithm can.  They can recommend your new favorite movie, one that can't be predicted from your past viewing habits."

	The Alamo Drafthouse Cinema will open for Star Wars on the 17th of December.  The Lost Weekend lobby video store is slated to begin in January.  Subscribe to the Alamo Drafthouse newsletter or follow @drafthouseSF on twitter for news as it happens.

#### Alamo Drafthouse & Dogfish Head Announce Screenings of THE GRATEFUL DEAD MOVIE with New Brew “American Beauty”
 

	The Alamo Drafthouse and Dogfish Head are pleased to announce special screenings of the epic concert film, THE GRATEFUL DEAD MOVIE, to celebrate the release of the Dogfish Head and Grateful Dead collaborative new brew "American Beauty" on October 22nd and 23rd.

	"It's always awesome to work with our friends at Dogfish Head. But the chance to debut a new beer from them is better than Christmas," said Alamo Drafthouse Beverage Director Bill Norris.

	THE GRATEFUL DEAD MOVIE captures performances from The Grateful Dead's five-night set at the Winterland Ballroom in 1974 along with the unique culture of the "Deadhead" scene.  This Jerry Garcia-directed movie is unlike any other document of the Dead with its intertwined trippy animated sequences.

	These upcoming screenings will be the first chance for the public to have their taste buds rocked by Dogfish Head's new creation. See full list of screening dates and ticketing links below.

	"We're really proud of the way this beer turned out," says Dogfish Head Founder and President Sam Calagione. "The Dead and the fans knocked this one out of the park, and I can't wait to share this righteous brew with a bunch of Dead Heads and Dogfish Heads at our favorite craft beer theater." 

	At Alamo Drafthouse Yonkers, the 10/22 screening will also include a four-course meal paired specifically with Dogfish Head brews and will feature guest speakers Dogfish Head Founder, Sam Calagione, and Alamo Yonkers Executive Chef, Lupe Gutierrez.

	Alamo Drafthouse Yonkers – Dogfish Head Beer Dinner Menu:

		Deadhead's Favorite "Phatty Eggroll" – Served with honey soy dipping sauce
	

		Paired with American Beauty Imperial Pale Ale
	

		Pigpen's Mixed Vegetables – Served with yogurt and green chili oil.
	

		Paired with 75 Minute IPA
	

		Dogfish Head's Greek Feta Brat with Zucchini Mint Slaw – Served with fingerling potato salad.
	

		Paired with Midas Touch
	

		Cream Puff War – Two cream puffs. One served with apricot jelly, the other with espresso chocolate sauce.
	

		Paired with Palo Santo Maroon
	

	 

	10/22 – Dogfish Head Beer Dinner: The Grateful Dead Movie – Alamo Drafthouse Yonkers in Yonkers, NY:

	http://drafthouse.com/movies/the-grateful-dead-movie-beer-dinner/nyc_area

	 

	10/22 – The Grateful Dead Movie – Alamo Drafthouse Village in Austin, TX:

	http://drafthouse.com/movies/the-grateful-dead-movie-w-dogfish-head-american-beauty/austin

	 

	10/22 – The Grateful Dead Movie – Alamo Drafthouse Richardson in Dallas/Fort Worth, TX:

	http://drafthouse.com/movies/the-grateful-dead-movie-w-dogfish-head-american-beauty/dfw

	 

	10/22 – The Grateful Dead Movie – Alamo Drafthouse One Loudoun in Ashburn, VA:

	http://drafthouse.com/movies/the-grateful-dead-movie-w-dogfish-head-american-beauty/northern_virginia

	 

	10/22 – The Grateful Dead Movie – Alamo Drafthouse Mason Park in Houston, TX:

	http://drafthouse.com/movies/the-grateful-dead-movie-w-dogfish-head-american-beauty/houston

	 

	10/22 – The Grateful Dead Movie – Alamo Drafthouse Stone Oak in San Antonio, TX:

	http://drafthouse.com/movies/the-grateful-dead-movie-w-dogfish-head-american-beauty/san_antonio

	 

	10/23 – The Grateful Dead Movie – Alamo Drafthouse Winchester in Winchester, VA:

	http://drafthouse.com/movies/the-grateful-dead-movie-w-dogfish-head-american-beauty/winchester

#### Alamo Drafthouse and Amy Poehler’s Smart Girls present TO KILL A MOCKINGBIRD
 

	The Alamo Drafthouse and Amy Poehler's Smart Girls are pleased to announce special screenings of the classic film TO KILL A MOCKINGBIRD at Alamo locations across the country this November.

	The Alamo Drafthouse is known for being a movie lover's oasis, with its zero tolerance policy on cell phones, serving great food and drinks, and its combination of first-run movies and specialty programming.  But Alamo also has a core value of giving back to the local community.  Alamo does this by offering its venues for benefits and cause-related screenings, by donating movie passes to community groups, and by giving new filmmakers the chance to show their work to the public.

	Films can bring books to life for young readers and the Alamo Drafthouse frequently hosts low-cost field trips for school groups. In November, Alamo is bringing Harper Lee's TO KILL A MOCKINGBIRD to the big screen as part of its "Tough Ladies" themed programming.

	TO KILL A MOCKINGBIRD is being presented in partnership with Amy Poehler's Smart Girls, a rapidly expanding online network and community movement that inspires young women (and all of us) to change the world by being their authentic selves.  Amy filmed a special introduction for the film that will run at all Alamo Drafthouse TO KILL A MOCKINGBIRD screenings.  We absolutely agree with Amy that "there is no bigger Smart Girl in the world than Scout".  Through the character of Scout, we see our own struggles to speak up against racism and sexism, and we experience the pain and confusion that comes when you find out that grown-ups don't always do the right thing. 

	TO KILL A MOCKINGBIRD encourages viewers to have tough conversations that are critically important in their communities.  To foster that conversation, the Alamo Drafthouse is offering discounted screenings for school and community groups and a free discussion guide they can use after the film. 

	Get a preview of Amy Poehler's introduction for the TO KILL A MOCKINGBIRD screening here.

	For more information about Amy Poehler's Smart Girls, go to http://amysmartgirls.com/.

	For showtimes and to arrange a field trip for your group, contact your local Alamo Drafthouse at www.drafthouse.com/movies/to-kill-a-mockingbird/.

#### Alamo Drafthouse and Badass Digest Announce January Issue of BIRTH.MOVIES.DEATH.
 

	New Year's resolutions? Let's leave the resolutions to the irresolute; here at BIRTH. MOVIES. DEATH. we're just going to keep on truckin' with another issue of great content about great movies. Also, Drafthouse queso and beer are like kryptonite to the most well-meaning resolution…  

	This month we're proud to introduce the Alamo 100, a screening series that spotlights some of our all time favorite movies.And since this list was compiled by the Alamo Drafthouse programming team, you can expect it to feature some titles that wouldn't make your average hoity-toity list, like this month's SIXTEEN CANDLES.

	Speaking of SIXTEEN CANDLES, this issue features our intrepid search for the true Jake Ryan. And in more truthful truthiness, we examine the man who brought us the concept of AI, Alan Turing. Why, you ask, are we talking about AI? Because this month's Drafthouse Selects title — the new release movie we really, really think you should see — is Spike Jonze's HER, a movie that has the editorial staff murmuring 'masterpiece.' 

	HER is Jonze's fourth film, and when you think of him you think of playful art movies and classic music videos. But he's also one of the creators of JACKASS, the ultimate dumb gross-out comedy franchise, and this month we look into how one guy can be both things. We also look at what all of Jonze's features have in common: loneliness.    

	He isn't the only great auteur we have this month: you can read about Terry Gilliam's battle with the studio to bring his vision of BRAZIL to light. And for something completely different and yet still Gilliam-related, we look at some of the best under the radar jokes in MONTY PYTHON AND THE HOLY GRAIL, a movie with so many jokes it'll take you years to count 'em all.   

	But wait! There's more! There's Britney Spears in these pages! RAGING BULL! RAIDERS OF THE LOST ARK! Hell, let's do a resolution: BIRTH. MOVIES. DEATH. hereby resolves to keep bringing you smart, fun articles about movies throughout 2014. I think we can keep that resolution.

	– Devin Faraci – Badass Digest Editor in Chief

#### Alamo Drafthouse and Fantastic Fest Announce Year-Round Programming Series to Support Indie Genre Films
 
Austin-based cinema-eatery Alamo Drafthouse is giving genre films their due via a new programming series designed to bring the best in genre to cinephile audiences nationwide. Spawning directly out of Fantastic Fest, the largest genre film festival in the United States, Fantastic Fest Presents delivers the fest’s favorite films to Alamo Drafthouse audiences around the country with Fantastic Fest extras such as bonus content, talent in attendance, livestream Q&As, afterparties, and more.
“Our reason for existence, and this is true for both the Alamo and Fantastic Fest, is to support emerging filmmakers and the incredible films they create,” says Alamo Drafthouse founder and CEO Tim League. “We see so many wonderful films debut at the festival each year; it is immensely rewarding to continue that relationship all the way through their commercial launch.”
The first selection is COME TO DADDY, the directorial debut from acclaimed genre producer and Fantastic Fest alum Ant Timpson (TURBOKID, DEATHGASM, ABCs OF DEATH). A darkly comedic thriller starring Elijah Wood (LORD OF THE RINGS), COME TO DADDY had jaws dropping at Fantastic Fest 2019 with its shocking twists and turns. Ahead of its February 7 theatrical release, COME TO DADDY will have “Fantastic Fest Presents” screenings at 16 Alamo Drafthouse locations on Monday, February 3 with director Ant Timpson and star Elijah Wood in person in LA for a post-screening Q&A that will be livestreamed to audiences around the country.
“It’s exciting working with the Alamo Drafthouse team again,” says COME TO DADDY director Ant Timpson. “I’ve worked with Tim League on multiple projects for decades now and had numerous films play at Fantastic Fest. Their dedication and creativity are always impressive, and a reminder of the glory days of cinema exhibition.”
The following Alamo Drafthouse locations are hosting Fantastic Fest Presents screenings of COME TO DADDY with livestream Q&A on Monday, February 3.
 

Los Angeles, CA | Alamo Drafthouse Downtown LA
Brooklyn, NY | Alamo Drafthouse Brooklyn
San Francisco, CA | Alamo Drafthouse New Mission
Austin, TX | Alamo Drafthouse South Lamar
San Antonio, TX | Alamo Drafthouse Park North
Denver, CO | Alamo Drafthouse Sloans Lake
Omaha, NE | Alamo Drafthouse La Vista
Twin Cities, MN | Alamo Drafthouse Woodbury
Dallas-Ft. Worth, TX | Alamo Drafthouse Richardson
Ashburn, VA | Alamo Drafthouse One Loudoun
Kansas City, MO | Alamo Drafthouse Mainstreet
Raleigh, NC | Alamo Drafthouse Raleigh
Houston, TX | Alamo Drafthouse LaCenterra
El Paso, TX | Alamo Drafthouse Montecillo
Lubbock, TX | Alamo Drafthouse Lubbock
Tempe, AZ | Alamo Drafthouse Tempe

 
Additional doses of Fantastic Fest are available now at Alamo Drafthouse locations across the country as Fantastic Fest Presents showcases other favorites from last year’s festival such as THE WAVE, VHYES, KNIVES OUT, and COLOR OUT OF SPACE. Next in line for Fantastic Fest Presents are screenings of fest standouts VIVARIUM, EXTRA ORDINARY, and BUTT BOY. For more info on Fantastic Fest Presents screenings, visit https://drafthouse.com/event/fantastic-fest-films

#### Alamo Drafthouse and IFC partner for “Slightly Off Cinema Sundays”
 

	IFC and Alamo Drafthouse Cinema are working together to make Sundays just a little bit more fun for movie fans nationwide.  With aligned brand missions of curating great movies, the network and theater chain will feature thematically paired film line-ups every Sunday titled "IFC and Alamo Drafthouse Slightly Off Cinema Sundays."  Beginning in January, the partners will introduce a new monthly movie theme and present a related line-up of movies to their respective audiences.

	January's theme, "Novel Flicks," puts a slightly off spin on film adaptations of bestselling books with titles ranging from No Country for Old Men to The Last Temptation of Christ on IFC, while Alamo Drafthouse Cinema is programming Fight Club and Sense and Sensibility throughout their system.  The book theme is also a nod to IFC's upcoming original, the epic miniseries The Spoils of Babylon, premiering Thursday, January 9 at 10 pm ET/PT.

	Commented Lauren Burack, IFC's vice president of marketing, "Consumers seek out Drafthouse for the unique viewing experience they offer, and that's also true of why audiences watch movies on IFC.  The content is great on its own but we both add a cool, slightly edgy voice and sensibility to what we're presenting that enhances the experience.  Partnering was a marriage waiting to happen!  This is also a terrific opportunity for advertisers to work with IFC on a one-of-a-kind program."

	"The common love of movies is what brought Alamo and IFC together.  We want to grow our audience of movie lovers and provide a diverse array of programming at our theaters.  The partnership with IFC allows us to reach even more movie lovers nationally by curating titles about which we're both passionate," said Alamo Drafthouse CEO/Founder Tim League.

	The on-air and in-theater film line-ups will be wrapped in IFC and Alamo Drafthouse branding, encouraging IFC viewers to visit one of Alamo's 17 theaters nationwide (with plans for three more in 2014) and Alamo audiences to tune-in to IFC.  The partners will also create a customized "Don't Talk" PSA to play before films, a hallmark trait of Alamo Drafthouse Cinemas.  Alamo theaters are located in:

		Ashburn, VA
	

		Austin, TX (4 locations)
	

		Dallas, TX
	

		Denver, CO
	

		El Paso, TX (scheduled to open in 2014)
	

		Houston, TX (2 locations)
	

		Kalamazoo, MI
	

		Kansas City, MO
	

		Lubbock, TX (scheduled to open in 2014)
	

		New Braunfels, TX
	

		San Antonio, TX (3 locations)
	

		San Francisco, CA (scheduled to open in 2014)
	

		Winchester, VA
	

		Yonkers, NY
	

	Online, IFC.com will feature a dedicated microsite and IFC FIX blog post around each month's film theme, and engage users on social media during each Sunday line-up.  Alamo Drafthouse will further promote the partnership on drafthouse.com, foreveryoungadult.com and badassdigest.com as well as at Fantastic Fest and in its monthly magazine, Birth. Movies. Death.

#### Alamo Drafthouse and Kodak Announce Inaugural “Reel Film Day”
 

	Mark your calendars, cinephiles. 35mm film will be alive in all its glory on March 5 — or 3.5. A collaborative initiative from Alamo Drafthouse and Kodak, the first-ever “Reel Film Day” will champion the beauty of cinema’s richest and most enduring format with celebratory screenings at Alamo Drafthouse and independent theaters across the U.S.

	“There is nothing like experiencing actual 35mm projected film,” said Steve Bellamy President of Kodak Motion Picture and Entertainment. “I don’t care if it is the greatest 8K projector in the world, 35mm is a radically different thing and there is simply no comparison. Projected film is watching light blast through dozens of layers of color dye clouds and emulsion, 24 times per second. A film projectionist is a master craftsman and seeing his or her work is akin to performance art. While the world has largely migrated to the utility of video projectors, there is a massive growth in consumers who understand the experience of film projection. This is why theatres projecting film are coming back so strongly and doing so well!” 

	As a true celebration of the wide-ranging scope of cinema, Reel Film Day programming will be deeply eclectic, featuring classics including Powell and Pressburger’s THE RED SHOES and Orson Welles’ A TOUCH OF EVIL rubbing reels with cult favorites like BUCKAROO BANZAI and Quentin Tarantino’s INGLORIOUS BASTERDS. At press time over 25 screenings are taking place, and it is expected that ultimately hundreds of theaters across the country will join in. No matter the location, the unifying factor is that all films will be presented large and lustrous from 35mm film.

	“Less than 5% of our film history exists in a high-definition digital format,” says Alamo Drafthouse CEO and Founder Tim League. “If you really love film, then join us to recognize, celebrate and support film screenings in independent theaters everywhere. This scrappy group of fellow cinephiles is truly preserving film history. Support your local theater, support 35mm (and 70mm) film on 3/5, the first annual Reel Film Day."

	For those looking for a marquee-level display of their devotion to 35mm film exhibition, acclaimed art boutique Mondo has created an exclusive line of T-shirts and enamel pins to mark the day. Merchandise will be on sale starting 3.5 at mondotees.com/collections/reel-film-day.

	The KODAK Reel Film App, a free smartphone tool for moviegoers, will provide quick access to information about movies being projected on real film, show times, images, summaries and theater locations.

	Finally, to fully realize the day’s efforts to keep 35mm alive, $3.50 from tickets to all of the 35mm screenings at Alamo Drafthouse locations and select partner venues, as well as a portion of the proceeds from Mondo’s sales, will be donated to the prestigious Film Foundation to help fund an upcoming important film preservation effort.

	Participating Alamo Drafthouse Locations & Programming:

	Austin Lakeline – INGLOURIOUS BASTERDS

	Austin Lamar – TOUCH OF EVIL

	Austin Ritz – SILENCE OF THE LAMBS

	Brooklyn – FROWNLAND

	Dallas Cedars – INGLOURIOUS BASTERDS

	Kansas City – KILL BILL Double Feature

	Littleton – THE RED SHOES (1948)

	Lubbock – HEAT

	Mason Park – 35mm Roulette

	Omaha – BUCKAROO BONZAI

	Richardson – MATINEE (1993)

	San Francisco – KING LEAR (1987)

	Yonkers – MUPPETS TAKE MANHATTAN

	Partner Venues & Programming

	Boulder, CO – International Film Series – WILLY WONKA AND THE CHOCOLATE FACTORY

	Brookline, MA – The Coolidge Corner Theatre – FROM RUSSIA WITH LOVE

	Chicago, IL – The Music Box Theater – Double Feature: PUNCH DRUNK LOVE + LONESOME

	Cleveland, OH – The Cleveland Museum of Art – THE DOCKS OF NEW YORK w/ Live Music

	Cleveland, OH – Cleveland Cinematheque – 1984

	Houston, TX – The Museum of Fine Arts – I AM CUBA

	Milwaukee, WI – UW-Milwaukee Union Cinema – PAN'S LABYRINTH

	Olympia, WA – Capitol Theater – TAXI DRIVER (1976)

	Phoenixville, PA – The Colonial Theatre – STAGE FRIGHT (1950)

	Pittsburgh, PA – The Hollywood Theater – DOUBLE INDEMNITY (1944)

	Tucson, AZ – The Loft Cinema – BICYCLE THIEVES (1948)

	For tickets and more details, visit drafthouse.com/35mm.

	Other theatres that project 35mm film are encouraged to join the initiative and can contact sarah.pitre@drafthouse.com for more information.

#### Alamo Drafthouse Announce Theme for June 2014 Theatrical Programming
 

	You can't always go it alone. Sometimes you need a buddy at your side to pick you up when you fall and keep you grounded when you get too full of yourself. A pal, a sidekick, a partner. A Robin to your Batman.

	This month, 22 JUMP STREET reunites partners Jenko and Schmidt on the big screen.  That inspired the Alamo Drafthouse and BIRTH. MOVIES. DEATH.,the magazine centered on the monthly programming theme at Alamo Drafthouse theaters, to examine some of our favorite on-screen dynamic duos. Well, except for THE Dynamic Duo. That was maybe a bit too on the nose for us.

	Alamo Drafthouse has planned a month-long salute to dynamic duos with screenings of BUTCH CASSIDY AND THE SUNDANCE KID, E.T. THE EXTRA-TERRESTRIAL, INDIANA JONES AND THE LAST CRUSADE, MY LITTLE CHICKADEE, TOMMY BOY and more!

	In BIRTH. MOVIES. DEATH., you can read about the special love shared by Butch and Sundance. You can join an argument about whether or not E.T. THE EXTRA-TERRESTRIAL is actually a buddy movie. You can look back at the unique pairing of Mae West and W.C. Fields in MY LITTLE CHICKADEE. Or perhaps you want to go in-depth into the father/son dynamics of INDIANA JONES AND THE LAST CRUSADE. You might also visit the Circle K, because we're spending some time analyzing the friendship of Bill S. Preston, Esq. and Ted "Theodore" Logan.

	Alamo Drafthouse June 2014 National Programming Ticketing Link and Titles:

	http://drafthouse.com/packages/june-2014/

	BUTCH CASSIDY AND THE SUNDANCE KID

	E.T. THE EXTRA-TERRESTRIAL

	INDIANA JONES AND THE LAST CRUSADE

	INDIANA JONES AND THE LAST CRUSADE Quote-Along

	MY LITTLE CHICKADEE

	TOMMY BOY Quote-Along

	 

	Additional titles playing at select Alamo Drafthouse locations in June:

	WAYNE'S WOLRD Quote-Along

	ROMY & MICHELE'S HIGH SCHOOL REUNION Quote-Along

	BLUES BROTHERS

	BILL & TED'S EXCELLENT ADVENTURE

	BILL & TED'S BOGUS JOURNEY

	BAD BOYS II

	Cinema Cocktails: DIRTY ROTTEN SCOUNDRELS

	Video Vortex: ROCK HOUSE

	Afternoon Tea: GOSFORD PARK

#### ALAMO DRAFTHOUSE ANNOUNCES “BEFORE MIDNIGHT” AS LATEST DRAFTHOUSE RECOMMENDS TITLE
 

	The Alamo Drafthouse is excited to announce Richard Linklater's BEFORE MIDNIGHT as the second Drafthouse Recommends title. Drafthouse Recommends spotlights a first-run movie with the Alamo stamp of approval, indicating that we love it and want everyone to go see it. Our goal is to highlight groundbreaking, innovative and intelligent films we believe deserve to be seen by as many people as possible.

	BEFORE MIDNIGHT opens in Austin Alamo Drafthouse locations on 5/31 and will follow at other Alamo Drafthouses nationwide in the following weeks. To get ready for its release in Austin (and Austin only), the Alamo will screen its predecessors, BEFORE SUNRISE and BEFORE SUNSET leading up to the opening of BEFORE MIDNIGHT. If you buy an advance ticket for BEFORE MIDNIGHT at the Alamo Drafthouse, you will also be eligible to receive a free ticket to any Alamo screening of BEFORE SUNRISE or BEFORE SUNSET.

	BEFORE MIDNIGHT is the third installment in Richard Linklater's dramatic saga about fate and love told through the story of two lovers: Celine (Julie Delpy) and Jesse (Ethan Hawke). This time around, we meet up with the couple in Greece. They are happily together, but the romantic idealism they harbored in their youth has all but disappeared.  Now they're left facing the everyday universal problems and issues of modern day relationships.

	Linklater, Hawke and Delpy have grown with these characters over the last 18 years and that's the key to what makes their story arc beautifully real and organic. What the three writers have done is quite astounding by making a film that is a fully rewarding chapter of Jesse and Celine's story for fans of the first two films while also being a great movie on its own. BEFORE MIDNIGHT doesn't shy away from the hard realities of modern relationships. Instead, it lingers on those emotional truths most films don't want to acknowledge while simultaneously being full of humor and joy as well. The combination makes for an emotionally complex and fully satisfying work of art.

	Tickets for BEFORE MIDNIGHT for Alamo Drafthouse Austin will go on sale Friday, May 17.  Follow @drafthouse on twitter for exact on-sale time.  Visit drafthouse.com for information regarding other locations.

#### Alamo Drafthouse announces ALAMO 100 signature programming series
 

	Alamo Drafthouse unveils its first ever list of top 100 films, the "Alamo 100," as chosen by the theater's film programmers. Beginning in January 2014 all Alamo Drafthouse locations will exhibit films throughout the year from their list of essentials.

	"In preparing my own list, I imagined that I was on a desert island (a really improbable desert island equipped with a TV, DVD player and electricity) and could only have 100 movies to rewatch for the rest of my life," says Alamo CEO and founder Tim League. "There are plenty of lists out there that rank based on popularity or cinematic importance.  We wanted the Alamo 100 list to get to the heart of why we really love movies."

	A quick glance at the Alamo 100 reveals the incredible diversity of taste on the national programming team, which consists of Tim League, RJ LaForce, Greg MacLennan, Sarah Pitre, Tommy Swenson, and Joe Ziemba.

	"We're incredibly proud of the fact that our passions encompass 1960s French films and modern day rom coms, Kubrick masterpieces and epic action flicks, obscure trash-horror and feel-good classics, says Lead Programmer Sarah Pitre. "There is simply no classification that can contain our devotion to the silver screen."

	In order to generate the Alamo 100, each programmer was given the Herculean task of paring down his or her own list to just 100 favorites. These titles were then compiled and ranked based on two factors: 1) Their rank on each programmer's list, and 2) The number of times the title appeared on more than one list.

	"The results are an eclectic mix of shoe-ins and surprises," explains Pitre. "And we hope that this wildly divergent collection leads to many conversations within the Alamo community.

	The Alamo 100 launches this January at Alamo theaters nationwide with seven titles that capture the spirit of this list: BRAZIL (1985), CITY LIGHTS (1931), THE GOONIES (1985), MONTY PYTHON AND THE HOLY GRAIL (1975), RAGING BULL (1980), RAIDERS OF THE LOST ARK (1981), and SIXTEEN CANDLES (1984) – with many more screening throughout the year.

	Free collectible button pins themed to each title will be available while supplies last at every Alamo 100 screening.

	To explore the full list as well as view the programmers' individual lists, visit Alamo100.com.

	For film descriptions or to purchase tickets to January's films, visit drafthouse.com/packages/january-2014

	 

#### Alamo Drafthouse Announces ANIME-ZING – A New Monthly Programming Series Devoted to Anime
 
Anime delivers a colorful world of giant robots, giggling wizards, and post-apocalyptic death machines – but it’s also so much more. Beginning in August, Alamo Drafthouse will bring the best of the Japanese artform back to the big screen with ANIME-ZING, a new monthly programming series. ANIME-ZING is dedicated to sharing the wonders of anime with everyone – die-hard enthusiasts and those just curious to see what all the hype is about.
Starting with titles like NINJA SCROLL, MILLENNIUM ACTRESS and VAMPIRE HUNTER D, ANIME-ZING takes a deep dive into the amazing archive of Japanese animation, from the genre-soaked universe of science fiction and fantasy to the emotionally rich dramas about the world right outside our window.

#### Alamo Drafthouse Announces August’s CRAZY RICH ASIANS Themed Specials Menu and Feast
CRAZY RICH ASIANS Feast menu at The Alamo Drafthouse Cinema. / Photo by www.hlkfotos.com

	 

	Hitting screens August 15th, CRAZY RICH ASIANS is a winning and worthy big screen adaption of author Kevin Kwan's global bestseller. It's also one of the best FOOD movies to come along in ages. Juicy dumplings, savory satay, bubbly champagne, and so much more… you'll want to devour everything that appears on screen. At participating Alamo Drafthouse locations this August you can do just that with the limited time menu of Asian-inspired eats and luxe cocktails – and, for that truly crazy rich experience, a four-course CRAZY RICH ASIANS Feast presentation complete with drink pairings.

	Come let the cuisine amplify your CRAZY RICH cinematic experience. Here's a bit more from Alamo Drafthouse Chef Brad Sorenson and Alamo Drafthouse Beverage Director Bill Norris.

	"CRAZY RICH ASIANS has some of the best food scenes in recent film memory," says Alamo Drafthouse Chef Brad Sorenson. "What's really fun is that we had the opportunity to not only create a specials menu but also an amazing coursed feast, both inspired by actual food in the film."

	"For the feast, I coursed the menu to follow along with the movie. Avoiding spoilers, the meal starts with a shrimp & chicken satay marinated in chili. The second course is pork & ginger dumplings with a ginger & soy dipping sauce. To finish off the meal, there's a rice pudding made with lychee & green tea followed by ginger cookies shaped like mahjong tiles. Each course is served at key moments during the film for maximum effect, and each is served with a drink pairing to complement the flavors."

	"The specials menu features many of these same or similar items but available à la carte, so you can mix and match (or even double-up ) as you wish: satay of white meat chicken roasted and served with green onions, pan-fried pork & ginger dumplings, and ginger shortbread cookies iced with matcha tea icing. Of course, all pair nicely with any of our CRAZY RICH cocktails."

	Because no posh experience is truly complete without a refined cocktail. Our specials menu features three luscious, boozy tipples inspired by the film and its setting. 

	"There's a wonderful scene in the film when Rachel and Nick first arrive in Singapore and they hit a market full of drool-worth street food," explains Alamo Drafthouse Beverage Director Bill Norris. "Singapore is knowns for having fabulous markets full of fresh produce and we wanted to highlight that alongside the lush tropical atmosphere, in our cocktails for the film." 

	CRAZY RICH ASIANS opens August 15th. Tickets on sale now. 

	CRAZY RICH ASIANS-inspired Specials Menu and Feasts available at participating Alamo Drafthouse locations. Dates and times of the CRAZY RICH ASIANS Feastscreenings will vary by location. Check with your local Alamo Drafthouse. 

	**Prices, participation, and item availability may vary by location. Follow your local Alamo Drafthouse on social media or contact them directly for the most up-to-date info.**

#### Alamo Drafthouse Announces Contest for Weekly Prizes and a Trip to the World Premiere of ANCHORMAN 2: THE LEGEND CONTINUES
httpvh://vimeo.com/74981336

	 

	Alamo Drafthouse is excited to announce the ANCHORMAN 2: THE LEGEND CONTINUES Giveaway.*  From October 15th through November 14th, moviegoers in participating Alamo Drafthouse markets will have the chance to win weekly prizes from the Alamo and a Grand Prize trip to attend the premiere of the holiday movie season's highly anticipated new comedy, ANCHORMAN 2: THE LEGEND CONTINUES, starring Will Ferrell, Steve Carell, Paul Rudd, David Koechner and Christina Applegate.  The Paramount Pictures film is in theaters December 20th.

	From October 15th through November 14th, moviegoers can register for the sweepstakes during each visit to their local Alamo Drafthouse (no purchase necessary).  Each week, every market will announce a winner of some fantastic Alamo Drafthouse prizes, including a $250 Alamo Drafthouse gift card good for admission/food and beverage purchases; a free admission pass to all specialty programming during November and December (ARV: $200); a yearlong free admission pass for two (ARV: $500); and an Alamo venue rental (ARV: $500). 

	On November 18th, each market will choose one Grand Prize finalist from all entries received.  Each market's finalist will be put into the Grand Prize drawing and on November 20th, Alamo will announce the Grand Prize winner of a trip for two to attend the premiere of ANCHORMAN 2: THE LEGEND CONTINUES.

	ANCHORMAN 2: THE LEGEND CONTINUES Giveaway participating markets

		Austin, TX
	

		Houston, TX
	

		San Antonio, TX
	

		Richardson, TX
	

		Winchester, VA
	

		Ashburn, VA
	

		Kansas City, MO
	

		Denver, CO
	

		Yonkers, NY
	

	 

	* NO PURCH. NEC. TO ENTER/WIN. A PURCH. WILL NOT INCREASE YOUR CHANCES OF WINNING. Begins 10/15/13. Ends 11/14/13.  Open only to legal residents of CO, CT, KS, MD, MO, NJ, NY, TX, VA, and DC who are at least age 21. To enter by mail, on a 3×5 card, in blue or black ink, hand print your full name, complete home address including ZIP code, email address, home telephone number with area code, and date of birth, and mail in a first-class postage-paid envelope to: 612A East 6th Street, Austin, Texas 78701 on November 15, 2013.  Must be postmarked between 10/15 and 11/14 and received by 11/14. Only 1 entry per outer envelope. Subject to complete Official Rules available by mailing a postage-paid request to Sponsor at address below or by going to www.drafthouse.com/Rules2013. Void where prohib. ARV of grand prize: $3500. Grand prize winner must attend premiere in December 2013, or prize will be forfeited. Odds of winning depend on # of eligible entries recvd. Sponsor: Alamo Drafthouse Cinema, 612A East 6th Street, Austin, TX 78701.

#### ALAMO DRAFTHOUSE ANNOUNCES CORPUS CHRISTI LOCATION
 

	Alamo Drafthouse Cinema is pleased to announce plans to open a Corpus Christi, TX location with franchise partner BACH Holdings.  The Corpus Christi venue will be the sixth Alamo Drafthouse opened by BACH Holdings and will be located at the corner of Staples Street and Yorktown Blvd.  The location was originally slated to be Movies & More, a project led by long time theatre owner Jeff Dinger.  After discussing the opportunity, BACH and Dinger decided it would be best to partner and develop the location as an Alamo Drafthouse.  Alamo Drafthouse will begin construction in the Spring and plan for a December 2015 opening. 

	"We have long loved Corpus Christi and have been extremely impressed with the growth of the area," said BACH Holdings co-owner Brandon Arceneaux. "With this opportunity, we found the perfect location and partner to bring our brand of cinema to town." 

	Jeff Dinger adds, "I am very excited to join the Alamo Drafthouse family of exhibitors and look forward to bringing to Corpus Christi the unique and creative energy for which the Alamo Drafthouse is known." 

	Alamo Drafthouse provides a unique combination of theater and restaurant, showing first-run and independent films and special programming events with an extensive menu made from scratch in a state-of-the-art culinary kitchen. After constructing the 32,000 square foot space, the Alamo Drafthouse will be a state of the art venue with seven screens, and the only dinner theatre in Corpus Christi.  Each of the auditoriums will be equipped with Sony 4K digital projection as well as excellent screen size to room ratio and amazing Dolby Digital sound.  In addition to the superior AV equipment, the layout of each screening room will eliminate the traditional front row, ensuring every seat in the house allows for a great viewing experience.  Alamo Drafthouse will also feature a lounge offering an extensive menu of draft and bottled beers, wine and food.  The lounge will offer patrons an inviting place to socialize whether they are early for the movie or  just want  to visit with friends. 

	 

#### Alamo Drafthouse announces DISMEMBER THE ALAMO Horror Movie Marathon
 

	A new tradition of terror lurches to life! This October, the Alamo is serving up an all-new banquet of cinematic mayhem for ghouls in need of bumps, thrills, chills and demented pleasures galore with its first annual HORROR MOVIE MARATHON!!

	On Saturday, October 25, select Alamo locations nationwide will host eyeball-melting, sleep-depriving journeys into terror with back-to-back screenings of four horror "classicks." Each location's unique lineup of films will remain a secret until just before show time guaranteeing ultimate tricks 'n' treats.

	"For the first time ever, all of our theatrical markets will unite in celebration of one of the Alamo's most beloved genres. We can't wait to get collectively terrified!" said Sarah Pitre, Director of Alamo Programming and Promotions. 

	Between films, attendees can expect specially curated pre-shows oozing with spine-mangling horrific gems and rarities, as well as special surprises between films and the materialization of a special guest. Plus, prizes will be awarded for the most fiendish costumes.

	"We've been pulling out all of the stops to guarantee a night of ghoulish delights," said Pitre.  "And the surprise guests are going to be a total scream. Keeping a secret this good is tough, but our lips are sealed!"

	For tickets, visit:

	Ashburn: http://drafthouse.com/movies/dismember-the-alamo/northern_virginia

	Austin: http://drafthouse.com/movies/dismember-the-alamo/austin

	Dallas: http://drafthouse.com/movies/dismember-the-alamo/dfw

	Denver: http://drafthouse.com/movies/dismember-the-alamo/denver

	Houston: http://drafthouse.com/movies/dismember-the-alamo/houston

	Kalamazoo: http://drafthouse.com/movies/dismember-the-alamo/kalamazoo

	Kansas City: http://drafthouse.com/movies/dismember-the-alamo/kansas_city

	Lubbock: http://drafthouse.com/movies/dismember-the-alamo/lubbock

	New Braunfels: http://drafthouse.com/movies/dismember-the-alamo/new_braunfels

	San Antonio: http://drafthouse.com/movies/dismember-the-alamo/san_antonio

	Winchester: http://drafthouse.com/movies/dismember-the-alamo/winchester

	Yonkers: http://drafthouse.com/movies/dismember-the-alamo/nyc_area

	 

#### Alamo Drafthouse Announces February National Programming including CASABLANCA Valentine’s Feast
 

	This February, the Alamo Drafthouse celebrates the spirit of Valentine's Day all month long with a slate of love-themed national programming screening at locations everywhere throughout the month.

	February's slate of films is an eclectic mix of romantic classics, both old and new, from time-honored heavy-hitters CASABLANCA and WEST SIDE STORY, to the modern favorites YOU'VE GOT MAIL and MOULIN ROUGE (presented in spectacular! spectacular! sing-along style). Additionally, select locations will host special Valentine's Day Feast screenings of CASABLANCA, featuring a four-course menu of Moroccan-inspired cuisine.

	"Whether you're looking for a special date with your Valentine or just a great night out with friends, our February programming offers something for everyone," says Alamo Drafthouse Lead Programmer Sarah Pitre. "It's not just a celebration of love, it's a celebration of fantastic cinema."

	Additionally, both YOU'VE GOT MAIL and CASABLANCA are selections from the "Alamo 100," a list of essential films chosen by the theater's programmers. Unveiled in January, "Alamo 100" titles will be a part of the theater's nationwide programming throughout 2014. Free collectible button pins themed to each title will be available while supplies last at every Alamo 100 screening.

	February's montage of coming attractions featuring these titles hits screens at all Alamo locations this week.

	CASABLANCA Valentine's Feast 

	Date: Friday, February 14, 2014

	Participating Markets: Austin, TX; Kansas City, MO; Denver, CO; Ashburn, VA

	CASABLANCA Valentine's Day Feast Ticketing: http://drafthouse.com/movies/casablanca-valentines-day-feast/

	
			
				
			
			
				
			
			
				
			
			
				
			
			
				
			
		

	 

#### ALAMO DRAFTHOUSE ANNOUNCES FIRST EVER ARIZONA LOCATION
 

	Alamo Drafthouse Cinema is pleased to unveil its plans to open its first Arizona location in Chandler with franchise partner Paschich Alamo Holdings LLC.  Alamo Drafthouse Chandler, an eight-screen theater, bar, and restaurant, will be located at the upcoming mixed-use Downtown Chandler Development from developer Vintage Partners.

	Alamo Drafthouse is also excited to announce that Craig Paschich, who has been with the company for nine years and served as President of Alamo Drafthouse Cinemas for the past three, is moving into a new role as a Partner at Paschich Alamo Holdings LLC, which will be based in Arizona.  Alamo Drafthouse Chandler will be the first site under the Paschich Alamo Holdings LLC's ownership.  Paschich and his wife Kim are excited about basing the company in Arizona and are relocating their family to Chandler to be involved in all aspects of the business.

	"I am so excited about the downtown Chandler location," says Paschich.  "For months, I've been looking for the perfect site for our first venue in Arizona and finally found it in Chandler. After visiting the local restaurants and shops, I immediately fell in love with the area.  With the energy invested in downtown Chandler by the City and the area's already impressive growth, we couldn't ask for a better opportunity. The City of Chandler has been great to work with, along with the groups at Vintage Partners, Southwest Retail Group and RSP Architects.  We're truly excited to bring the first cinema eatery to downtown Chandler and adding to the area's vibrant restaurant and retail landscape."

	Alamo Drafthouse Chandler will feature eight screens of new releases, classic movies and the Alamo's unique signature programming, with seating for 825 moviegoers.  Each of the auditoriums will be equipped with high-tech 100 percent digital projection, as well as excellent screen size-to-room ratio, and amazing sound.  In addition to the superior AV equipment, the layout of each auditorium will eliminate the traditional front row, ensuring every seat in the house allows for a great viewing experience. The theater is expected to open in 2015. 

	Alamo Drafthouse combines dinner, drinks, films and events, all under one roof. The theaters have been heralded for their unique programming events and high exhibition standards, earning accolades like "Best Theater Ever" (Time Magazine) and "the coolest theater in the world" (Wired).

	Alamo Drafthouse provides a unique combination of theater and restaurant, showing first-run movies, independent films and special events with an extensive menu made from scratch. Guests order all food and drinks from servers who quietly attend to them throughout the movie. Guests are encouraged to arrive early to enjoy the pre-show entertainment. Instead of a barrage of advertising, the Alamo shows a curated collection of rare and humorous clips. 

	Additionally, Alamo Drafthouse protects the theatrical experience with a zero tolerance policy for people who disrupt the film with talking or texting.  Alamo Drafthouse was featured on global news for a viral "Don't Talk" PSA that used a humorously misguided voicemail from an actual patron who was ejected for texting during the film. The full story on the long tradition of Alamo's no talking/texting policy can be found here.

#### ALAMO DRAFTHOUSE ANNOUNCES FIRST EVER LUBBOCK AREA LOCATION WITH FRANCHISE PARTNER TRIPLE TAP VENTURES LLC
 

	Alamo Drafthouse Cinemas is pleased to announce plans to open its first Lubbock area location with franchise partner Triple Tap Ventures LLC. Alamo Drafthouse Cinema Lubbock will be located in the North Slide Square center at 5200 North Loop 289.

	The Alamo Drafthouse Cinema in Lubbock will be a state-of-the art theater with eight screens.  Each auditorium will be equipped with state-of-the-art Digital and RealD 3D projection (plus 35mm projection in select auditoriums).  In addition to the superior AV equipment, the layout of each auditorium eliminates the traditional front rows, ensuring every seat in the house allows for an optimal viewing experience.  Construction and site work commenced over sixty days ago and this location will be opened well in advance of the summer movie season next year.

	Alamo Drafthouse Cinema Lubbock will also feature an adjacent stand-alone bar named Glass Half Full that will focus on quality, original and classic cocktails and a large selection of world-class draft and bottled beers.  This bar and lounge space will offer patrons an inviting place to socialize whether they are waiting for a movie or just catching a drink with friends. 

	The new theater is being designed by Dallas, TX based 5G Studio Collaborative.  The design will combine traditional Alamo Drafthouse elements with a modest West Texas vernacular of brick and stucco showcasing the Glass Half Full bar and patio.

	"We have strong ties to Lubbock.  We have partnered with the Restaurant, Hotel and Institutional Management (RHIM) program at Texas Tech University to recruit new talent, and several of our top executives are Tech graduates," said Alamo Drafthouse Founder & CEO Tim League.  "We've talked about bringing the Alamo to Lubbock for years now, and I am very pleased to be partnering with Triple Tap Ventures to make it a reality."

	"With over 30,000 college students in three universities, a steady economy, a trade area of nearly 500,000 people, the Lubbock community was a clear choice to become home to an Alamo Drafthouse Cinema. This great community with its vibrant art and academic culture is a perfect setting to bring Alamo's unique entertainment experience. The location at North Slide and Loop 289 will put the theatre at a location convenient to the Texas Tech Campus and patrons from the entire region," said Triple Tap Ventures LLC President, Neil Billingsley-Michaelsen. Triple Tap Ventures LLC is the owner and operator of the Houston metropolitan area Alamo Drafthouse Cinema locations as well as holding the exclusive development rights for Houston, El Paso and several West Texas cities, including Lubbock.

	North Slide Square is a project of Charles Hodges, Co-Developer of the highly successful Canyon West project.  "It is an honor to bring another exciting shopping and entertainment venue to the high growth area that is North Lubbock," said Mr. Hodges.  "The Alamo Drafthouse brings the edge and excitement we dreamed of and another addition to the quality of life in Lubbock and the south plains."

	Alamo Drafthouse Cinema combines food, drinks, films and events all under one roof. It is a unique combination of movie theater and restaurant, showing first-run features, family movies, independent films and specially programmed events with an extensive menu of drinks and made-from-scratch food available in every auditorium and at all shows. Servers attend to all customer needs quietly throughout the movie. The company has been heralded for their high exhibition standards, unique programming and events earning accolades like "Best Theater Ever" (Time Magazine) and "the coolest theater in the world" (Wired). 

	Additionally, the Alamo Drafthouse protects the theater experience with a zero tolerance policy towards talking, texting, or any other disruptive behavior. Last summer, the Alamo Drafthouse made global news for its viral "Don't Talk" PSA that used a humorously misguided voicemail from an actual patron who was ejected for texting during the film. 

#### Alamo Drafthouse Announces First Theater In Los Angeles
 

	The Ratkovich Company, in partnership with National Real Estate Advisors, and Alamo Drafthouse Cinema today announced the Alamo Drafthouse will open its first Los Angeles, California theater at The Bloc, a 1.8 million square foot mixed use destination at the hub of the city's retail, entertainment, financial, and sports center. The Alamo Drafthouse Downtown is slated to open in 2015 as The Bloc completes its $180 million renovations and opens its doors as a vibrant, open-air, pedestrian-friendly, urban destination.

	"We've been eyeing Los Angeles for many years now," said CEO and founder Tim League. "With The Bloc, we finally found the perfect location and partner to bring our brand of cinema to the birthplace of the industry."

	Alamo Drafthouse provides a unique combination of theater and restaurant, showing first-run and independent films and special programming events with an extensive menu made from scratch in a state-of-the-art culinary kitchen. The Alamo Drafthouse Downtown will be located in the southwest corner of The Bloc next to Macy's third floor.

	"Alamo Drafthouse has re-invigorated the movie-watching experience, much the way we intend to reimagine the traditional retail and entertainment experience and enliven the 7th Street corridor with The Bloc," said Wayne Ratkovich, founder and president of The Ratkovich Company. "We want Angelenos to come to The Bloc for distinctive, curated experiences and Alamo Drafthouse provides just that."

	Alamo Drafthouse Downtown will have nine screens and seat approximately 800 people for new release movies, independent, foreign and classic films, as well as an exhaustive slate of the Alamo's unique signature event programming. Each of the auditoriums will be equipped with state of the art 4K digital projection, big screens and amazing sound.  In addition to providing superior presentation, the Alamo eliminates the traditional front rows to ensure there's no bad seat in the house. The theater will also be equipped for 3D and archival 35mm projection.

	In keeping with the Alamo's commitment to providing the best in-theater dining experience, the downtown LA destination will feature locally inspired and sourced food and drink. Moviegoers can order food and drinks from their seats while servers silently attend to them throughout the film. The Alamo will also be opening an adjacent craft beer bar featuring an extensive array of Californian beers.

	Accessibility and integration with the city at large continues to be a priority for The Bloc and the Alamo Drafthouse. The Alamo Drafthuose Downtown will be conveniently accessed without needing to go above ground via the Blue, Expo, Purple and Red lines at the 7th Avenue Metro stop. Future Metro expansion will connect the Alamo Drafthouse Downtown to Santa Monica, Pasadena and the San Bernandino Valley. The theater will offer four hours of free validated parking as well as free bicycle valet. 

	Due to a lackluster summer at the box office, the motion picture industry is down 7% year to date.Forthe same period, Alamo Drafthouse same store sales are up 2.64%.  By focusing on great film, food and drinks along with exceptional presentation, a no-advertisement policy and a notoriously strict no talking/no texting policy, the Alamo Drafthouse strives to be the movie theater by movie fans for movie fans.

	The theaters have been heralded for their unique programming events and high exhibition standards, earning accolades like "Best Theater Ever" (Time Magazine).

#### Alamo Drafthouse Announces March 2014 National Programming Theme: Crime Movies
 

	Crime doesn't pay… unless you're a movie studio, in which case movies about crime are perennially profitable! Especially when they're good, and it turns out that some of the best movies ever made happen to be about crime and criminals. This month we're turning our attention to some of our favorite crime movies, including MEMENTO, DIRTY HARRY and CLUE. We also have an interview with the director of a film that I believe will soon be seen as a new crime classic, CHEAP THRILLS. But we're not just getting down into the dirty side of life; this issue also contains an impassioned defense of BRING IT ON. If loving that cheerleading movie is a crime, send us all to the slammer.

	By the way, we're also very excited this month about Wes Anderson's new film, THE GRAND BUDAPEST HOTEL. We haven't seen it yet, but there are certain filmmakers who compel you to buy a ticket opening night no matter what, and Wes is one of those.

	– Devin Faraci | Badass Digest Editor in Chief

	  

	March National Programming Ticketing Link and Titles:

	http://drafthouse.com/packages/march-2014

	– The Action Pack: CLUE Quote-Along

	– DIRTY HARRY

	– THE MALTESE FALCON

	– MEMENTO

	– NORTH BY NORTHWEST

	 

	Titles playing at select Alamo Drafthouse locations in March:

	– THE GRAND BUDAPEST HOTEL

	– CHEAP THRILLS

	– Girlie Night: BRING IT ON Cheer-Along

	– Cinema Cocktails: CASINO

	– Video Vortex: DEATH SPA

#### ALAMO DRAFTHOUSE ANNOUNCES ONLY GOD FORGIVES AS NEXT “DRAFTHOUSE RECOMMENDS” TITLE AND PRESENTS ADVANCE SCREENING IN AUSTIN WITH DIRECTOR NICOLAS WINDING REFN AND COMPOSER CLIFF MARTINEZ IN ATTENDANCE
 

	Alamo Drafthouse is excited to announce ONLY GOD FORGIVES as the next Drafthouse Recommends title.  Drafthouse Recommends spotlights a first-run movie with the Alamo stamp of approval, indicating that we love it and want everyone to go see it. Our goal is to highlight groundbreaking, innovative and intelligent films we believe deserve to be seen by as many people as possible.

	Additionally, Alamo Drafthouse is proud to announce an advance screening of ONLY GOD FORGIVES in Austin on June 19th, with director Nicolas Winding Refn and composer Cliff Martinez live in person! 

	From PUSHER to BRONSON to VALHALLA RISING to DRIVE and now ONLY GOD FORGIVES, Nicolas Winding Refn has proven time and time again to be one of the most fascinating and talented filmmakers working today.  He also keeps audiences on their toes, never satisfied to deliver merely a formulaic copy of his previous work.

	Most American audiences were introduced to Refn with his wildly popular thriller DRIVE.  With ONLY GOD FORGIVES, Refn reunites with DRIVE star Ryan Gosling and composer Cliff Martinez to deliver one of the most talked about moves at Cannes (the film received simultaneous boos and standing ovations at its premiere).

	Ryan Gosling plays Julian, the son of a Thailand-based crime family who prefers to spend his time managing a Muay-Thai kickboxing gym than engage in the family business.  When violent tragedy hits, Julian is forced to defend the family honor in a quickly spiraling torrent of vicious revenge.

	Hyper-stylish, dripping with sweat, neon and blood, ONLY GOD FORGIVES delivers a straight down the middle pitch to Fantastic Fest audiences.

	ONLY GOD FORGIVES will opens in theaters on July 19th.  Alamo Drafthouse presents a special advance screening and Q&A with director Nicolas Winding Refn and composer Cliff Martinez on June 19th in Austin, Texas.  Tickets are available now for the Austin advance screening!

	Link to Tim League's blog about ONLY GOD FORGIVES: http://drafthouse.com/blog/entry/31397

	ONLY GOD FORGIVES Advance Screening (Austin, TX)

	Date: June 19th

	Time: 7:30 PM

	Location: Alamo Drafthouse Slaughter Lane

	Ticketing Link: http://drafthouse.com/movies/advanced-screening-only-god-forgives 

#### Alamo Drafthouse Announces PIX IN THE PLAZA Fall Outdoor Screening Series Lineup
 

	Alamo Drafthouse North Texas and Toyota Music Factory are pleased to announce another round of Pix In The Plaza free outdoor movie screenings on the Texas Lottery Plaza. Taking place on select Sunday evenings through October 7th, the next Pix In The Plaza lineup takes a trip back in time for screenings of family-friendly '80s classics on Alamo Drafthouse's giant inflatable outdoor movie screen and an evening of fun for the entire family with pre-show activities themed to each week's movie like bounce houses, music, games, tasty treats, themed non-alcoholic beverages (and beer and wine for the adults) and other fun surprises!

	 

	Upcoming Pix In The Plaza Events

	Sunday, August  26, 2018

	THE GOONIES
	One of the most treasured family films of the 80s, THE GOONIES teaches us that adventure lurks around every corner if we open our hearts to it. A group of misfits find a pirate's map and embark on a wild quest to save their home and their friends. With performances from young Sean Astin, Josh Brolin, Martha Plimpton and Corey Feldman, THE GOONIES hasn't aged a day–and when you watch it, you'll feel like you haven't either.
	 

	Sunday, September 2, 2018

	BACK TO THE FUTURE
	Over 30 years ago, Michael J. Fox & Christopher Lloyd took us on an era-hopping adventure with BACK TO THE FUTURE as the '80s raddest time travelin' teen and his unlikely sidekick – a crazy, wild-eyed, wild-haired scientist. What rose from those flame trails is the heaviest sci-fi comedy ever made – one that is often considered "the perfect movie" without hyperbole.
	 

	Sunday, September 16, 2018

	GHOSTBUSTERS
	Who ya gonna call? GHOSTBUSTERS! Obviously!  It's possible that GHOSTBUSTERS is the world's most universally adored movie. Spectre-destroyers Murray, Aykroyd, Ramis and the vastly under-appreciated Hudson collectively defined everything we enjoy in '80s cinema, unleashing a supernatural adventure that busts funnybones as well as ghosts. Together, the four hopped in a converted ambulance and made an entire decade safe for hilarity, action, and transdimensional demon combat.
	 

	Sunday, October 7, 2018

	E.T. THE EXTRA-TERRESTRIAL
	There are those handful of precious, important films that have undeniably shaped countless childhoods. Steven Spielberg's childlike view of an alien encounter is one of them. E.T. THE EXTRA-TERRESTRIAL, one of the most ingenious, imaginative, heartfelt, unpretentious science-fiction films ever made, has touched the heart of generations of young moviegoers.

	
	All Pix In The Plaza events are free, family-friendly, and open to the public. The plaza opens at 6:30pm for pre-screening activities.  Blankets or folding chairs to sit on are encouraged. Movies begin shortly after dusk. Pets are welcome, but outside food and beverages are not allowed. Parking is available for free in the Toyota Music Factory garage.

#### Alamo Drafthouse Announces Return of JAWS ON THE WATER
The Alamo Drafthouse Rolling Roadshow production of JAWS ON THE WATER on June 25, 2016 at Next Level Ride Austin in Del Valle, Texas. / Photo by www.hlkfotos.com
 
Just when everyone thought it was safe to get back in the water, “JAWS on the Water” is coming back to Austin, TX for multiple screenings beginning July 3, following a much-missed pandemic hiatus last summer.
Alamo Drafthouse has partnered with High Beam Events and the newly resurrected Action Pack Entertainment to bring the legendary screening experience back to Volente Beach on Lake Travis for a triumphant return beginning Saturday, July 3rd, and tickets are on sale now!
The ultimate summer event that made CNN ask, “Could there possibly be any scarier way to watch JAWS?” returns for an immersive, unforgettable screening experience– a huge inflatable outdoor screen is placed at the water’s edge with intrepid viewers watching the movie while floating in inner tubes, with who-knows-what swimming in the inky depths below. As everyone watches Chief Brody and crew on the hunt for the Great White, floaters might feel something tug on their toes as scuba divers provide an added thrill to the proceedings.
There are some pandemic-era changes to the event this year, most notably the organizers were not able to create new collectible inner tubes for the audience to float in, so everyone is encouraged to bring their own tube or inflatable device (but no floating doors, as this isn’t a screening of TITANIC).
Doors to Volente Beach’s water park will open at 5:00pm, allowing for plenty of time for beach play, water slides, food and drink, and anticipation or dread for sundown before the movie commences. Capacity is more limited than in previous years to allow more space for social distancing between attendees. Tickets are expected to go fast, so get your fins, and get ready to welcome back summer!
JAWS On The Water
Dates:
Saturdays, July 3, 10 & 17
Location:
Volente Beach Resort & Waterpark
16107 Farm to Market Road 2769 #Suite D
Leander, TX 78641
 
TICKETS ON SALE NOW at:
jawsonthewateratx.eventbrite.com

#### ALAMO DRAFTHOUSE BESTOWS MICHAEL BAY WITH LIFETIME ACHIEVEMENT AWARD FOR PROVIDING DECADES OF GLORIOUS ACTION MAYHEM AT “BAYMAGEDDON” EVENT
 

	The Alamo Drafthouse and Tough Guy Cinema are giving credit where tough guy credit is due and honoring Michael Bay as their first inductee into the Alamo Drafthouse Tough Guy Hall of Fame as part of the "Baymageddon" event this Sunday, April 21, at Alamo Drafthouse locations in Austin and Houston, TX, Kansas City, MO, and Littleton, CO.  "Baymageddon" features a mystery marathon of three Michael Bay classic action blockbusters plus regional premieres of his new film PAIN & GAIN, in theaters nationwide April 26th.

	Michael Bay is a true visionary. He provides uncompromising, unadulterated, and unapologetic fun to the masses. But, he's more than just a blockbuster filmmaker. To say that would be to dismiss the absolutely awe-inspiring things he achieves with the medium of film. Bay transports and transfixes us with his very unique vision and a style that grabs hold of us at 180 mph and demands our attention.

	Alamo programmer Greg MacLennan says, "When I first started programming the Tough Guy Cinema series for the Alamo Drafthouse, I wanted to take repertory film screenings to a new level, and the first films I could think of were modern masterpieces of mayhem from Michael Bay.  I wasn't taught them in school, you don't see any books on them, but his films deserve to be recognized and revisited on the big screen. Blockbusters may come and go, but his films stand the test of time. He's made heroes out of everyday actors, and somehow, along the way, he became one himself."

	To prove it, the Alamo Drafthouse is honoring Bay with not just an award but a full-day celebration honoring the filmmaker and his films: "Baymaggedon," a 10-hour red-hot blast of non-blinking pure excellence drilled into your corneas as you take a stroll down memory lane with three super secret Bay films all the way up to a sneak preview screening of Bay's latest, PAIN AND GAIN. The filmmaker will not be present in person to accept the award, but he's preparing a special video thank you that promises to bring a special Michael Bay-ness to it.

	Alamo Drafthouse founder Tim League adds, "When I first heard the idea of "Baymageddon," I knew it needed to be more than just a marathon. It needed to be as big as a Michael Bay film itself, which is why I'm very happy to be inducting Michael Bay as the very first member of the Alamo Drafthouse Tough Guy Hall of Fame. It takes a truly tough guy to make such beautiful mayhem."

	"Pain & Gain," Bay's latest film from Paramount Pictures, is a new action comedy starring Mark Wahlberg, Dwayne Johnson and Anthony Mackie. Based on the unbelievable true story of a group of personal trainers in 1990s Miami who, in pursuit of the American dream, get caught up in a criminal enterprise that goes horribly wrong.  Produced by Donald De Line, Michael Bay and Ian Bryce. Based on the magazine articles by Pete Collins. Screenplay by Christopher Markus & Stephen McFeely. Directed by Michael Bay.

	So if you find yourself near an Alamo Drafthouse in Austin and Houston, TX, Kansas City, MO, or Littleton, CO, on April 21st, "Baymageddon" will be in session.  Come and join us!

	 

	Sunday, April 21st at 2PM – Ticket Price: $30

	Alamo Drafthouse Ritz – Austin

	Alamo Drafthouse Vintage Park – Houston

	Alamo Drafthouse Mainstreet – Kansas City

	Alamo Drafthouse Littleton – Littleton, Colorado

#### Alamo Drafthouse Cinema – Film & Food Programming
Bill DiGaetano and James Wallace sits down at the new Alamo Drafthouse Cinema in Richardson, Texas to talk about film and food programming.

	httpvh://www.youtube.com/watch?v=jqIz9ryCqVc

#### Alamo Drafthouse Cinema Dallas Vetted Well Patio Series
 

	With great weather comes a new great weekly events at Vetted Well (inside the Alamo Drafthouse Cedars)!

	Beginning Sunday, April 16, our new slate of programming kicks off with FUNKY BRUNCH, featuring brunch with a soul food spin and funk music vibes from DJ Cory Kilduff & DJ Picnic spinning all vinyl sets. Then when the sun goes down, it's PATIO PWNAGE featuring outdoor video game tourneys on a 20-foot screen. 

	See the full schedule of weekly events below:

	Monday: 

		TV ON THE PATIO – Your favorite shows under the stars on a 20-foot screen. Tuning in with "The Bachelorette," premiere on Monday, May 22, featuring Dallas’ own Rachel Lindsay! Show starts 8 p.m.
	

		GEEKS WHO DRINK – Pub quizzes for beer-soaked nerds. Featuring prizes and special themed trivia nights. Starts at 8 p.m. 
	

	 

	Tuesday: 

		TIKI ON THE TERRACE – With Tiki Bingo! Also featuring Tiki drinks, Hawaiian decor, and more! Starts at 8 p.m.
	

		SERVICE INDUSTRY NIGHT – Featuring beer, cocktail, and appetizer specials.  Tell us your in the industry and receive a “bartender handshake!” 6 p.m. – close
	

		TEXAS TUESDAYS – Celebrating Texas breweries all day with $3 Texas Drafts!
	

	 

	Wednesday

		PATIO PWNAGE – Outdoor video game tourneys on a 20-foot screen. Featuring Smash Brothers, Mario Kart, and more! 8-11 p.m.
	

		GEEKS WHO DRINK – Pub quizzes for beer-soaked nerds. Featuring prizes and special themed trivia nights. Starts at 8 p.m. 
	

	Thursday

		PATIOKE KARAOKE – Sing your heart out-side with a 20-foot screen as your backing band.  Featuring a full catalog of all your favorite hits. 7-11 p.m.
	

	 

	Friday

		OUTDOOR COMEDY – Live stand-up on the back patio featuring local comedians.   Hosted by Alex Gaskin of Central Track’s ‘Humor Us.' Starts at 8 p.m.. *Select Fridays
	

	 

	Sunday

		FUNKY BRUNCH – Brunch with a soul food spin and funk music vibes.   Featuring DJ Cory Kilduff & DJ Picni spinning all vinyl sets. 11 a.m.-2 p.m.
	

		PATIO PWNAGE – Outdoor video game tourneys on a 20-foot screen.  Featuring Smash Brothers, Mario Kart, and more! 7-11 p.m.
	

	For more details, visit vettedwell.com

	
	Address: 

	1005 S Lamar St, Dallas, TX 75215

#### Alamo Drafthouse Cinema Dedicates Las Colinas Theater to Legendary Filmmaker John Carpenter
 
Since opening in 2018, and given its proximity to John W. Carpenter Freeway, named for the Texas businessman and agriculturalist who died in 1959, Alamo Drafthouse Las Colinas has always honored a very different John Carpenter – the legendary filmmaker behind HALLOWEEN, THE THING, and ESCAPE FROM NEW YORK. The lobby’s state-of-the-art interchangeable photo opp wall features an homage to BIG TROUBLE IN LITTLE CHINA alongside a replica alien from THEY LIVE, and a complete John Carpenter-themed Mondo poster gallery lines the hallways.
Now the theater has officially carried an alternate name in honor of the legendary filmmaker Mr. Carpenter. Bill DiGaetano, CEO of Alamo Drafthouse North Texas revealed a plaque proclaiming the theater to be the “John Carpenter Cinema” and ribbon cutting ceremony with one of Mr. Carpenter’s most iconic creations – HALLOWEEN’s Michael Myers.
The plaque dedicated to Carpenter reads:
JOHN CARPENTER CINEMA
“Everyone’s entitled to one good scare.”
From babysitter slashers to pirate ghosts to shapeshifting monsters to subliminal aliens, writer/director/composer John Carpenter has entertained and terrified generations of film lovers with genre classics like ASSAULT ON PRECINCT 13, HALLOWEEN, THE FOG, ESCAPE FROM NEW YORK, THE THING, CHRISTINE, BIG TROUBLE IN LITTLE CHINA, and THEY LIVE. Because of his incalculable influence on cinema, as of Thursday, May 25th, 2023, this Alamo Drafthouse Cinema shall hereby and forevermore be known as the John Carpenter Cinema.
Additionally, Mr. Carpenter was in attendance for two screenings of his cult classic films, THE THING and THEY LIVE, and participated in an extended film introduction ahead of each film.

#### Alamo Drafthouse Cinema DFW  Breaks Ground on Dallas Location; Hosts FREE Outdoor Movie
 

	Alamo Drafthouse Cinema is please to invite you to the first celebration for the new Dallas location and a free outdoor screening of the John Hughes classic, FERRIS BUELLER’S DAY OFF.  The event will take place on November 8 in the parking lot adjacent to Cedars Social, 1326 S. Lamar Street, Dallas, Texas; just down from the future home of Alamo Drafthouse Dallas.  Gates open at 5:00 pm and the film rolls directly following the informal, non-ceremonial groundbreaking at sundown. (Really, it’s just an excuse to through a party and invite 1,000s of our closest fans!)  Food Trucks will be on site, as will local beers from Dallas’ own Deep Ellum Brewing Company.  Select wines will also be available.  This event is BYOC (Bring Your Own Chair) and is friendly for both two-legged and four-legged kiddos.      

	“We’re very excited to host this construction-kick-off party on Lamar Street.  It’s a great chance for us to meet our new neighbors and for our fans to get familiar with the location of Alamo Dallas all while having a great time.  These Rolling Roadshows always turn into a fantastic block party with a few thousand people, pets, families, great food trucks, local beer, and, of course, film. We can’t wait to be open in Dallas and our fans should expect more outdoor movie events this spring before we open,” said Bill DiGaetano COO/Owner Alamo Drafthouse Cinema DFW.

#### Alamo Drafthouse Cinema DFW Announces Little Elm Location
 

	Alamo Drafthouse Cinema DFW announces today that the fourth location of the Alamo Drafthouse in North Texas is in the Denton County Town of Little Elm.  Alamo Drafthouse Little Elm will open in the first quarter of 2016.  The theater plans to open in the newly developing, Main Marketplace at the northwest corner of Main Street and FM 423. 

	“Stepping into Denton County and being a part of the massive growth happening in Little Elm is very exciting. Additionally having an Alamo closer to UNT and TWU as well as landing in the same city with another great Austin-centric brand, Hula Hut, makes this the perfect combination.  We can’t wait to open our doors to the community and put on Alamo-sized movies and events in Little Elm,” said Bill DiGaetano, COO/Owner Alamo Drafthouse Cinema DFW.    

	Details of ALAMO LITTLE ELM

	Alamo Drafthouse Little Elm will be a state of the art location.  Each of the eight auditoriums will be equipped with the latest in 4K digital projection, precise screen-size-to-room ratio, and 7.1 Dolby Surround Sound.  Select auditoriums will also feature 35mm projectors so fans can experience classic and repertory films as they were meant to be seen.  In addition to the superior AV equipment, the layout of each theater eliminates the traditional front row, ensuring every seat in the house allows for an optimal viewing experience.  In addition to in-theater dining, Alamo Little Elm will feature a large lounge and all-weather patio offering an extensive menu of local draft and bottled beers, wine, cocktails and freshly made food.  The lounge will offer patrons an inviting place to socialize whether they are waiting for a movie or simply coming to sample the made-from-scratch food, cocktails and craft beer. 

	From the Little Elm Perspective

	“Little Elm has worked very hard to carve out its niche in an extremely competitive development market,” said David Hillock, mayor of Little Elm. “Finding the right partners and unique venues are key.  We were lucky that Goveia Commercial Real Estate helped us land Wired.com's ‘Coolest Movie Theater in the World’ in Little Elm, a fresh, young town heading in the same direction.” 

	“Following on the heels of Hula Hut, another Austin original, Alamo Drafthouse will feel right at home at Goveia’s project and surrounded by the unique culture and relaxed atmosphere our lakeside community has to offer.  As a community, we are very excited that Alamo Drafthouse has decided to call Little Elm home,” Hillock concluded.

	 

	From the Developers' Perspective

	California-based Goveia Commercial Real Estate is behind the development of the forthcoming Main Marketplace, which will be home to Alamo Drafthouse Little Elm.  In addition to Alamo Drafthouse, the 18-acre development will house 114,000-square feet of restaurants and retail. 

	“We are delighted to work with Mayor Hillock and his team to bring Alamo Drafthouse Cinema to our project, Main Marketplace, and know that this will be a perfect fit for the Town of Little Elm and its future,” said Joe Goveia, president, Goveia Commercial Real Estate.    

#### Alamo Drafthouse Cinema DFW Announces New Location Alamo Lake Highlands
 

	Alamo Drafthouse Cinema DFW announced today that Lake Highlands will be the location for the next Alamo Drafthouse in North Texas.  Alamo Drafthouse Cinema will open at the northeast corner of Skillman Street and Abrams Road across the street from Top Golf in the old Tom Thumb space.  The theater will open spring 2017.

	“It is no secret that Alamo has been interested in this part of Dallas for quite sometime.  We couldn’t be happier about the location and the fact that we get to help take an old shopping center and turn it into a brand new entertainment destination for the residents.  Dallas’ Economic Development Office as well as Council Members Mark Clayton, Jennifer Gates, and Adam McGough have been very supportive.  We cannot wait to open Alamo in Lake Highlands and have a hand in this center’s top to bottom renovation.” said Bill DiGaetano, chief operations officer and owner, Alamo Drafthouse Cinema DFW.

	 

	ABOUT ALAMO LAKE HIGHLANDS

	 

	Theater Specifics

	Alamo Drafthouse Lake Highlands will be a state of the art location featuring 7 to 9 screens and 875 theater seats.  Each of the auditoriums will be equipped with the latest in 4K digital projection as well as excellent screen size to room ratio and 7.1 Dolby Surround Sound.  Select auditoriums will also feature 35mm projectors so fans can experience classic and repertory content as they were meant to be seen.  In addition to the superior AV equipment, the layout of each theater will eliminate the traditional front row, ensuring every seat in the house allows for a great viewing experience especially since every seat in the building will be a luxury recliner with footrest.  

	Restaurant/bar Additions

	In addition to in-theater dining, Alamo Lake Highlands will feature a 175-seat Vetted Well restaurant and bar offering an extensive menu of draft and bottled beers, wine, cocktails and freshly made food.  The restaurant will also feature a large all-season patio connected to the restaurant with overhead garage doors.  Vetted Well will offer patrons an inviting place to socialize whether they are waiting for a movie or simply coming to sample the scratch-made food, cocktails and craft beer.  Pending City approval the center will receive a top to bottom “face lift.” The renovation will take place concurrently with Alamo’s construction.

	Developer/Property Owner Statement

	“Retail Plazas Inc. (RPI) is pleased to announce that we have signed a long-term anchor lease with Alamo Drafthouse for the majority of the former Tom Thumb space in our Skillman/Abrams Shopping Center. RPI acquired the shopping center in early February of this year. RPI owns and operates well over 2-million square feet of shopping center space in the DFW Metroplex and specializes in revitalizing broken and/or underutilized properties; thereby enhancing their value. We are delighted with the speed with which we were able to lease the anchor space at Skillman/Abrams and the incredible amount of tenant interest in our redevelopment of the shopping center.  I think the community will be better served with the extensive redevelopment and tenant mix at Skillman/Abrams; it will become the entertainment center of Lake Highlands. We look forward to working with Bill DiGaetano’s Alamo Drafthouse Group on this project," said Jeffrey L. Olyan, president of Retail Plazas Inc.

	Tyler Isbell of SRS Real Estate Partners brokered the deal on behalf of Alamo Drafthouse Cinema DFW. Mark Haijdu with Triumph Commercial Real Estate represented Retail Plazas Inc.

#### Alamo Drafthouse Cinema Richardson Grand Opening Ceremony
Grand opening ceremony for the Alamo Drafthouse Cinema in Richardson, Texas.  Speeches by Tim League, Bill DiGaetano and the City of Richardson.

	httpvh://www.youtube.com/watch?v=fksbaux-f1g

#### Alamo Drafthouse Cinema Richardson: How To Rolling Roadshow
Bill DiGaetano, James Wallace and Bryan Penley sits down with the Dallas film media to talk about Alamo's Rolling Roadshow program coming to the new Alamo Drafthouse Cinema DFW.
	 

	httpvh://www.youtube.com/watch?v=XyRTsN0YXL8

#### Alamo Drafthouse Cinema Set To Return To Dallas-Fort Worth and Twin Cities This Summer
 
Alamo Drafthouse Cinema is excited to announce that it will be reopening its doors in the Dallas-Fort Worth and Twin Cities markets this summer. All six locations that recently closed as part of the franchisee’s Chapter 7 bankruptcy filing will now be owned and operated by Alamo Drafthouse Cinema, and are set to reopen in rapid succession, including DFW’s Cedars, Denton, Lake Highlands, Las Colinas, and Richardson locations and the Woodbury location in the Twin Cities area of Minnesota. Additionally, Alamo Drafthouse is pleased to share that all affected venue staff will be made whole for lost wages that they were owed prior to the closures. The news comes amidst a surging box office this summer with movies that have been a major success at Alamo Drafthouse like BAD BOYS: RIDE OR DIE, THE BIKERIDERS, and INSIDE OUT 2.
“We were heartbroken to hear about the franchisee’s decision to close their locations in Dallas-Fort Worth and Woodbury, MN, but we immediately got to work to acquire these as Alamo Drafthouse owned locations,” said Alamo Drafthouse CEO Michael Kustermann. “We’re so excited to reestablish Alamo Drafthouse Cinema for our teammates and local film communities in these great cities during an incredibly successful summer of moviegoing.”
Alamo Drafthouse is committed to supporting former DFW and Twin Cities teammates who were adversely affected during the franchisee’s closings by offering past teammates first access to interviews for open positions. Those who are rehired will receive a more robust benefits plan with immediate eligibility, including access to daily pay, substantial 401k match, paid medical leave, accrued PTO, free mental health services.
Alamo Drafthouse will host a soft opening during the first week of each location’s reopening with promotions and discounts to be announced. Additionally, individuals owed ticket refunds due to the sudden closings by the previous owners will receive free ticket vouchers, and guests who previously purchased Alamo Drafthouse’s INSIDE OUT 2 lunch box and DEADPOOL AND WOLVERINE pint glass will receive these items upon reopening. Finally, members of Alamo Drafthouse’s Season Pass subscription service will enjoy a free month of service when their accounts are reactivated.
Sony Pictures Entertainment (SPE) and Alamo Drafthouse Cinema recently announced that SPE had acquired Alamo Drafthouse Cinema, the unique and fastest growing theatrical exhibitor. The company is managed within SPE under a newly established division, Sony Pictures Experiences, headed by Alamo Drafthouse’s CEO Michael Kustermann under the leadership of Ravi Ahuja, President and COO of SPE. Alamo Drafthouse continues to operate all 41 of its cinemas across 25 metro areas under the Alamo Drafthouse brand. Alamo Drafthouse-owned Fantastic Fest, the world-renowned genre film festival, was included in the acquisition and also continues to be operated by Alamo Drafthouse.
Visit drafthouse.com and follow Alamo Drafthouse on social media for updates and news on the reopening dates.

#### Alamo Drafthouse Cinema: How To Alamo
Bill DiGaetano, James Wallace and Bryan Penley sits down with the Dallas film media to talk about the new Alamo Drafthouse in Richardson.

	httpvh://www.youtube.com/watch?v=CDlYHPeqcAg

#### Alamo Drafthouse Cinema’s second North Texas location confirmed on South Lamar Street in Dallas
 

	Alamo Drafthouse Cinema is pleased to unveil plans for a second location in North Texas.  The eight-screen theater, and Glass Half Full Taproom, will be owned and operated by Two is One, One is None LLC, the DFW franchise partner of the Alamo Drafthouse that also owns the Alamo in Richardson.  Alamo Drafthouse Cinema will become a part of the South Side Lamar District, joining the NYLO Hotel, SODA bar, The Cedars Social, Gilley’s, Full Circle Tavern, Southside Ballroom, Terrace Bistro, Opening Bell Coffee, Poor David's Pub and Bill’s Records.  The theater will open mid-2015 at the Southwest corner of South Lamar and Cadiz Streets in Dallas – halfway between the new Omni Dallas and the award-winning South Side on Lamar.

	“We’ve had our eye on a South Lamar location since entering the North Texas market.  Everything about downtown and South Dallas dovetails perfectly with the Alamo brand. The convergence of Chef-driven restaurants, food trucks, craft breweries, the Arts District, and homegrown/local retail are all complimentary characteristics of Alamo culture and lifestyle.  Another exciting aspect is the partnerships we can form with local entrepreneurs. In Richardson, we’re already partnering with local businesses like Dude, Sweet Chocolate, Oak Cliff Coffee Roasters and various breweries; Community, Deep Ellum, Four Corners and Peticolas to name a few.  Now we can expand these relationships and form new ones with a location in the heart of Dallas,” said Bill DiGaetano, Alamo Drafthouse DFW Owner and COO.

	Jack Matthews, president of Matthews Southwest, welcomes Alamo Drafthouse to the South Side/Cedars area. “We are very pleased that Alamo Drafthouse will open in the South Side area, it gives both residents of Dallas and visitors another excuse to enjoy themselves and the city. Living in a city is about choices you can get to quickly: dinner, drinks, a movie or a great view. This will be a place for all of that. The South Side really enjoys the best views in the city and the deck here [at Alamo] will be in serious competition with the NYLO SODA Bar and the pool deck on the Omni. Mayor Rawlings’ GrowSouth vision is quickly becoming a reality in the South Side/Cedars area.”

	Alamo Dallas Details

	Alamo Drafthouse Dallas will be a state-of-the-art theater with 8-screens and just under 1,000 seats.  Each auditorium will be equipped with the latest in 4K digital projection with larger-than-average screen size to room ratios and 7.1 Dolby Surround Sound.  Select auditoriums will also feature 35mm projectors for Cinephiles to experience classic and repertory content as they were meant to be viewed.  Not only will they feature superior audio-visual equipment, additionally the format of each theater will eliminate the traditional front row, ensuring every seat in the theater allows for an optimal viewing experience.

	In addition to in-theater dining, Alamo Dallas will feature a second level Glass Half Full Taproom with two patios and a panoramic view of downtown.  The Glass Half Full Taproom and patios will have seating for 200 people and feature an extensive menu of 32 craft beers on tap; over 35 bottled beers, wine, cocktails and freshly made food.  The lounge will offer patrons an inviting place to socialize whether waiting for a movie or simply coming to sample scratch-made menu items, cocktails or local craft beers.  Antique brick salvaged from other buildings in the South Side area will be used both inside and outside of the theater as homage to the great history in downtown Dallas.  

	What Sets Alamo Drafthouses Apart

	Alamo Drafthouse combines dinner, drinks, films and events, all under one roof. The theaters have been heralded for their unique programming events and high exhibition standards, earning accolades like “Best Theater Ever” (Time Magazine) and “the coolest theater in the world” (Wired).

	Alamo Drafthouse provides a unique combination of theater and restaurant, showing first-run movies, independent films and special programming events with an extensive menu made from scratch in a state-of-the-art culinary kitchen. Customers order food and drinks from servers who quietly attend to them throughout the movie.

	Customers are encouraged to arrive early to enjoy the pre-show entertainment. Instead of a barrage of advertising, the Alamo shows a curated collection of rare and humorous clips.  “We're proud of the fact that we don't show any advertising,” Tim League said. “People don't want to pay for a movie and then be bombarded with 20 minutes or more of shampoo commercials. If you don’t like the movie, we strive to produce a pre-show good enough to still make for a great experience.”

	Alamo Drafthouse protects the theater experience with a zero-tolerance policy for people who disrupt the film with talking or texting.  Alamo Drafthouse was featured on global news for a viral “Don’t Talk” PSA that used a humorously misguided voicemail from an actual patron who was ejected for using her phone during the film.  The full story on the long tradition of Alamo’s no talking/texting policy can be found here: http://cf.drafthouse.com/she_texted_we_kicked_her_out2.html

#### Alamo Drafthouse Cinemas – DFW & Twin Cities Will Be Returning
 
The seven Alamo Drafthouse Cinema – DFW & Twin Cities with locations in Dallas, Denton, and Tarrant counties and one in Woodbury, Minnesota, are independently owned by the father and son duo, Bill D. (Owner) and Bill C. DiGaetano (Owner & CEO).  This family business signed a franchise agreement with Alamo Drafthouse Cinema in December 2010 and opened their first theater in Richardson, TX in August 2013.
CUT TO THE CHASE
“Our franchisor Alamo Drafthouse Cinema announced today that it has voluntarily filed for bankruptcy as the Coronavirus pandemic continues to have a negative affect on the movie business.  Our DFW and Twin Cities locations are not in bankruptcy.  We have confidence that when the Alamo franchisor emerges it will be even stronger and better able to support all franchisees. ” says, Bill C. DiGaetano
The DiGaetanos immediate plans have not changed.  The intention is to open their seven theaters over the next several months with the wider distribution of the COVID vaccine and a firm slate from studios for first-run film releases.
“To say that the last 12 months have been a roller coaster ride for us here at Alamo DFW & Twin Cities would be an understatement, and I know I don’t need to explain this to anyone.  This pandemic has affected every single one of us, and we all have faced challenges at home, work, and school.  The well wishes, questions, and curiosity about our reopening are truly appreciated.  Thanks to our bank, investors, local municipalities and federal government support, we are targeting a reopening this summer.  We cannot wait to see you all again in a safe, fun, and of course, over-the-top theater experience!”  -Bill C. DiGaetano
OVERVIEW OF THIS PANDEMIC YEAR
COVID-19 forced the closure of US movie theaters, including Alamo, in the first quarter of 2020.  Aside from a short 6-8 week period in August- September 2020, the seven theaters remain closed due to the lack of first-run film releases from major studios, the hesitancy of guests to attend movies and the government enforced, reduced rates of occupancy.
MOVING FORWARD
The DiGaetanos continue to invest in their theaters and retain the full support of their bank for continued operations.  This long-term banking relationship predates the opening of the first theater in 2013.  Separately, the DiGaetanos are waiting on the Small Business Administration application(s) for the Shuttered Venue Operators Grants outlined in the December 2020, COVID relief package.  These grants are specifically tailored to theaters, live music venues and certain museums that suffered significant revenue losses in 2020 versus 2019.
The film exhibition industry believes that once vaccines are more widely administered and major markets continue to reopen in New York and California, that studios will firm-up scheduled film release dates.

#### Alamo Drafthouse Denton Announces June 18th Grand Opening Date
 

	Alamo Drafthouse DFW is pleased to announce that their first theater in Denton, Texas will open on Monday, June 18th. Alamo Drafthouse Denton will be the first Alamo Drafthouse location in Texas, and just the second theater across the brand, to feature the company’s next-generation Premium Large Format standard, The Big Show. The 100% recliner, 232 seat theater features state-of-the-art Sony 4K Laser Dual projection system optimized for the enormous 66’ wide x 28’ tall curved screen and transformative Dolby Atmos audio technology with 36 finely-tuned speakers providing a truly immersive, three-dimensional audio experience.

	“As a graduate of UNT’s Radio, Television, and Film department and a former Denton resident, I couldn’t be more thrilled to finally have an Alamo Drafthouse in such an artistically and creatively driven city,” says James Wallace, Alamo Drafthouse DFW Creative Manager. “ It’s especially exciting to have our new premium large format theater, The Big Show, make its debut in North Texas at the Denton theater, and we can’t wait to work with the university and the city’s many arts organizations, film festivals, and arts community as a whole to bring Alamo Drafthouse’s signature brand of events and unique programming to the city’s cinephiles, students, families, and movie lovers alike.”

	Alamo Drafthouse Denton, with eight auditoriums ranging in size from 49 to 232 seats and combined seating for 880 moviegoers, is the acclaimed cinema-eatery’s fifth location in North Texas and is part of the Rayzor Ranch Town Center shopping, dining and entertainment destination located at I-35 and Hwy 380 in Denton, Texas.

	“We are so happy to welcome Alamo Drafthouse Denton, an exciting new entertainment venue to Rayzor Ranch Town Center,” said Linda Hinton, general manager Rayzor Ranch Town Center. “We know Denton and our surrounding communities have been awaiting the arrival of this new theater and will look forward to enjoying a top rated cinema experience just in time for the summer blockbuster season.”

	Alamo Drafthouse Denton features the company’s signature mix of first-run films and curated specialty programming, extensive made-from-scratch food and beverage menu,luxury recliner seating throughout every auditorium, and will be equipped for 3D and 35mm projection. The theater is also home to Vetted Well, a bar and event space featuring an extensive lineup of local craft beer.

	Tickets go on sale soon at drafthouse.com, and guests will be able to enjoy the best of Hollywood and independent cinema, like the upcoming JURASSIC WORLD: FALLEN KINGDOM and MISSION: IMPOSSIBLE – FALLOUT, along with Alamo Drafthouse’s eclectic repertory programming including THE ROCKY HORROR PICTURE SHOW Movie Parties in celebration of the theater’s Rocky Horror themed lobby and a “Big Movies on the Big Screen” series showcasing The Big Show. Staff training days, where guests will discounted food and non-alcoholic drinks while staff train in the new space, will run June 18th through June 21st.

	Alamo Drafthouse Denton continues the company’s high standards of delivering the best possible theatrical experience to its guests including Alamo Drafthouse’s famous andstrict “No Talking or Texting” during the film. Guests are encouraged to arrive early to enjoy curated pre-show entertainment. Instead of a barrage of advertising, Alamo Drafthouse presents a pre-show of rare (and often hilarious) clips specifically tailored to the feature film.

#### Alamo Drafthouse DFW – 2016 State of the Alamo Address
The Alamo Drafthouse DFW management team sits down to give a State of the Alamo address to talk about the successes of the Richardson, Texas location and to preview the new Dallas, Texas location.  In this address the Alamo Drafthouse DFW management team Bill DiGaetano, James Wallace, Champ Jones, Jordan Michael and Bryan Penley.

	 

#### Alamo Drafthouse DFW Expands To Denton in 2018
 

	Alamo Drafthouse DFW is pleased to announce that the fifth Alamo Drafthouse location in North Texas will be in the city of Denton. Located in the Rayzor Ranch development on the North side of Interstate 35, Alamo Drafthouse Denton is an 8 screen full service theater with approximately 925 luxury recliners and an attached full service bar and restaurant, Vetted Well, with 32 local beers on tap.

	"Denton has been a market we wanted Alamo Drafthouse to locate for a very long time.  Planning this project has been a lot of fun, especially since so many of our team are UNT alumni.  We cannot wait to give Denton the best movie experience possible and look forward to many great local partnerships." said Alamo Drafthouse DFW Chief Operations Officer Bill DiGaetano. 

	Alamo Drafthouse Denton's 8 theaters will showcase the very best new releases, iconic special events, and the company's unique take on repertory programming. Each theater will be equipped with top-of-the-line digital 4K projection and dynamic surround sound, and fully outfitted with luxury recliners that are equipped with footrest ensuring every seat in the house offers a viewing experience of unparalleled comfort.  Alamo Drafthouse Denton will also feature a Large Format Theater showcasing the very best presentation available today, which includes Dolby's Atmos sound system.  

	Continuing the company's commitment to preserving 35mm, Alamo Drafthouse Denton will also feature 35mm changeover projection so that both classic films and new releases can be experienced in glorious celluloid. Alamo Drafthouse Denton will also present the company's signature programming, like Movie Party celebrations of classic favorites (ELF, PRINCESS BRIDE, GHOSTBUSTERS), deep dives into hardcore cinephilia via the Video Vortex, and family-friendly choices like Kids Camp, low-cost screenings that raise money for local nonprofits and schools.

	The theater is expected to open in June 2018.

	The theater is now hiring: As it nears its opening date, Alamo Drafthouse Denton will be hiring for approximately 120 positions, largely from the surrounding neighborhoods. To apply or to learn more, please visit: https://drafthouse.com/dfw/careers

	Founded in 1997, Alamo Drafthouse has been heralded for unique programming events and high exhibition standards, earning accolades including "Best Theater Ever" (Time Magazine) and "The Coolest Theater in the World" (Wired). Alamo provides a unique combination of theater and restaurant, showing first-run movies, independent films and special events with an extensive menu made from scratch. Guests order all food and drinks from servers who quietly attend to them throughout the movie from inside the theater.

#### Alamo Drafthouse DFW FREE outdoor screening of THE BURBS!
Good Morning! Please join us TONIGHT for the 35MM screening of THE BURBS at the new Alamo Drafthouse Dallas / Fort Worth location. Since the building is not up the screening will be in the parking lot so bring your own chairs. There will be food trucks and local beer for purchase.  Selig Film News will be there to cover the event so look for pictures and highlights this weekend!  Details are below and we look forward to seeing you there!

	The Details:

		Alamo will be screening a 35mm print of the cult classic The Burbs on our 40' outdoor screen. Festivities start at 5pm with the film rolling at 7pm. Admission is FREE.
	

		By festivities we mean contests, film and brew. As a part of Dallas Beer Week this event will feature an opportunity to meet reps from local craft breweries as Lee Harvey's Bar pours these local beers at the event's outdoor bar.
	

		We encourage you to wear your robes and PJ's so you can take part in the PJ fashion show. We'll also be having a sardine eating contest and other over the top events!
	

		This event is BYOC. Bring your own chair!
	

	 

	Event site: https://www.facebook.com/events/348540575241813/

	Address: 100 S. Central Expressway, Richardson, Texas 75080

	

	 

#### ALAMO DRAFTHOUSE DFW NAMES JAMES WALLACE AS CREATIVE MANAGER
Alamo Drafthouse DFW, scheduled to open its first location this summer in the Richardson Heights Shopping Center, is pleased to announce that James Wallace has been named Creative Manager of Alamo Drafthouse Dallas/Ft. Worth. Primary duties will include programming, special events, private/community events, social media, and sales. 

	"James' diverse background, passion for film, and experience in this industry make him a great fit for this position and a valuable asset to Alamo's management team," said Alamo DFW’s Chief Operating Officer Bill DiGaetano about the choice. 

	A seasoned vet in the DFW film community at age 28, James began his career as the Managing Editor of Dallas-based online outlet Gordon and the Whale from where he then founded the events-based movie website I Heart Cinema, along with contributing to the Dallas Observer, Dallas Morning News' Quick Magazine, and numerous other national and local print/online outlets. He also served as the Marketing Manager for the Dallas Arts District and the Creative Director of the Dallas International Guitar Festival. 

	Regarding his new position, Mr. Wallace stated: "I could not be more thrilled and honored by this opportunity! It is a dream job come true, and I can't wait to get started in helping to transform the cinema scene in Dallas, in the very way that Alamo has done for Austin and beyond."

	 

	About Alamo Drafthouse

	The Alamo Drafthouse is a lifestyle entertainment brand with an acclaimed cinema-eatery, the largest genre film festival in the United Sates and an online collectible art store. Named “the best theater ever” by Time Magazine, the Alamo Drafthouse Cinema has built a reputation as a movie lover’s oasis not only by combining food and drink service with the movie-going experience, but also introducing unique programming and high-profile, star studded special events. Alamo Drafthouse Founder & CEO, Tim League, created Fantastic Fest, a world renowned film festival dubbed “The Geek Telluride” by Variety. Fantastic Fest showcases eight days of offbeat cinema from independents, international filmmakers and major Hollywood studios. The Alamo Drafthouse’s collectible art boutique, Mondo, offers breathtaking, original products featuring designs from world-famous artists based on licenses for popular TV and Movie properties including Star Wars, Star Trek & Universal Monsters. The Alamo Drafthouse Cinema is expanding its brand in new and exciting ways, including the launch of Drafthouse Films, a new film distribution label and plans to extend its theaters and unique programming philosophy to additional markets across the United States.

#### Alamo Drafthouse DFW ROGUE ONE Opening Weekend Events
 

	 

	The Force is strong during the Alamo Drafthouse DFW opening weekend festivities for ROGUE ONE: A STAR WARS STORY!

	Opening night in Richardson  (100 S Central Expressway #14) – December 15 from 6 p.m. – Close:

	Alamo Richardson lobby will be teeming with professional costumed Star Wars characters and droids, photo ops, a DJ, vintage Star Wars arcade game by Free Play Arcade, pop-up shops featuring Star Wars toys, comics, wearables, art, and exclusive merchandise, plus a few more surprises up the sleeve of our Jedi robe!

	 

	Friday night in Vetted Well (1005 S Lamar St., Dallas) – December 16 from 8 p.m. – Midnight:

	Vetted Well, inside Alamo Cedars’ location, transforms into a Star Wars Beach Bash, inspired by the big beach battle sequence in ROGUE ONE!

	Get ready to do the Lobot limbo, get Princess Lei'd, and bounce a Death Star beach ball! Featuring a live DJ spinning Star Wars remixes and classic beach jams as well as main stage karaoke. Join the host of professional costumed Star Wars characters to beach boogie with! A Star Wars beach-themed photo booth, professional photographer, and a themed menu featuring classic Star Wars drinks with a tropical twist. Guests are encouraged to come as your favorite Star Wars/beach mashup character!

	Appearances by professional costumed Star Wars characters and droids will occur Thursday and Saturday at Richardson and Friday at Cedars. Fans can have their pictures taken with all their favorite characters from a galaxy far, far away including Stormtroopers, Darth Vader, Rebels, Jedis, R2-D2, and even a few of the new characters from ROGUE ONE!

	 

	Featured throughout the weekend:

		Appearances by professional costumed Star Wars characters and droids.
	

		Photo ops including a ROGUE ONE-themed photo booth and a life-size version of the Star Wars Black Series action figure box (presented by CUTX).
	

		Vintage Star Wars arcade game courtesy of Free Play Arcade.
	

		Richardson Symphony Orchestra quartet playing selections of the Star Wars score live in the lobby at Richardson Saturday and Sunday afternoon.
	

		Limited edition pint glass with exclusive Mondo-designed ROGUE ONE art for sale.
	

		Full themed menu of food and drink specials straight from the galaxy far, far away.
	

	 

	Tickets: https://drafthouse.com/dfw/show/2d-rogue-one-a-star-wars-story

	 

	Addresses:

		Richardson – 100 S Central Expressway #14 Richardson, TX 75080
	

		Cedars – 1005 S Lamar St Dallas, TX 75215

#### ALAMO DRAFTHOUSE GIVES YOU THE OPPORTUNITY TO WIN THE ULTIMATE MOVIE PARTY
Austin, TX -Thursday, January 31 – Alamo Drafthouse is excited to announce its latest contest, "Win Your Own Ultimate Movie Party."  Alamo Drafthouse is known for creative in-theater celebrations for new and repertory films, screenings that combine unique thematic touches to enhance the movie watching experience. These touches have included everything from special food tie-ins, entire audiences in costume, photo booths with themed backdrops, to pre-film contests on stage and more. Now, Alamo is looking for moviegoers to submit their own ideas for the biggest, best, and most creative movie parties to be thrown at their local Alamo Drafthouse theater. Grand prizewinners will have their movie party thrown for free for up to fifty of their friends.

	"I am proudest when we are able to produce an event that movie fans will remember forever," said Alamo Drafthouse Founder and CEO Tim League. "I hope that with this contest, we can do just that."

	Patrons are invited to create their "Ultimate Movie Party" by choosing all the elements that go into making a special event at the Alamo Drafthouse, including what is screened, what food and drink is served, props provided, and all the other nuances to make the event special.

	"Creativity is key. We want to see ideas for movies and elements we haven't seen before. Stagger us with your creative ideas for a perfect movie experience, " said Alamo Drafthouse Director of Programs Kristen Bell.

	Entrants can submit their "Ultimate Movie Party" ideas via Facebook.  The deadline for submissions is February 28, 2013. "Ultimate Movie Party" ideas can be almost anything imaginable, but must follow these guidelines:

		Party must take place inside an Alamo Drafthouse Cinema location.
	

		Party is subject to film/theatrical rights availability.
	

		Party is subject to minor modifications to ensure it is possible.
	

		Party should not revolve around a celebrity guest due to possible scheduling conflicts. 
	

	From all the submissions made, five finalists and one Grand Prize winner will be chosen per city by a panel consisting of the Alamo Drafthouse programming and events teams.   The Grand prizewinners will have movie party thrown for free and can invite up to fifty of their friends. 

	Rules, guidelines and details about the "Ultimate Movie Party" Contest can be found here. For inspiration visit the Alamo Private and Community Events page. 

	 

	About Alamo Drafthouse
	Alamo Drafthouse is an entertainment brand comprised of the acclaimed cinema-eatery chain, the largest genre film festival in the United States and a collectible art gallery. Named "the best theater ever" by Time Magazine, the Alamo Drafthouse Cinema has built a reputation as a movie lover's oasis not only by combining food and drink service with the movie-going experience, but also introducing unique programming and high-profile, star studded special events. Alamo Drafthouse Founder & CEO, Tim League, created Fantastic Fest, a world renowned film festival dubbed "The Geek Telluride" by Variety. Fantastic Fest showcases eight days of offbeat cinema from independents, international filmmakers and major Hollywood studios. The Alamo Drafthouse's collectible art gallery, Mondo, offers breathtaking, original products featuring designs from world-famous artists based on licenses for popular TV and Movie properties including Star Wars, Star Trek & Universal Monsters. The Alamo Drafthouse Cinema is expanding its brand in new and exciting ways, including the launch of Drafthouse Films, a new film distribution label and plans to extend its theaters and unique programming philosophy to additional markets across the United States. More information about Alamo Drafthouse franchise opportunities are available on the official website www.drafthouse.com.

	 

	###

#### Alamo Drafthouse Goes To Irving Texas
 

	Hot on the heels of announcing the second location in North Texas on South Lamar and Cadiz south of downtown Dallas, Alamo Drafthouse Cinema DFW, voted 2014’s Best Movie Theater by the readers of D Magazine, announces today that Las Colinas is the location for the third Alamo Drafthouse in North Texas.  Alamo Drafthouse Cinema will open in the new Music Factory at Las Colinas located at Hwy 114 and Fuller Drive immediately south of the Irving Convention Center at Las Colinas. 

	The development breaks ground at a special outdoor event on Saturday night, August 30 at 7 pm featuring a free Alamo Rolling Roadshow of RAIDERS OF THE LOST ARK (1981), food trucks, temple-themed bounce houses, local craft beers from Community Beer Company, whip demonstrations, and, of course, an original 35MM print and games that have made Alamo famous. This event is BYOC (Bring Your Own Chair).  The film starts at sunset.

	http://drafthouse.com/movies/rolling_roadshow_raiders_of_the_lost_ark/dfw

	 

	Details:

		This event is FREE!
	

		Gates open at 7:00p. Movie rolls at sunset
	

		Family and four-legged friendly. Just no rats! 
	

		Bar is cash only.  ATM on site.  Most food trucks do accept credit cards
	

		No outside food or beverage except for water
	

		Absolutely no outside alcoholic beverages per TABC regulations
	

	Address: 500 W Las Colinas Blvd, Irving, TX 75039 (adjacent to the south side of the Irving Convention Center at Las Colinas in the field)

	 

	Music Factory Community

	“We couldn’t be more excited to be a part of the Music Factory at Las Colinas,” said Bill C. DiGaetano, COO of Alamo Drafthouse Cinema DFW. “We pride ourselves in taking first-run movies and events to the next level.  Being a part of an entertainment specific development is a perfect fit.  Each Alamo is unique to the community it serves; co-tenants like the 8,000-seat amphitheater, extraordinary  restaurants,  the  bowling  center,  and  other entertainment venues give us opportunities to create incredible events for our  guests  at  the theater  or  with  an neighboring venue.  Whether it’s an outdoor movie paired with live music in the amphitheater, or a screening of THE BIG LEBOWSKI before a round of bowling, it’s safe to say Alamo’s movies and events will be over the top in Las Colinas.”

	 

	Signature Features of Alamo Drafthouse Las Colinas

	Alamo Drafthouse Las Colinas will be a state-of-the-art theater.  Each auditorium will be equipped with the latest in 4K digital projection with larger-than-average screen size to room ratios and 7.1 Dolby Surround Sound.  Select auditoriums will also feature 35mm projectors for Cinephiles to experience classic and repertory content as they were meant to be viewed.  Not only will they feature superior audio-visual equipment, additionally the format of each theater will eliminate the traditional front row, ensuring every seat in the theater allows for an optimal viewing experience.  In addition to in-theater dining Alamo Las Colinas will feature a second floor lounge and patio offering an extensive menu of draft and bottled beers, wine, cocktails and freshly made food.  The lounge will offer patrons an inviting place to socialize whether waiting for a movie or simply coming to sample scratch-made menu items, cocktails or local craft beers.

	“The addition of Alamo Drafthouse to this project is a tremendous win,” said Irving Interim City Manager Steve McCullough. “We recently announced the financing on the city’s portion of the Entertainment Center and are pleased to be moving forward and bringing additional entertainment options to Irving.” 

	 

#### Alamo Drafthouse Honors the Legacy of Fred Rogers With Nationwide Program Benefiting Local PBS Stations
 

	Alamo Drafthouse is honored to name the critically acclaimed new documentary from Academy Award-winning filmmaker Morgan Neville, WON'T YOU BE MY NEIGHBOR?, a Drafthouse Recommends selection, a designation placed on films that move, innovate and inspire. To honor the work of the film's subject, Fred Rogers, Alamo Drafthouse theaters nationwide will donate $1 from each WON'T YOU BE MY NEIGHBOR? ticket sold to their local PBS stations. Additionally, throughout the month of May and June, guests who use drafthouse.com and the Alamo app will be able to add an optional PBS donation to any ticket purchase.

	"We believe in the message of the film, in Mister Rogers' mission, and in the ongoing work of our friends at PBS KIDS," says Alamo Drafthouse Chief Creative Officer Mike Sherrill. "So we're delighted to team up with our guests to give back to an organization that's benefitted kids and adults for five decades."

	Tickets are on sale now for WON'T YOU BE MY NEIGHBOR?, opening in select Alamo Drafthouse markets on June 8th, 2018 and expanding to additional locations throughout the month of June.

	20 FEET FROM STARDOM director Morgan Neville's WON'T YOU BE MY NEIGHBOR? is an emotional and in-depth look at a man who truly believed in the value of respect, kindness, and care — for children, for the disadvantaged, and for everyone. Through the use of extensive archival footage and interviews with family, friends and colleagues, WON'T YOU BE MY NEIGHBOR? tells the story of Fred McFeely Rogers and his life's work. A bullied youth, an ordained minister, an early participant in television's first decade — these experiences all led to Mister Rogers' Neighborhood, the innovative mix of education and whimsical make-believe that began airing on American public broadcasters fifty years ago.

	"I give an expression of care every day to each child, to help him realize that he is unique," said Rogers in a 1969 appearance before a Senate committee to defend federal funding for public broadcasting. "I end the program by saying, 'You've made this day a special day, by just your being you. There's no person in the whole world like you, and I like you, just the way you are.' And I feel that if we in public television can only make it clear that feelings are mentionable and manageable, we will have done a great service for mental health."

	For six years Alamo Drafthouse has used the Drafthouse Recommends program to champion great films to the widest possible audience long before awards buzz sets in. Selections have ranged from documentaries (I AM NOT YOUR NEGRO) to foreign gems (THE HANDMAIDEN) to future Oscar winners like CALL ME BY YOUR NAME, GET OUT, and THREE BILLBOARDS OUTSIDE EBBING, MISSOURI. To announce the inclusion of WON'T YOU BE MY NEIGHBOR? in the program, Alamo Drafthouse's creative team produced two videos — one focusing on why it was selected, and another highlighting an iconic moment in Mister Rogers' history.

	WON'T YOU BE MY NEIGHBOR? tickets are on sale now at drafthouse.com and the Alamo app on iOS and Android for the following Alamo Drafthouse markets.

	 

	Opening June 8th

		Dallas, TX | Alamo Drafthouse Cedars
	

		San Francisco, CA | Alamo Drafthouse Mission
	

	 

	Opening June 15th

		Austin, TX | Alamo Drafthouse South Lamar
	

		Denver, CO | Alamo Drafthouse Sloans Lake
	

		New York, NY | Alamo Drafthouse Brooklyn
	

	 

	Opening June 22nd

		Austin, TX | Alamo Drafthouse Lakeline
	

		Corpus Christi, TX | Alamo Drafthouse Corpus Christi
	

		Denver, CO | Alamo Drafthouse Littleton
	

		El Paso, TX | Alamo Drafthouse Montecillo
	

		Kansas City, MO | Alamo Drafthouse Mainstreet
	

		Laredo, TX | Alamo Drafthouse Laredo
	

		Lubbock, TX | Alamo Drafthouse Lubbock
	

		New Braunfels, TX | Alamo Drafthouse New Braunfels
	

		Omaha, NE | Alamo Drafthouse La Vista
	

		Phoenix, AZ | Alamo Drafthouse Chandler
	

		Raleigh, NC | Alamo Drafthouse Raleigh
	

		San Antonio, TX | Alamo Drafthouse Park North
	

		Springfield, MO | Alamo Drafthouse Springfield
	

		Yonkers, NY | Alamo Drafthouse Yonkers

#### Alamo Drafthouse Is Coming to Frisco With 8 Screens and Video Store Themed Bar
 

	Alamo Drafthouse is pleased to unveil plans to open their first theater in Frisco, Texas at The Hub at Frisco Station, the entertainment district of the 242-acre Frisco Station mixed-use development at the northwest corner of Warren Parkway and the Dallas North Tollway. The company's seventh North Texas location, Alamo Drafthouse Frisco is an eight screen theater with seating for over 1,200 guests, and is expected to open in 2020. It'll feature Alamo Drafthouse's signature mix of first-run films and curated specialty programming, an extensive made-from-scratch food and beverage menu, and premium luxury recliner seating throughout every auditorium.

	The new location will also feature Video Vortex, an Alamo Drafthouse bar concept new to Texas and only the second such bar for the brand. Inspired by the company's long-running Video Vortex programming series that celebrates straight-to-video cult classics from the 1980s through the early 2000s, the Video Vortex bar reimagines the classic video rental store with free movie rentals, themed cocktails, and 32 local draft beers on tap. Along with Blu-ray and DVD titles, the curated Video Vortex rental collection will feature rare VHS tapes and genre releases, including many titles never released on digital formats. The bar will also feature a fully stocked Mondo store with movie-related merchandise, games, toys, posters and vinyl releases for sale.

	"Alamo Drafthouse's first location in Frisco is particularly exciting for a few reasons," says Alamo Drafthouse DFW Chief Operations Officer Bill DiGaetano. "We have a great location right off the Dallas North Tollway and an incredible city and fan base to serve, which is always a lot of fun. Our developer, Hillwood, is known for making great developments come to life, and we couldn't be happier about working with them to bring Alamo Drafthouse to Frisco in a very big way!"

	"Alamo Drafthouse is one of the nation's most innovative entertainment brands and we couldn't be more pleased to have Alamo as the anchor for The Hub at Frisco Station," said Mike Berry, president of Hillwood, Frisco Station's master developer. "Alamo Drafthouse has transformed the movie theater industry, delivering an all-in-one, unique and interactive entertainment, dining and social experience that can't be found anywhere else. Having Alamo Drafthouse at The Hub will enhance the vibrancy and sense of place that we are creating at Frisco Station."

	Alamo Drafthouse Friscowill also present the company's signature programming and events like opening night festivities for new releases, Movie Party celebrations of fan favorites, deep dives into genre films for cinephiles, and family-friendly choices like low-cost Kids Camp screenings that raise money for local nonprofits and schools. Continuing the company's commitment to preserving 35mm, Alamo Drafthouse Frisco will also feature 35mm changeover projection so that both classic films and new releases can be experienced in glorious celluloid.

	Each of the eight screen will be equipped with top-of-the-line digital 4K projection and dynamic surround sound, and fully outfitted with premium luxury recliners that're equipped with footrests, ensuring every seat in the house offers an outstanding viewing experience and unparalleled comfort.

	Alamo Drafthouse Frisco will also present blockbuster tentpole titles in the grandest possible way via "The Big Show," Alamo Drafthouse's sensational Premium Large Format auditorium that showcases the very best presentation standards available today, including laser projection and Dolby Atmos sound technology.

	As it nears its opening date, Alamo Drafthouse Frisco will be hiring for approximately 150+ positions, largely from the surrounding neighborhoods. To apply or to learn more, please visit: https://drafthouse.com/dfw/careers

	Tyler Isbell with SRS Real Estate Partners represented Alamo Drafthouse Cinema DFW in this deal.

	Founded in 1997, Alamo Drafthouse has been heralded for unique programming events and high exhibition standards, earning accolades including "Best Theater Ever" (Time Magazine) and "The Coolest Theater in the World" (Wired). Alamo Drafthouse provides a unique combination of theater and restaurant, showing first-run movies, independent films and special events with an extensive menu made from scratch. Guests order all food and drinks from servers who quietly attend to them throughout the movie from inside the theater.

	Patrons are encouraged to arrive early to enjoy the pre-show entertainment. Instead of a barrage of advertising, Alamo Drafthouse shows a curated collection of rare and humorous clips themed to each feature. Additionally, Alamo Drafthouse protects the theatrical experience with a zero tolerance policy for people who disrupt the film with talking or texting. Alamo Drafthouse was featured on global news for a viral "Don't Talk" PSA that used a humorously misguided voicemail from an actual patron who was ejected for texting during the film. The full story on the long tradition of Alamo Drafthouse's no talking/texting policy can be found here.

	Alamo Drafthouse complements Frisco Station's master plan, which is built upon three-pillars designed to encourage smart, creative and healthy experiences throughout the development. The Hub, Frisco Station's centerpiece, is designed with more than 200,000 square feet of unique food and beverage concepts, innovative entertainment options and diverse retail selections. In addition to Alamo Drafthouse, The Hub will feature a 600-room hotel campus, anchored by a dual-branded AC Hotel and Residence Inn, both by Marriott, as well as a Canopy by Hilton. Numerous urban living options will also be offered at The Hub, including the SkyHouse (25-story high rise) and Station House projects. The hotel campus and urban living projects are currently under construction.

#### ALAMO DRAFTHOUSE KICKS OFF “SUMMER OF 1983”  WITH RETURN OF THE JEDI BACK ON THE BIG SCREEN
 

	Alamo Drafthouse is celebrating the "Summer of 1983," a sequel to last year's extremely popular film series marking the 30th anniversary of the greatest Hollywood blockbusters of the 1980s – and for many people, the most wowing cinema experiences of their childhoods. Last year Alamo honored 1982. And while that was indeed the greatest summer of movies ever, it turns out a slew of celebrated popcorn classics were released in the summer 1983 as well, movies like Trading Places, Risky Business, and National Lampoon's Vacation.

	And of course, the crown jewel of that summer was Star Wars: Episode VI – Return of the Jedi. The Alamo is proud to host the film's theatrical return for its actual 30th anniversary on Saturday, May 25. The Alamo Drafthouse Slaughter Lane in Austin, TX, will be the site of an all-day, galactic-sized celebration. Alamo is honored to be one of only two places this summer where the original trilogy classic can be seen on the big screen again, the first time since 1997.

	Return of the Jedi provided an immensely satisfying ending to the saga, following up the utter devastation wrought by a certain paternal reveal at the end of Episode V – The Empire Strikes Back with the most emotional film in the series.  With films, the passage of time can sometimes produce a feeling of predestined outcomes, as storylines and characters become ingrained in our collective consciousness.  But it was an incredibly bold move at the time for George Lucas to take Darth Vader, a walking embodiment of evil, in a more sympathetic direction, using the Emperor as a super villain foil that allowed Vader's humanity to creep in.  The Alamo is here to argue that the film's dynamic scenes between Vader, Luke and the Emperor are some of the best that science fiction cinema has ever had to offer.

	What's more, the Alamo is also going to turn the clock back to a time before the construction of the technological terror we're so proud of… yes, before the Internet Age, back when the public celebrated their anticipation for a film… in LINE! Reserved seating will not be available for Return of the Jedi and Alamo will be creating an all day party with food & Star Wars-related activities throughout the day, including a costume contest.  Tickets are on sale NOW for the May 25th Austin screening of Return of the Jedi. 

	The "Summer of 1983" programming will be featured in all Alamo Drafthouse markets, including Austin, Houston, and San Antonio, TX; Denver, CO; Kansas City, MO; and Ashburn and Winchester, VA.  Tickets for Return of the Jedi in Austin are on sale now.  Tickets for all other films will go on sale two weeks before each screening date.  Follow @drafthouse on twitter for on-sale announcements.

	The following films will be featured in "Summer of 1983":

	Return of the Jedi (Austin-only)

	Trading Places

	Scarface

	The Killing of Satan

	Risky Business

	The Deadly Spawn

	Octopussy

	Screwballs

	WarGames

	National Lampoon's Vacation

	Jaws 3-D

	 

	Visit the "Summer of 1983" website for film schedule and to purchase tickets: drafthouse.com/1983

	 

	 

#### Alamo Drafthouse Lake Highlands Announces Opening Date
 

	Alamo Drafthouse Lake Highlands will soft open on Tuesday, March 20th and celebrate its official Grand Opening on March 28th. Marking the cinema chain’s third location in the Dallas-Fort Worth metroplex, Alamo Drafthouse Lake Highlands is located in Dallas’ Creekside Shopping Center at the corner of Skillman and Abrams and will feature Alamo Drafthouse’s signature mix of first-run films and curated specialty programming, an extensive made-from-scratch food and beverage menu, premium luxury recliner seating throughout every auditorium, and a bike-friendly location that backs up to White Rock Trail. The theater is also home to Vetted Well, a bar and event space featuring an extensive lineup of local craft beer and a patio with direct access to White Rock Trail.

	“We are thrilled to finally open our location in Lake Highlands! The Lake Highlands community has already been incredibly welcoming. We’re looking forward to being a neighborhood theater as well as offering a watering hole along the White Rock Trail.” says Alamo Drafthouse DFW COO Bill DiGaetano.

	Alamo Drafthouse Lake Highlands’ eight auditoriums range in size from 31 seats to 196 seats, with combined seating for 816 moviegoers. Vetted Well has seating for 150 guests, including a patio that overlooks White Rock Trail. Free parking is available in the shopping center parking lot, and the theater will feature plenty of bike racks along the Vetted Well patio for guests entering from White Rock Trail.

	Staff training days begin March 20th, where those eager to get a first taste of Alamo Drafthouse Lake Highlands can enjoy discounted food and non-alcoholic drinks while staff train in the new space. Tickets go on sale this evening at drafthouse.com, and guests will be able to enjoy the best of Hollywood and independent cinema, like the upcoming READY PLAYER ONE and ISLE OF DOGS, along with Alamo Drafthouse’s eclectic repertory programming including an Amblin retrospective and a month-long celebration of Studio Ghibli.

	Then on Wednesday, March 28th, Alamo Drafthouse Lake Highlands will celebrate its official Grand Opening with the highly anticipated new Steven Spielberg film READY PLAYER ONE. And in true Alamo style, the grand opening will feature immersive themed opening night activations and events! Guests will enjoy retro arcade games in the lobby, state-of-the-art VR demos, an ‘80s DJ, a special food and drink menu inspired by the film, along with plenty of other surprises!

	Alamo Drafthouse Lake Highlands also features the first US installation of the new Sony 4K Digital Cinema Laser Phosphor Projectors, providing an unparalleled picture quality and cinematic presentation. In addition to the state-of-the-art projection, Alamo Drafthouse Lake Highlands continues the company’s high standards of delivering the best theatrical experience to its guests with custom pre-show entertainment before each film, rather than of a barrage of ads, and a strict “No Talking or Texting” policy during the film.

#### Alamo Drafthouse Las Colinas Grand Opening Set For May 1
 

	Hot on the heels of last month’s debut of Alamo Drafthouse Lake Highlands in East Dallas, Alamo Drafthouse DFW is pleased to announce that their first location in Irving, Alamo Drafthouse Las Colinas, will open for discounted staff training days on Tuesday, April 17th and celebrate its official Grand Opening on May 1st.

	Alamo Drafthouse Las Colinas is the acclaimed cinema-eatery’s fourth location in Dallas-Fort Worth and is part of the new Toyota Music Factory entertainment complex. It features Alamo Drafthouse’s signature mix of first-run films and curated specialty programming, an extensive made-from-scratch food and beverage menu, luxury recliner seating throughout every auditorium, and a direct view of Toyota Music Factory’s performances stages from the theater’s bar, Vetted Well.

	"Alamo Las Colinas has been a long time coming. We started looking at this site over three years ago, and to see it finally become a reality is a lot of fun,” says Alamo Drafthouse DFW COO Bill DiGaetano. “Being a part of a true entertainment development only enhances what we do as a theater brand and the experience for our guests will be second to none from the minute they park their car and come into the theater."

	Given its proximity to John W. Carpenter Freeway, named for the Texas businessman and agriculturalist who died in 1959, the Alamo Drafthouse creative team decided to have a bit of cheeky fun. The signature theme of the lobby and walkways will honor a very different John Carpenter, namely the legendary filmmaker behind HALLOWEEN, THE THING, and ESCAPE FROM NEW YORK. The lobby’s state-of-the-art interchangeable photo opp wall will feature homages to a few of the director’s most iconic films, as well as a complete John Carpenter-themed Mondo poster gallery haunting the hallways, alongside rare posters of vintage sci-fi classics.

	Staff training days begin April 17th, where those eager to get a first taste of Alamo Drafthouse Las Colinas can enjoy discounted food and non-alcoholic drinks while staff train in the new space, and the official Grand Opening will be held on May 1st. Tickets go on sale soon at drafthouse.com, and guests will be able to enjoy the best of Hollywood and independent cinema, like the upcoming AVENGERS: INFINITY WAR and DEADPOOL 2, along with Alamo Drafthouse’s eclectic repertory programming. Naturally, Alamo Drafthouse Las Colinas will also open with a month-long John Carpenter retrospective celebrating the filmmaker and the theater’s theme.

	Alamo Drafthouse Las Colinas’ seven auditoriums range in size from 28 to 151 seats, with combined seating for 712 moviegoers. Additionally, guests inside Vetted Well or seated on the bar’s second-floor outdoor patio will have a bird’s eye view of the musical acts performing daily on the stages of Texas Music Center’s Texas Lottery Plaza. Validated parking is available for guests parking in the Texas Music Center parking garage.

	Alamo Drafthouse Las Colinas continues the company’s high standards of delivering the best possible theatrical experience to its guests including Alamo Drafthouse’s famous and strict “No Talking or Texting” during the film. Each of the auditoriums will be equipped with state of the art 4K digital projection and 7.1 Dolby Surround Sound, and the theater will be equipped with 35mm projection. Each auditorium is equipped with luxury recliner seating, with the front row having foot rests. Guests are encouraged to arrive early to enjoy curated pre-show entertainment. Instead of a barrage of advertising, Alamo Drafthouse presents a pre-show of rare (and often hilarious) clips specifically tailored to the feature film.

	For developments on Alamo Drafthouse Las Colinas and Vetted Well, visit the websites and follow on socials.

#### Alamo Drafthouse Launches Monthly Beer Spotlight Program
 

	Prosit! The Alamo Drafthouse is excited to announce the launch of its new monthly spotlight exploring the vast and tasty world of beers, with a focus on a different style of brew each month. Long known as an oasis for those passionate about cinema and the moviegoing experience, "Drafthouse" is an equally vital part of the Alamo's name and identity. Celebrating craft beers has always been as much a part of the Alamo experience as the custom pre-shows, the no talking policy, and the "Royale with Cheese."

	Now, the Alamo is taking its love of beer just a step further to help novices and aficionados alike discover the nuances of IPAs, brown ales, pilsners and more. There will be special tap and bottle selections from local craft breweries, beer-centric events like exclusive keg tappings, meet-the-brewer nights and more.

	"Everyone of our locations has people behind the bar who are passionate about beer," said Alamo Drafthouse CEO Tim League, "and the Monthly Beer Spotlight focuses that passion."

	The program kicks off in September with a celebration of Oktoberfest – or Märzen style – beers. Where available, the renowned Oktoberfest offerings from heavy-hitters Shiner, Sam Adams and Brooklyn Brewery will be featured at Alamo and Glass Half Full locations. There will also be selections of Oktoberfest-style beers from local and regional craft breweries specially curated by each location.

	"With this new program, we're looking to the beer geeks on our staffs to really highlight different seasonal styles for our guests in our theaters and in our Glass Half Full Tap Rooms," said Beverage Director Bill Norris. "Stay tuned for some cool stuff we've got up our sleeves going forward too."

	 

	httpvh://www.youtube.com/watch?v=L_vx5flXsXk

#### ALAMO DRAFTHOUSE LAUNCHES SUMMER KIDS CAMP 2013
 

	Alamo Drafthouse is proud to announce the launch of its annual Summer Kids Camp screenings, a series of films programmed specifically for families. Not only can families head to their local Alamo to spend quality time together in air-conditioned entertainment bliss, but admission to all Summer Kids Camp films is 100% free. 

	"Here at the Alamo, many of us have childhood memories of heading to the movies.  We want to share our love of movies with our whole community and provide options for affordable family entertainment," said Amy Averett, Alamo Drafthouse Director of Private and Community Events.  

	Tickets are available on a first-come, first-serve basis at the lobby box office.  Customers are encouraged to arrive early to snag their tickets and enjoy custom family-friendly pre-shows full of eye-popping and laugh-inducing clips and shorts appropriate for all ages!  See below for the full Summer Kids Camp 2013 lineup.

	 

	JUNE

	Muppets Take Manhattan

	Speed Racer

	Casper

	Happy Feet

	 

	JULY

	The Land Before Time

	Bee Movie

	The SpongeBob SquarePants Movie

	Stuart Little

	Nancy Drew

	 

	AUGUST

	Spy Kids

	Monsters vs Aliens

	Madagascar

	Muppets in Space

	 

	Summer Kids Camp screenings are open to ages 3 and up. Please, no infants (check out Baby Day screenings instead, parents). All children must be accompanied by an adult. Reserved seating is unavailable for these showtimes. A ticket must be picked up at the box office before entering the theater. Our regular "No Talking" policy is still in effect, so noisy families may be asked to leave. 

	 

	For the complete lineup and synopsis of Summer Kids Camp films screening at an Alamo Drafthouse near you, visit the Alamo Drafthouse Summer Kids Camp page here. 

#### Alamo Drafthouse Presents a “KING-SIZE SUMMER” Celebrating Master of Horror Stephen King
 
Alamo Drafthouse Cinema is celebrating the master of horror Stephen King with a curated selection of cult and classic adaptations, beginning in July through the highly anticipated release of IT: CHAPTER TWO. Kicking off with a month of Terror Tuesday programming in Austin and culminating in nationwide screenings of four films in all Alamo Drafthouse cities, audiences will be able to experience a “King-Size Summer” of terror on the big screen once again.
The lineup includes an Alamo Drafthouse-wide re-release of CREEPSHOW, MAXIMUM OVERDRIVE, THE RUNNING MAN, and STAND BY ME starting in August, along with select screenings of additional classics like CARRIE, PET SEMATARY, THE MIST, and more!
“We’re crazy with anticipation for IT: CHAPTER TWO, so to ease the wait, we’re revisiting some of our favorite Stephen King adaptations,” said Sarah Pitre, senior director of programming and promotions. “These screenings will provide a chilling countdown to the final chapter of one of his most beloved works of fiction. Plus, it’s a great opportunity to build up our fear tolerance before we’re scared out of our minds by IT: CHAPTER TWO!!”
From terrifying classics (CARRIE) to anthologies (CREEPSHOW), coming of age dramas (STAND BY ME) and sci-fi dystopias (THE RUNNING MAN) Stephen King adaptations have captivated audiences for decades.
“Stephen King loves genre movies as much as we do,” said Joe Ziemba, director of genre programming. “From gushing about horror in the non-fiction book DANSE MACABRE to directing MAXIMUM OVERDRIVE, King’s passion for film is infectious. That feeling is represented in every movie that we’ve chosen in this celebration of his cinematic legacy.”
 
CREEPSHOW (Alamo Drafthouse-wide)
The seminal 1980s horror anthology to end all seminal 1980s horror anthologies, CREEPSHOW is pop-art splatterfest that’s oozing with senior citizen zombies, bad dads, furry beasties, disco dance-offs, cockroach war-zones, and Stephen King turning into a plant.
 
MAXIMUM OVERDRIVE (Alamo Drafthouse-wide)
MAXIMUM OVERDRIVE is the ultimate Stephen King retreat into total excess, a savage glimpse into the horror maestro’s deepest id and weirdest whims. King directs King! A plastic Green Goblin steals the show! Prepare to be THUNDERSTRUCK! Wheeling between high-octane action, gruesome bloodletting, and goofball humor, this is an explosive oil pyre of F-U-N.
 
THE RUNNING MAN (Alamo Drafthouse-wide)
Based on a novella by Stephen King (as Richard Bachman), this violent and legitimately funny sci-fi action romp is an underrated classic of the ‘80s.
 
STAND BY ME (Alamo Drafthouse-wide)
Based on Stephen King’s novella, Rob Reiner’s film about the sadness that comes with the end of childhood innocence still maintains an emotional resonance decades later. Entertaining, moving, beautifully shot and naturally acted STAND BY ME is one of the most unpretentious looks at that too-often used buzz term of “coming of age.”
 
CARRIE (Brooklyn, Yonkers)
Thanks to Stephen King and Brian DePalma, prom was transformed from a symbol of happiness to a violent hellscape of death. With DePalma’s bag of stylized tricks and King’s knack for pulpy shocks, CARRIE is a special kind of horror masterpiece that only comes along once every two-thousand years.
 
CHRISTINE (Austin, Brooklyn) 
CHRISTINE is John Carpenter’s go-for-broke assault on coming-of-age sentimentality in the form of a killer car movie. Adapted from Stephen King’s novel and feeling like it’s set one town over from Haddonfield in HALLOWEEN, this brooding hellraiser plays out like a greatest hits compilation from Carpenter and King’s respective careers.
 
THE DARK HALF (Austin)
Based on King’s meta-fueled novel and directed by horror legend Romero (DAWN OF THE DEAD), THE DARK HALF is a smart and overlooked creeper from the pre-SCREAM era.
 
THE DEAD ZONE (Austin)
A super-powers team-up between director David Cronenberg (THE FLY) and Stephen King seems like an impossible dream. But it happened. And it’s GREAT.
 
FIRESTARTER (Austin)
No matter what script you start with, any film with the star of PATTON, the star of APOCALYPSE NOW, and the star of E.T. – all directed by the guy who did CLASS OF 1984 – is gonna turn out pretty wonderful. What a bonus, then, to have it be a whackadoo Stephen King adaptation.
 
THE GREEN MILE (Austin)
Based upon the Stephen King serial novel, the Academy Award nominated THE GREEN MILE is a dense and enthralling film that’ll lead to introspection and the thought of what it means to lead a truly fulfilling life.
 
THE MIST (Austin)
A wonderful blend of slimy creature-feature horror, paranoia, and commentary on the inherent terror of just being inside a grocery store. It’s also a total gem, and one of the meanest Stephen King adaptations ever put to film. Featuring scenery-chomping performances by the likes of Tom Jane and Marcia Gay Harden – as well as acid-spiders, a giant squid, and spindle-legged beasties that would have made Salvador Dali scream with delight – THE MIST never shies away being a nasty little piece of nightmare-fuel.
 
PET SEMATARY (Austin, Brooklyn)
The original adaptation of Stephen King’s meditation on grief, scripted by King himself and directed by Mary Lambert, is heartbreaking, horrific, and a touch campy. Complete with a theme song from the Ramones, PET SEMATARY sums up how we all really feel about death – it’s “no fair.”
 
SLEEPWALKERS (Austin, San Francisco)
Filled with gory carnage, jaw-dropping special effects, and a constant barrage of insanity, SLEEPWALKERS is the ultimate WTF party in Stephen King’s filmography. It’s a blast.

#### Alamo Drafthouse Reunites The Class of 1984 in April
 

	In the pages of Marvel Comics, Captain America was frozen in ice at the end of WWII and thawed out in the early days of the 1960s… meaning the time between the release of GHOSTBUSTERS and today is longer than the time Cap spend out of commission. You think he's a man out of time — how do you think the movies we're featuring this month feel?

	The early '80s were a pretty great time to be a movie nerd, and the Alamo Drafthouse has already celebrated 1982 — the best summer for movies in my lifetime — and 1983, so paying homage to 1984 makes plenty of sense. This issue of BIRTH. MOVIES. DEATH is soaked in 1984 goodness, including a paean to PURPLE RAIN, a tour of the New York City of GHOSTBUSTERS, the reasoned argument for why BUCKAROO BANZAI is the single greatest cult movie of all time and a look at the production of FOOTLOOSE through the eyes of one of its stars. Internet sensation Film Crit Hulk brings his caps lock key to this issue, taking a loving look at what INDIANA JONES AND THE TEMPLE OF DOOM gets so right (hint: it's a fun movie) and Hollywood's own Noah Segan examines the punk rock housing that birthed REPO MAN (Noah has some punk cred, having starred in a movie about seminal LA punk band The Germs).
	But it's not just old stuff around here. I talked to Joe and Anthony Russo, the comedy directors who have been tasked with making CAPTAIN AMERICA: THE WINTER SOLDIER an honest to god conspiracy thriller. And just in case all of this was too racy for you, we have a thorough examination of penii in cinema, in honor of Drafthouse Films' girthy doc, THE FINAL MEMBER.  

	Devin Faraci | Badass Digest Editor in Chief

	 

	April National Programming Ticketing Link and Titles:

	http://drafthouse.com/packages/april-2014

	Zzang!!!: ADVENTURES OF BUCKAROO BANZAI ACROSS THE 8TH DIMENSION

	Dinner Party: INDIANA JONES AND THE TEMPLE OF DOOM

	INDIANA JONES AND THE TEMPLE OF DOOM

	Action Pack: INDIANA JONES AND THE TEMPLE OF DOOM Quote-Along

	A NIGHTMARE ON ELM STREET

	PURPLE RAIN

	Action Pack: PURPLE RAIN

	 

	Titles playing at select Alamo Drafthouse locations in April:

	CAPTAIN AMERICA: THE WINTER SOLDIER

	THE FINAL MEMBER

	BLOOD SIMPLE

	Girlie Night: 10 THINGS I HATE ABOUT YOU

	Action Pack: DUMB & DUMBER Quote-Along

	FOOTLOOSE

#### Alamo Drafthouse Richardson Celebrates 30 Years of the Year 1984
 

	In April, Alamo Richardson celebrates the 30th anniversary of some classic films released in 1984 by playing them on the big screen.

	"1984 is a special year for movies. It's not only the year that gave the world a new generation of movie lovers now turning 30 in 2014 (myself included), but it gave us classics like TEMPLE OF DOOM, A NIGHTMARE ON ELM STREET, ADVENTURES OF BUCKAROO BANZAI ACROSS THE 8TH DIMENSION, PURPLE RAIN, FOOTLOOSE, THE NEVERENDING STORY, GHOSTBUSTERS (which is now unavailable for public showings in the wake of Harold Ramis' untimely passing) and so many more! And so as those movies turn 30, we're giving them all the proper birthday celebration—back on the big screen at Alamo this month!” said James Wallace, Alamo DFW programmer.

	 

	Titles playing at Alamo Drafthouse Richardson in April:

	April ‘1984’ National Programming Titles:

	Zzang!!!: ADVENTURES OF BUCKAROO BANZAI ACROSS THE 8TH DIMENSION

	Dinner Party: INDIANA JONES AND THE TEMPLE OF DOOM in 35MM

	A NIGHTMARE ON ELM STREET in 35mm

	Action Pack: PURPLE RAIN Sing-Along

	FOOTLOOSE Dance-Along

	 

	April 1: THE JERK in 35MM on April Fool’s Day with live pre-show featuring local comedians (MS-150 Fundraiser)

	April 2: QUEEN Sing-Along

	April 6: The Benson Movie Interruption ft. Doug Benson: JURASSIC PARK

	April 7: BONDthology: THUNDERBALL

	April 7: AGFA Secret Screening

	April 8: Video Vortex: TURKISH CAPTAIN AMERICA

	April 9: Dallas Screenwriters’ Association: ScriptsLIVE! KISS KISS BANG BANG

	April 10: MONTY PYTHON AND THE HOLY GRAIL Quote-Along

	April 13: THE NEVERENDING STORY (1984)

	April 15: Girlie Night: 10 THINGS I HATE ABOUT YOU (Alamo 100)

	April 16: FOOTLOOSE Dance-Along (1984)

	April 16: AIR Time: BEETHOVEN

	April 17: DUMB & DUMBER Quote-Along & Oskar Blues Beer Feast

	April 20: DAZED AND CONFUSED Quote-Along on 4/20 (Alamo 100)

	April 20: HARVEY on Easter Sunday

	April 21: PURPLE RAIN Sing-Along (1984)

	April 22: A NIGHTMARE ON ELM STREET in 35MM (1984)

	April 23: TEMPLE OF DOOM Dinner Party in 35MM (1984)

	April 24: ADVENTURES OF BUCKAROO BANZAI ACROSS THE 8TH DIMENSION (1984)

	 

	Texas Frightmare Week in association with Texas Frightmare Weekend May 2, 3, 4

	April 27: CREATURE FROM THE BLACK LAGOON 3D: 60th Anniversary Showing

	April 28: SAW

	April 29: TERMINATOR Double Feature

	April 30: THE BLAIR WITCH PROJECT

	April 30: REPO! THE GENETIC OPERA

	May 1: Mystery Screening with special guests (announced soon)

	 

	 

	*Please note: Some dates subject to change. Always check http://drafthouse.com/dfw/richardson for up-to-date showtimes and tickets. 

#### Alamo Drafthouse Richardson Celebrates 50 Years of James Bond
 

	Alamo Drafthouse Richardson adds 50 years of 007 to its line up starting January 7 and continuing the 7th of every month for 23 months until the new James Bond movie comes out fall 2015.

	"January brings the beginnings of another series celebrating all-time great films, right alongside The Alamo 100. On January 7, we'll begin a two year-long James Bond series celebrating everyone's favorite debonair, womanizing super spy! All 23 007 films on the big screen. One a month, on the 7th of the month, every month taking us into the release of Bond #24 on November 6, 2015. We start it off on Tuesday, January 7, 2014 with the one that started it all: 1962's DR. NO featuring Sean Connery as the original Bond, James Bond," said James Wallace, Alamo DFW programmer.
	Admission for the 007 series will range between $5-$10.

	Alamo Drafthouse Richardson, 100 S. Central Expressway #14, Richardson, TX 75080
	http://drafthouse.com/dfw/richardson.

#### Alamo Drafthouse Richardson Christmas Classics: Vintage and Modern
 

	December wouldn’t be complete without a multitude of Christmas movies—old and new. At Alamo (100 S. Central Expressway #14, Richardson, TX 75080) this month, we celebrate Christmas movies on the big screen as they were meant to be seen—some surprising, others it just would be Christmas without.
	 
	"You can't NOT show the Christmas classics during December, but we've all seen them a million times when they marathon us to death with them every year during this time. So we decided to re-gift a few of everyone's favorite holiday films by making them interactive! Including medical films that show all the difficulties of male impotence, materials for these films are taken from the calonmedical.com. We're talking quote-alongs, sing-alongs, props to play along, themed food and more. ELF, A CHRISTMAS STORY, CHRISTMAS VACATION, HOME ALONE, BAD SANTA and LOVE ACTUALLY have all gotten the Alamo Drafthouse treatment with Action Pack. And of course we have the presents under the tree and trinkets in your stockings that you expect—everything from IT'S A WONDERFUL LIFE to NIGHTMARE BEFORE CHRISTMAS! While we didn't want to be a Scrooge, we threw in some of the unconventional favorites—SCROOGED, DIE HARD, GREMLINS, and even a few misfit toys like AMERICAN PSYCHO and EDWARD SCISSORHANDS," said James Wallace, creative manager, Alamo DFW.
	 
	December’s special programming series includes these films:
	 
	12/1 – WHITE CHRISTMAS
	12/2 – EDWARD SCISSORHANDS
	12/3 – AMERICAN PSYCHO 
	12/4 – Action Pack: BAD SANTA Party with props
	12/5 – Prohibition Night in honor of the 80th anniversary of the repeal featuring LAWLESS with "Wettest County in the World" author Matt Bondurant, Prohibition-era cocktails, moonshine, 1930s music, 'Meet The Distiller' with Herman Marshall Whiskey, and more!
	12/7 – HOME ALONE Pizza Party
	12/8 – Action Pack: A CHRISTMAS STORY Party with props
	12/10 – Action Pack: ELF Quote-Along
	12/11 – Girlie Night: LOVE ACTUALLY
	12/12 – Evening with THE HOBBIT double feature with LORD OF THE RINGS music live with a quartet from the Richardson Symphony Orchestra
	12/13 – FRIDAY THE 13TH (in 35MM) on Friday the 13th
	12/16 – SCROOGED 
	12/17 – NIGHTMARE BEFORE CHRISTMAS
	12/18 – Action Pack: CHRISTMAS VACATION Quote-Along
	12/19 – XMAS Pop Sing-Along
	12/21 – Cartoon Cereal Party: Christmas Edition
	12/22 – IT'S A WONDERFUL LIFE
	12/23 – GREMLINS 
	12/24 – DIE HARD 
	12/31 – New Year's Eve Sing-Along
	 
	 “All in all, if you've been a good little boy or girl, you should get everything you asked for this December at Alamo Drafthouse Richardson including amazing first run movies such as OUT OF THE FURNACE, HOBBIT: THE DESOLATION OF SMAUG, WOLF OF WALL STREET, THE SECRET LIFE OF WALTER MITTY and more!" concluded Wallace.
	 

#### Alamo Drafthouse Richardson February Programming: Love-Centric
 

	At Alamo Drafthouse Richardson this month, the spirit of Valentine’s Day permeates all February long with a full slate of love-themed movies.

	"Love is in the air this February at Alamo Drafthouse! When programming February, the theme was obvious: Valentine's Day. But that day, synonymous with chocolate, flowers, greetings cards and stuffed animals the size of VW Beetles, isn’t all of that for everyone; therefore, we programmed the films that we are in love with. This results in films that capture every level of relationships: from falling in love to falling out of love, to being so love-struck that you can't do anything but sing, to full-frustration mode to fight your love’s 7 evil exes to win his or her affections. Basically, no matter what love means to you, we promise that there's a film that will capture your heart—the classics, the sappy, the indie, the comedy, the '80s rock ballad, and more. This February, we hope you choo-choo-choose Alamo Drafthouse as your Valentine!" said James Wallace, creative manager, Alamo DFW.

	 

	February’s Special Programming includes:

	2/1—Big Screen Classics: GROUNDHOG DAY at 1:00p

	2/3—AGFA SECRET SCREENING at 7:30p

	2/6—Action Pack: ULTIMATE ‘90S PARTY at 8:00p

	2/7—DRAFTHOUSE FILMS: THE ACT OF KILLING at 10:00p

	2/8—DRAFTHOUSE FILMS: THE ACT OF KILLING at 10:00p

	2/9—WEST SIDE STORY at 12:30p

	2/9—DRAFTHOUSE FILMS: THE ACT OF KILLING at 10:00p

	2/10—Girlie Night: YOU’VE GOT MAIL at 7:45p

	2/12—Dallas Screenwriters Association's SCRIPTSLIVE!: WHEN HARRY MET SALLY at 7:00p

	2/13—THE NOTEBOOK at 6:55p

	2/13—Master Pancake: THE NOTEBOOK at 7:30p

	About Master Pancake presents THE NOTEBOOK:

	Whether your t-shirt reads: “I Heart Valentine’s Day” or “I Hate Valentine's Day,” chose your own Valentine's Day adventure with THE NOTEBOOK.

	In one theater, Alamo presents a lovey-dovey showing of THE NOTEBOOK complete with fancy-dancy menu specials for all hoity-toity lovebirds. 

	For all, uh, hatebirds, Alamo presents Master Pancake Theater’s take on THE NOTEBOOK. The movie mockers bring the hammer down, and go-all-Gosling via DRIVE on the romance classic. 

	2/15—Action Pack: SCOTT PILGRIM VS THE WORLD QUOTE-ALONG at 9:30p

	2/16—AN EVENING OF JOHN WILLIAMS MUSIC: HARRY POTTER AND THE PRISONER OF AZKABAN at 3:30p

	2/16—AN EVENING OF JOHN WILLIAMS MUSIC: INDIANA JONES AND THE LAST CRUSADE at 8:00p

	2/18—Action Pack: MOULIN ROUGE SING-ALONG at 7:35p

	2/20—JARED’S EPIC PARTY PRESENTS TEENAGE MUTANT NINJA TURTLES PIZZA PARTY at 7:15p

	2/21—JARED’S EPIC PARTY PRESENTS TMNT II: SECRET OF THE OOZE W/ KEVIN EASTMAN, ERNIE REYES JR. AND MORE at 8:00p

	2/22—Action Pack: THE BIG LEBOWSKI QUOTE-ALONG at 9:00p

	2/23—Big Screen Classics: CASABLANCA at 12:30p

	2/24—Tough Guy Cinema: STREETS OF FIRE at 9:00p

	2/26—Action Pack: THE LOVE BITES SING-ALONG at 8:00p

	Both YOU’VE GOT MAIL and CASABLANCA are selections from the “Alamo 100,” a list of essential films chosen by the theater’s programmers. Unveiled in January, “Alamo 100” titles, listed on http://alamo100.com, will be a part of the theater’s nationwide programming throughout 2014. Free collectible button pins themed to each title will be available while supplies last at every Alamo 100 screening.

	“All in all, if you're in love this February or loving to hate the Love month, you’ll love being at Alamo Drafthouse Richardson as always with all this special programming, we, of course, have our full slate of first-run movies such as MONUMENTS MEN, THE LEGO MOVIE and more!" concluded Wallace.

#### Alamo Drafthouse Richardson Hosts THE WORLD’S END Preview Screening, Special Guests
 

	On Thursday, July 25, Alamo Drafthouse Cinema Richardson will host a very special FREE advance screening of THE WORLD’S END inside the yet-to-be-open Alamo Drafthouse Richardson followed by a FREE double feature of the classics SHAUN OF THE DEAD (2004) and HOT FUZZ (2007) outside in the Alamo parking lot on the 40-foot Rolling Roadshow screen. THE WORLD’S END is in the tradition of the earlier movies as the final film in the “Blood and Ice Cream” Trilogy.

	The Trilogy’s director Edgar Wright and stars Simon Pegg and Nick Frost will be in attendance to introduce the films and take part in a special Q&A. Trilogy fans are encouraged to come dressed as a giant Cornetto ice cream cone, zombie, cop, or a zombie cop!

	Alamo Richardson's programmer James Wallace had this to say about the event: "We could not be more excited to host the ‘Blood and Ice Cream’ Trilogy in its entirety as a part of our pre-grand opening festivities…and having the guys here to present it is just the chocolate sauce on top. When I think of filmmakers that ARE Alamo, Wright, Pegg, and Frost are at the top of that list. It's going to be a bloody awesome night that no movie nerd will want to miss."

	Thursday, July 25:

	7 pm: THE WORLD’S END screening, followed by Q&A with Edgar Wright, Simon Pegg, and Nick Frost

	9 pm: Rolling Roadshow Double-Feature: SHAUN OF THE DEAD followed by HOT FUZZ, with introduction by Edgar Wright, Simon Pegg and Nick Frost

	Food trucks and an outdoor bar will be on hand in the parking lot for the screenings.

	Gates for the Rolling Roadshow screenings open at 6:30 pm. Outdoor films roll once the indoor screening is finished.

	The indoor screening has a limited seating capacity. Passes for which will be required and are to be distributed online in the coming weeks.  Stay tuned to Alamo Drafthouse DFW's Facebook (www.facebook.com/alamodrafthousedfw) and Twitter (www.twitter.com/alamodfw) for information on getting passes.  

	The outdoor screenings are first come, first serve until capacity for the fenced-in area is reached. No pass is needed for admittance for the outdoor screenings only. It is BYOC (Bring Your Own Chair).
	 
	“Blood and Ice Cream” Trilogy synopses:

	SHAUN OF THE DEAD (2004) – A man decides to turn his moribund life around by winning back his ex-girlfriend, reconciling his relationship with his mother, and dealing with an entire community that has returned from the dead to eat the living. 

	HOT FUZZ (2007) – Exceptional London cop Nicholas Angel is involuntarily transferred to a quaint English village and paired with a witless new partner. While on the beat, Nicholas suspects a sinister conspiracy is afoot with the residents.

	THE WORLD’S END (2013) – Five friends reunited in an attempt to complete an epic pub crawl from 20 years earlier unwittingly become humankind's only hope for survival.
	 
	The Alamo Drafthouse is a lifestyle entertainment brand with an acclaimed cinema-eatery, the largest genre film festival in the United Sates and an online collectible art store. Named “the best theater in America” by Entertainment Weekly, the Alamo Drafthouse Cinema has built a reputation as a movie lover’s oasis not only by combining food and drink service with the movie-going experience but also introducing unique programming and high-profile, star studded special events.
	 

#### Alamo Drafthouse Richardson JURASSIC WORLD Events
 

	“Hold on to your butts.”

	The park is open and so is the Alamo Drafthouse Richardson for JURASSIC WORLD! Join us for some T-rrific fun for all ages beginning this Thursday evening (June 11) for early shows and opening day Friday (June 12) continuing throughout the weekend. Alamo Drafthouse Richardson is located at 100 South Central Expressway, Richardson, TX 75080. drafthouse.com/dfw/richardson

	 

	PHOTO OPS GALORE!

	You can have your photo taken with a replica Jurassic Park Jeep, parked out front of the theater Thursday through Sunday. On Thursday evening, local cosplay personalities will also be in attendance dressed as characters from the franchise.

	The photo ops don’t stop there! Inside the lobby you'll find a photo booth with a real motorcycle (and fake raptors) so you can channel your inner Chris Pratt and recreate the already iconic charging raptor pack scene. For the kiddos, we'll have a dino dig outside on the patio AND a mini JP Power Wheel Jeep.

	 

	ADD TO YOUR COLLECTION

	On Thursday and Friday evenings also Saturday and Sunday afternoon, our friends from THE LOST TOYS Toy Store will be in our lobby with a pop-up shop featuring both new and vintage JP toys for sale. So if you've spent the last 20+ years regretting not buying that battle damage dino OR you just want to start collecting now, they aren't extinct!

	 

	To quote John Hammond "Who's hungry?"

	As always, Alamo will have a themed menu for those dinosaur-sized appetites. Veloci-WRAP-tor anyone?!

	Thursday night will also see the release of the theater’s first exclusive pint glass – an official collaboration between Alamo Drafthouse and Universal Pictures for JURASSIC WORLD. Pint glasses could be preordered with advance tickets. But if you missed your chance, don't go all Gennaro! There will be a limited amount available for purchase at box office while supplies last.

#### Alamo Drafthouse Richardson opens a week earlier
 

	"We could not be more excited to announce that we are moving our grand opening up a full week to August 9th!  Since we announced Alamo Richardson last year, our fans have been inquiring about the opening.  We have had such a great response to our coming to DFW that we want to meet you cinephiles as soon as possible," said Bill DiGaetano, COO Alamo Drafthouses DFW. 

	"Also, keep the night of July 25th open.  We have a surprise indoor/outdoor event coming your way. This is in addition to the three free Rolling Roadshow screenings for our OUTDOOR SUMMER SERIES already scheduled in July," DiGaetano hinted.

	Soft Opening Dates

	August 6-8:
	50% off food
	$2 movies

	Opening Week

	Aug 9-15:
	25% off food just to say thank you for welcoming Alamo
	 

#### Alamo Drafthouse Richardson: Alamo 100 Programming For January 2014
 

	Alamo Drafthouse unveils its list of 100 favorite films, the "Alamo 100," as chosen by the theater's national film programmers based in Austin. Beginning in January 2014, Alamo – Richardson will start screening films throughout the year from this non-ranked list of essentials—Alamo100.
	 
	And just what is the Alamo 100?

	Our local programmer, James Wallace describes the list best: “There's the AFI 100, Sight & Sound Top 100, the IMDb 250; those are nothing like the Alamo 100! The thing I love about this list is it's one for movie lovers by movie lovers, very much our approach as a theater and our programming as a whole. It carries no pretension. It is and isn't a cult list, a classic list, an art snob, an indie list, a popcorn blockbuster list, a guilty pleasure list… it's really all of those things at the same time, comprised of the films that we would take with us if we had to live alone on an island and could only take 100 movies to watch over and over for the rest of our lives. Simply put, its movies we can't live without and can't live with not making sure you see them too!"
	 

	According to Alamo’s national programmers

	A quick glance at the Alamo 100 reveals the incredible diversity of taste on the national programming team, which consists of Tim League, RJ LaForce, Greg MacLennan, Sarah Pitre, Tommy Swenson, and Joe Ziemba.
	 
	“In the end, it all boiled down to the fact that we just love the hell out of movies. And so this list is defined, not by filmmaking genius or cultural impact, but by the space reserved in our hearts,” says Sarah Pitre, national programmer based in Austin. “The Alamo 100 encompasses the movies that we wore out on VHS, the films our friends are sick of hearing us rave about, the cinematic gems that feel like living, breathing members of our family. This is a list that reminds us why we fell in love with cinema in the first place, and why the magic of that romance will never fade.”

	In order to generate the Alamo 100, each programmer was given the Herculean task of paring down his or her own list to just 100 favorites. These titles were then compiled and ranked based on two factors: 1) their rank on each programmer's list, and 2) the number of times the title appeared on more than one list.
	 
	January’s entries

	The Alamo 100 launches this January at Alamo in Richardson with eight titles that capture the spirit of this list:

		—RAGING BULL (1980) – January 5
	

		—MONTY PYTHON AND THE HOLY GRAIL (1975) – January 9
	

		—BRAZIL (1985) – January 12
	

		—CITY LIGHTS (1931) – January 19
	

		—RAIDERS OF THE LOST ARK (1981) – January 22
	

		—THE GOONIES (1985) – January 23
	

		—SIXTEEN CANDLES (1984) – January 28
	

		—DR. STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (1964) – January 29
	

	 
	Explore the full list as well as view the programmers' individual lists: Alamo100.com.
	 

#### Alamo Drafthouse Richardson: ALAWEEN HALLOWEEN CARNIVAL Thursday, October 31, 2013 4-6 p.m.
Kick off Halloween’s trick or treating at the Alamo Drafthouse – Richardson with the ALAWEEN HALLOWEEN CARNIVAL. Plans for some scary fun are in order with lots of treats and a few tricks. And the best parts are it's totally FREE and fun for the whole family!

	WHEN:               
	Thursday, October 31, 2013 from 4-6 p.m.
	WHERE:           
	Alamo Drafthouse – Richardson
	100 S. Central Expressway #14, Richardson, TX 75080
	 
	FAMILY ACTIVITIES AND VISUALS GALORE:

		Scooby Doo Mystery Machine Bounce House
	

		Pumpkin decorating
	

		Face painting by Sondra Beamon to enhance your costume
	

		Costume contest with prizes
	

		DJ Playdate spinning spooky tunes in the lobby for a Monster Mash Dance Party
	

		Trick or treating in the theaters
	

		Classic Halloween TV specials on loop
	

		Halloween-themed cocktails for the parents in Glass Half Full (for purchase) and creepy crawly punch for the kids
	

	
	This event is in association with the Richardson Heights Neighborhood Association: http://www.richardsonheights.org

#### Alamo Drafthouse Richardson: An Evening of John Williams Music With The Richardson Symphony Orchestra
 

	Alamo Drafthouse Cinema – Richardson in collaboration with the Richardson Symphony Orchestra, celebrates the music of the master of movie scores, John Williams, on Sunday, February 16, 2014 at 100 S. Central Expressway, Richardson, TX 75080. The 35-piece orchestra of the Richardson Symphony will perform for 30 minutes prior to two films back to back. An Evening of John Williams Music features include HARRY POTTER & THE PRISONER OF AZKABAN at 3:30 pm and INDIANA JONES & THE LAST CRUSADE at 8 pm.
	 
	An Evening of John Williams Music
	 
	Join us for a night featuring musical selections from the legendary composer's most iconic film scores with a 35-piece orchestra from the Richardson Symphony Orchestra performed in the theater paired with the two separate film showings: HARRY POTTER & THE PRISONER OF AZKABAN and INDIANA JONES & THE LAST CRUSADE. The two sets from the symphony feature different pieces and will include selections from a variety of films featuring the signature scores of Mr. Williams and not just music from the two films shown. 
	 
	“It goes without saying that John Williams is considered to be one of the greatest film composers of all time, if not the greatest. As of 2014, Mr. Williams holds the record with the most number of Oscar nominations in the Best Musical Score with 43 nominations with 4 wins and likely counting. In his career spanning more than six decades, he has composed some of the most popular and recognizable film scores in cinematic history, including JAWS, STAR WARS, INDIANA JONES, E.T., CLOSE ENCOUNTERS OF THE THIRD KIND, JURASSIC PARK, HARRY POTTER, SUPERMAN, SCHINDLER'S LIST, SAVING PRIVATE RYAN and many more—all scores that movie lovers like us hum without even thinking about it,” said James Wallace, Alamo DFW creative director.

	30-minute concert prior to these feature films:

	HARRY POTTER AND THE PRISONER OF AZKABAN (2004) 3:30 pm $15
	http://drafthouse.com/movies/an-evening-of-john-williams-music-harry-potter-and-the-prisoner-of-azkaban/dfw
	 
	INDIANA JONES AND THE LAST CRUSADE (1989) 8:00 pm $15
	http://drafthouse.com/movies/indiana-jones-and-the-last-crusade/dfw
	 
	The Richardson Symphony will have approximately 35 musicians involved in the performances before the films. This will include all strings (violin, viola, cello and bass), all brass (French horn, trumpet, trombone and tuba), woodwinds (flute, clarinet, oboe and bassoon) and percussion (a variety including timpani).
	 
	“Our continued collaboration with the Alamo Drafthouse is important because it helps the symphony reach a much broader and more diverse audience as it increases our exposure throughout the community,” said Clay Couturiaux, Richardson Symphony Orchestra’s music director and conductor.
	 
	“The hope is to gain a whole new fan base for the orchestra through the exposure at Alamo. Music plays such an integral role in film. It adds to the plot, builds suspense, helps to define character and creates atmosphere and emotion. Imagine watching the movie JAWS without the music track,” concluded Couturiaux.
	 
	The orchestra will be performing a full concert featuring John Williams' music on Saturday, February 15th at the Charles W. Eisemann Center for Performing Arts at 8:00 pm. Details: http://richardsonsymphony.org
	 

#### ALAMO DRAFTHOUSE RICHARDSON: BACK TO THE FUTURE II Screening at Texas Theatre
 

	 

	The Alamo Drafthouse is pleased to announce a collaboration with Aviation Cinemas and Texas Theatre for a special showing of BACK TO THE FUTURE PART II with a themed after party to celebrate the day that Doc Brown and Marty McFly travel to the future – October 21, 2015.

	It will be a night where the past and the future collide at the historic 84-year-old theater. Festivities begin at 6:30 pm and will feature a replica DeLorean Time Machine, custom Wild Gunman arcade, a DJ spinning '50s, '80s and 2015 music, themed drink specials and more surprises!

	 

	EVENTS' SPECIAL TIMES

		The showing of the film will occur at 7:28 pm on the dot: $15
	

		The precise time Doc and Marty travel from 2015 back to an alternate 1985.
	

		An earlier screening earlier in the day at 4:29 pm: $2
	

		Lining up with the time that they travel to 2015.
	

	 

	ENCHANTMENT UNDER THE SEA Dance

	After the movie, the theater will be transformed into Hill Valley High School’s Enchantment Under The Sea Dance

		Live music by Austin’s Calling Jack Burton playing all the hits from the film with a themed performance complete with decor, costumes and more
	

		Attendees are encouraged to dress in either 1950s or 1980s attire
	

	 

	ALAMO & TEXAS TEAM UP

	James Wallace, Alamo Drafthouse DFW Creative Manager/Programmer, said:

		“The BACK TO THE FUTURE series is not only one of the most fan-loved franchises in cinema, but it sits at the top of my own list of favorite films of all time. So I felt personally responsible for planning an event that captured the spirit of the beloved films and celebrated this once in a lifetime anniversary.” Wallace added “And we are thrilled to team up with our friends at the Texas Theatre. As a movie nerd, I can’t imagine many things more heavy than two theaters like ours coming together on one night to co-host a night that fans will never forget.”
	

	Barak Epstein, CEO of Aviation Cinemas and operator of The Texas Theatre said:

		"We've been looking for screening event to work together on ever since Alamo Drafthouse came to town and I can't think of a better mashup than this once in a lifetime time space alignment of 10-21-15!" 
	

	 

	Show Tickets: https://www.movietickets.com/default.aspx?page=purchase&perf_id=818260350&movieid=16502&language=0&_ga=GA1.2.419192025.1404580621

#### Alamo Drafthouse Richardson: On The Case in March With Crime Movies and More
 

	In March, Alamo (100 S. Central Expressway #14, Richardson, TX 75080), turns all attention to some favorite crime movies like MEMENTO, THE MALTESE FALCON, NORTH BY NORTHWEST and CLUE. Yes, CLUE!

	"Crime doesn't pay but going to Alamo this March does! In celebration of Wes Anderson's latest film—the crime caper THE GRAND BUDAPEST HOTEL—we're thrilled to feature a few of everyone's favorite crime flicks of all time! But the investigation doesn't stop there. We're also featuring every Anderson film that we could get our hands on, back on the big screen for Wes Anderson Week, culminating with the Dallas-treasured first, BOTTLE ROCKET! Plus a whole lot more cool stuff throughout the month. So get on the case this month at Alamo Drafthouse Richardson,” said James Wallace, Alamo DFW programmer.

	Titles playing at Alamo Drafthouse Richardson in March:

	Wes Anderson Week in celebration of THE GRAND BUDAPEST HOTEL featuring: 

	March 1: MOONRISE KINGDOM

	March 2: FANTASTIC MR. FOX

	March 3: THE LIFE AQUATIC

	March 4: THE ROYAL TENENBAUMS

	March 5: RUSHMORE

	March 6: BOTTLE ROCKET

	 

	March 8: Master Pancake presents: BACK TO THE FUTURE (2 shows)

	March 9: Tough Guy Cinema: DIRTY HARRY

	March 11: Tiki Bingo Night in Glass Half Full

	March 11: MEMENTO

	March 12: MONTY PYTHON AND THE HOLY GRAIL Quote-Along

	March 13: The Beyoncé Sing-Along

	March 13: PEE-WEE’S BIG ADVENTURE: Charity Screening benefitting Concerns Of Police Survivors & Officer Down Memorial Page

	March 13: Geeks Who Drink in Glass Half Full

	March 16: THE MALTESE FALCON

	March 17: Only at The Alamo: THE BOONDOCK SAINTS on St. Patrick’s Day

	March 18: WellGo: THE WRATH OF VAJRA

	March 19: March MAGIC MIKE Madness

	March 20: THE BIG LEBOWSKI Quote-Along

	March 21: MUPPETS MOST WANTED release

	March 21: DIVERGENT release

	March 21: Drafthouse Films: CHEAP THRILLS release

	March 23: NORTH BY NORTHWEST

	March 26: The Action Pack: CLUE Quote-Along

	March 28: THE GRAND BUDAPEST HOTEL release

	March 29: Cartoon Cereal Party: CAPTAIN N with special guest Randy Studdard, creator and former Nintendo staff member; Nintendo Power Magazine editor. Presented by GoSeeTalk.com

	March 31: Music Monday: OUR VINYL WEIGHS A TON with a vinyl swap in the lobby!

	*Please note: Some dates subject to change. Always check http://drafthouse.com/dfw/richardson for up-to-date showtimes and tickets. 

#### Alamo Drafthouse South Lamar And The HighBall Announce Re-Opening
 

	We're back! Alamo Drafthouse South Lamar and The Highball, both part of the same building for the first time, will be hosting Fantastic Fest 2014, which begins on September 18. Located in the Lamar Union complex in South Austin, the theater will be open for business on Saturday, August 16 featuring director Michel Gondry's highly anticipated Mood Indigo as the opening film with the first screening at 12:15pm.  Select Victory members will be invited to the private soft-opening "friends and family" training days featuring ½ price food beginning tomorrow Wednesday, August 15th.  Sign up for Victory at drafthouse.com/austin#join to learn more.

	The expanded Alamo Drafthouse South Lamar features three brand new auditoriums for a total of nine screens.  Auditoriums range in size from 46 seats to 198 seats, with combined seating for 975 moviegoers.  Newly built and now adjacent to the theater, The Highball bar features seven karaoke rooms, a ballroom dance floor and stage, a lounge area, and an outdoor patio.  Guests will find parking in Lamar Union's 576-space parking garage adjacent to the theater.

	"We wanted to preserve as much of the spirit of the old Alamo South Lamar but extend on the ideas we explored in the first place," said CEO and founder Tim League. "We hired the same artists, muralist Heyd Fontenot and sculptor Evan Voyles, to update the work they originally created.  We've also added some great new additions including a Shining themed photo booth and some truly outrageous new karaoke room themes."

	 

	Alamo Drafthouse South Lamar

	With dine-in service available in each auditorium, Alamo Drafthouse South Lamar's nine screens will again feature new release movies, family and independent films, as well as the Alamo's unique signature programming. Each of the auditoriums will be equipped with state of the art 4K digital projection, big screens and amazing sound.  Furthermore, the Alamo offers reserved seating in all auditoriums so that guests can always choose their favorite seat. Guests are encouraged to arrive early to enjoy Alamo's pre-show entertainment of rare clips, videos, and shorts that are custom-curated to complement each feature film or event.

	Tickets for Grand Opening on August 16 will be on-sale at Drafthouse.com. 

	 

	The Highball

	Rebuilt directly adjacent to the South Lamar theater and including much of the original's furniture, equipment and wall finishes, The Highball returns with its full service bar, uniquely themed karaoke rooms, dance floor, stage, and lounge area, along with its newest feature, an outdoor patio.  While no longer featuring bowling, the original Highball's classic bowling lanes have been repurposed into a dance floor, a bar top, ceiling details, and benches.  The Highball's new food menu, designed by Alamo Chef Jason Donoho, features a mix of classic favorites and new items.  Continuing to highlight the best in craft beer, The Highball features 24 taps that include two spots for draft cocktails designed by Alamo Beverage Director Bill Norris.  Alamo Drafthouse was thrilled to work with longtime Alamo programmer and friend Zack Carlson and his wife Laura Fleischauer of Space Warp Design to create The Highball's new karaoke rooms.  Zack and Laura were like kids in a candy store as their imaginations ran wild designing each karaoke room's mind-blowing theme.  The state-of-the-art karaoke rooms feature new song lists, voice synthesizers, and cocktail bottle service. Room descriptions are below.

	 

	KARAOKE 1: FREAKS

	Step right up into our gallery of the odd, the unusual, the unexplainable and the unimaginable! Stay long enough and you'll become one of us. Gooble gobble!

	 

	KARAOKE 2: MIDNIGHT MANOR

	Your blood runs cold as you take shelter in this decaying house; forgotten by all… except the inhabitants of the cemetery next door.

	 

	KARAOKE 3: TRULY OUTRAGEOUS

	Harness the power of glitter and glamour to transform into the ultimate neon-charged new wave superstar!

	 

	KARAOKE 4: THE FIFTH DIMENSION

	Beyond the human mind lays a universe of bold impossibilities. Time, form and substance… sound and shadow… all will be revealed in the swirling vortex of The Fifth Dimension.

	 

	KARAOKE 5: JOYSTICKS

	Dust off your Powerglove; it's time to battle marauding gangs of ghosts and goombas in our no-rules 8-bit battlefield!

	 

	KARAOKE 6: THE BLACK LODGE

	The center of the darkest woods leads into the Red Room, a surreal and mysterious limbo where you can always find a damn fine cup of coffee. Let's rock.

	 

	KARAOKE 7: THE INFERNO

	Metal gods and major ragers can unleash the beast within The Inferno.

	 

	For more information on The Highball you can visit the website at www.highball.com.  To reserve one of the Highball karaoke rooms, visit http://thehighball.com/reservations.

	 

	
			
				
			
				
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#### Alamo Drafthouse Teams Up With Comedian Doug Benson For New “Movie Interruption” Series
 

	The Alamo Drafthouse is pleased to announce the launch of its new, nationwide series, "The Movie Interruption," the brainchild of hardworking funnyman Doug Benson ("Super High Me" "Last Comic Standing" "Best Week Ever") and host of the hit podcast, "Doug Loves Movies." The programming series will feature Benson and his fellow comedians in the front row of the theater, performing a live comedy show where they riff on classic and not-so-classic movies on the big screen. "Movie Interruption" shows of TERMINATOR 3, 2 FAST 2 FURIOUS, and BAD BOYS 2 and more have been hits with Alamo audiences already in Austin, Kansas City, Yonkers and beyond.

	"We don't just tear into sequels, we take on original garbage as well," Doug jokes. "And we will also be doing some classics. Because there's extra humor to be mined in any film. Well, not any movie, we won't be interrupting 12 YEARS A SLAVE, for instance."

	Audiences will be able to catch "Movie Interruptions" regularly at Alamos nationwide. At participating venues, the shows will feature a regular host comedian along with a rotating cast of other local comics and visiting talent.

	"The Benson Movie Interruption" shows will feature Doug in person, interrupting the movie with some of his friends and local performers, while the regular weekly "Movie Interruption" shows will feature Doug in spirit, having helped to choose the movies and the comics who interrupt them.

	Alamo theaters in Kansas City, MO, Yonkers, NY, and Littleton, CO, will be the first to feature regular weekly "Movie Interruption" shows starting in December with the inaugural title LETHAL WEAPON.

	At Alamo Drafthouse Mainstreet, Kansas City, comedian Chris Cubas will host the weekly shows along with a roster of local talent and visiting comedians. Just named one of Comedy Central's 10 "Comics to Watch" for 2013, Chris has performed at SXSW, the Moontower Comedy Festival, and has been a guest on the "Doug Loves Movies" podcast.

	"As a long time fan of the Drafthouse I'm crazy exited to come on board," enthuses Chris. "And to be able to do so by interrupting movies with great comics? Doesn't get better than that."

	At Alamo Drafthouse Yonkers, comedian and actor Rob Cantrell will be hosting the weekly "Movie Interruption." Rob has performed stand-up comedy at Bonnaroo and SXSW, made appearances performing sketches on the "Colbert Report," and was a top ten finalist on the first season of NBC's "Last Comic Standing." 

	"I have always dreamt of 'World Peace,' quips Rob. 'Love for my fellow man'…  and having a microphone in my hand while goofing on a film like ROADHOUSE with my top-notch comedian friends," quips Rob. "Now, thanks to Doug and The Alamo, it is really going to happen!"

	Upcoming Alamo Drafthouse Dates:

	Littleton:

	12/15 – Benson Movie Interruption: LETHAL WEAPON

	http://drafthouse.com/movies/the-benson-movie-interruption-lethal-weapon/denver

	Kansas City:

	11/24 – Benson Movie Interruption: GOTHIKA

	http://drafthouse.com/movies/the-benson-movie-interruption-gothika/kansas_city

	12/6 – Movie Interruption: LOVE ACTUALLY

	http://drafthouse.com/movies/the-movie-interruption-love-actually/kansas_city

	12/13 – Movie Interruption: LETHAL WEAPON

	http://drafthouse.com/movies/the-movie-interruption-lethal-weapon/kansas_city

	Yonkers:

	12/15 – Movie Interruption: LETHAL WEAPON
	http://drafthouse.com/movies/the-movie-interruption-lethal-weapon/nyc_area

#### ALAMO DRAFTHOUSE THEATERS IN NORTH TEXAS TO BEGIN REOPENING AUGUST 20
 
After a long five months away, Alamo Drafthouse is beyond excited to announce its six North Texas locations will begin to reopen this week. Alamo Drafthouse Lake Highlands will reopen first on Thursday, August 20, followed by Alamo Drafthouse Cedars and Alamo Drafthouse Richardson on Monday, August 24, Alamo Drafthouse North Richland Hills and Alamo Drafthouse Denton on Tuesday, August 25, and Alamo Drafthouse Las Colinas on Wednesday, August 26. Tickets are on sale now for THE NEW MUTANTS, BILL & TED FACE THE MUSIC, and more at Alamo Drafthouse Lake Highlands, with tickets for all other venues on sale this Friday. TENET will open Thursday, September 3, with tickets going on sale soon.
“We’re looking forward to welcoming everyone back to Alamo Drafthouse and getting back to what we love to do – bringing guests the best film, food, and drinks all in one seat,” says Bill DiGaetano, CEO of Alamo Drafthouse North Texas. “With our enhanced safety protocols we ‘re confident about opening and providing the safest and most enjoyable experience possible for our staff and guests.”
Audiences have been clamoring for the chance to see movies like Christopher Nolan’s highly anticipated action epic TENET and third chapter in the BILL & TED saga.
In addition to new releases, Alamo Drafthouse plans to continue its tradition of leading the industry in the most diverse selection of films at any theater in the world with two incredible repertory programs:
MAKING UP FOR LOST TIME This August series explores time, time travel, time machines, time warps and…lost time! The classic time-twisting movies INCEPTION, BACK TO THE FUTURE I and II, BILL & TED’S EXCELLENT ADVENTURE, DONNIE DARKO, and THE EDGE OF TOMORROW. Inspired by BILL & TED FACE THE MUSIC and a feeling everyone is now too familiar with – lost time.
MASKS! Masks have been a ubiquitous part of our reality for the past five months, essential for slowing the spread of Coronavirus and mandated at Alamo Drafthouse theaters. But masks have also been a staple of cinema since the invention of celluloid, and this September Alamo Drafthouse is celebrating our favorite masked heroes and villains across a variety of genres, including BATMAN (1989), SPIDER-MAN: INTO THE SPIDER-VERSE, SET IT OFF, MAD MAX: FURY ROAD, THE MASK OF ZORRO, and THE SILENCE OF THE LAMBS.
Alamo Drafthouse will continue to offer films for rental or purchase through Alamo On Demand. A 100% curated VOD platform, Alamo On Demand allows programmers to champion new and exciting films far beyond the auditorium. Following the exclusive theatrical launch of BILL & TED FACE THE MUSIC, the film will also be available on Alamo On Demand.
As announced previously, Alamo Drafthouse has developed an array of aggressive new procedures and protocols to protect guest and team member health and safety. Full details can be found at https://drafthouse.com/covid-safety.
Alamo Drafthouse will reopen close to half its locations across the country over the next two weeks. Please check your local theater website for more information.

#### Alamo Drafthouse to Open 7-Screen Theater in Downtown Brooklyn This Summer
 

	“You talkin’ to me?” Not at the Alamo Drafthouse Downtown Brooklyn. The Austin-based cinema chain, known for its strict “no talking, no texting” policy is pleased to officially announce their much-anticipated theater in Downtown Brooklyn is set to open Summer 2016.

	Currently in its final phase of construction, the flagship theater, located at 445 Gold Street – at the intersection of Fulton and Flatbush Avenues – will be a movie-lover's paradise featuring seven screens celebrating all forms of cinema. True to the brand’s roots, Alamo Drafthouse Downtown Brooklyn will feature a diverse programming slate blending the best arthouse and independent releases with Hollywood’s biggest blockbusters. With the ability to screen both 35mm film and digital formats, the theater will also boast a robust repertory program that salutes the classics and the obscure with equal fervor.

	“It’s been a long time coming but we cannot wait to bring the Alamo Drafthouse experience to Brooklyn,” said Alamo Drafthouse Founder and CEO Tim League. “The impact on film from this region is indelible and expansive. Hopefully, we can add to that rich fabric and give fans, new and old, a place to honor the joy of cinema.”

	While this new location will feature the Alamo Drafthouse’s signature series Terror Tuesday, Video Vortex and Girlie Night, the programming will also champion the distinct tastes of Brooklyn and New York audiences.  “As a local and avid moviegoer myself, I know New Yorkers are equally excited for the latest from Pixar as they are the first from Michael Haneke,” says Brooklyn Creative Manager Cristina Cacioppo. “This city has the most adventurous audiences of anywhere in the world and our screens will be reflective of that.”

	Like all of the company’s theaters, Alamo Drafthouse Downtown Brooklyn will match its love of movies with its love of food and drink to provide in-theater dining in all seven screens featuring a full menu influenced by local flavors and ingredients. The theater bar will also showcase a deep array of the best local beers on tap as well as the finest hand-crafted cocktails. And true to form, the ironclad “no-talking, no-texting” policy will be in full effect along with unique special events, multi-course film feasts, live performances and the extensive participation of filmmaking talent.

	For more information on Alamo Drafthouse Downtown Brooklyn, please visit: https://drafthouse.com/nyc

#### ALAMO DRAFTHOUSE’S NEXT LIMITED EDITION SIGNATURE WINE PAIRS NICELY WITH LIVER AND SOME FAVA BEANS
 

	Alamo Drafthouse is delighted to announce the launch of its second limited edition signature wine, inspired by Jonathan Demme's 1991 Oscar-sweeping thriller, The Silence Of The Lambs.  After the success of last year's The Princess Bride-inspired "The Bottle Of Wits," the Alamo is now making an oenophilic nod to noted gourmand, wine connoisseur and psychopath Hannibal Lecter for this year's "The Cannibal Chianti," and one to elusive lotion enthusiast Buffalo Bill for the "Suit Yourself Pinot Grigio."  Both wines will be available at all Alamo Drafthouse locations and online at silenceofthelambswines.com on May 29, 2013.

	 

	"The Cannibal Chianti" is a DOCG-wine from a vineyard situated between Florence and Sienna. It is a blend of 85% Sangiovese, balanced with smaller contributions of Canaiolo and Malvasia del Chianti.  The nose is loaded with dark berry fruit with bass notes of allspice and baked quince.  Its mouth feel is medium-bodied and well balanced, with savory plum and tobacco leaf notes leading to a slight sandalwood finish.

	 

	"Suit Yourself Pinot Grigio" is a 2012 vintage with a mixture of fruit from California's Central Coast and inland vineyards. It offers a lush bouquet of tangerine and orange blossom.  The palate starts with a crisp entry and a velvety mouth feel that bursts into flavors of tropical peach and Mexican limes with just a hint of honey, leading to a zesty, citrus-laced finish.

	 

	To develop the bottle and package design of these wines, Alamo Drafthouse again turned to local Austin creative firm Helms Workshop.  The subtle yet intricate designs unfold like a puzzle for fans of the movie, with tiny details referencing the film and its central characters of Buffalo Bill, Hannibal Lecter and Clarice Starling.

	 

	"Even before we launched the "Bottle of Wits" series last year, we knew we had to reference what is in my opinion the most iconic wine moment in movie history, Hannibal Lecter's now famous food pairing advice," said Alamo CEO and Founder Tim League.

	 

	"Suit Yourself Pinot Grigio" and "The Cannibal Chianti" will only be available for one year. Both of these covetable wines will be available at all Alamo Drafthouse locations for $8 a glass and $32 a bottle (prices may vary).  Retail bottles are available for purchase at silenceofthelambswines.com and at select Alamo Drafthouse locations where local laws permit.

	 

	A limited number of packaged wine sets will be available for purchase online only. "The Cannibal Chianti" set comes with a leather red dragon bag of fava beans with a recipe for their preparation by Alamo chef Trish Eichelberger.  The "Suit Yourself Pinot Grigio" set features a burlap bag containing a bottle of Buffalo Bill lotion.

	 

	Mondo, the division of the Alamo Drafthouse championed for bringing art back to movie poster design, is supporting the launch of the new wine by releasing two limited edition The Silence of the Lambs screenprints.  The posters go on sale Thursday, May 30.  Follow @MondoNews on Twitter for exact sale time.

	 

	THE SILENCE OF THE LAMBS                             THE SILENCE OF THE LAMBS

	Poster 1                                                                     Poster 2

	Artist: Caesar Moreno                                                Artist: Caesar Moreno

	Sale Date: Thursday, May 30                                    Sale Date: Thursday, May 30

	Edition Size: 150                                                        Edition Size: 110

	Size: 24" x 36" Screenprint                                        Size: 24" x 36"

	Price: $40                                                                   Price: $40

	                   

	 

	"Suit Yourself Pinot Grigio" and "The Cannibal Chianti" wine will be featured at The Silence of the Lambs Feasts taking place at select Alamo Drafthouse locations nationwide.  The four-course menu, created by Alamo Drafthouse Austin Market Chef Trish Eichelberger, will feature wine pairings, including "Suit Yourself Pinot Grigio" and "The Cannibal Chianti."  And, of course, Trish's spin on "liver and some fava beans" will play a prominent role.  See below for Feast dates and locations.

	 

	6/19 –  The Silence of the Lambs Feast – Alamo Drafthouse Slaughter Lane in Austin, TX:

	http://drafthouse.com/movies/the_silence_of_the_lambs_feast/austin     

	 

	6/20 –  The Silence of the Lambs Feast – Alamo Drafthouse Westlakes in San Antonio, TX:

	http://drafthouse.com/movies/the_silence_of_the_lambs_feast/san_antonio  

	 

	6/25 –  The Silence of the Lambs Feast – Alamo Drafthouse Winchester in Winchester, VA:

	http://drafthouse.com/movies/the_silence_of_the_lambs_feast/winchester

	 

	6/26 –  The Silence of the Lambs Feast – Alamo Drafthouse Littleton in Littleton, CO:

	http://drafthouse.com/movies/the_silence_of_the_lambs_feast/denver

	 

	6/27 –  The Silence of the Lambs Feast – Alamo Drafthouse Mason Park in Houston, TX:

	http://drafthouse.com/movies/the_silence_of_the_lambs_feast/houston

	 

	6/27 –  The Silence of the Lambs Feast – Alamo Drafthouse Mainstreet in Kansas City, MO:

	http://drafthouse.com/movies/the_silence_of_the_lambs_feast/kansas_city

	 

	6/27 –  The Silence of the Lambs Feast – Alamo Drafthouse Loudoun in Ashburn, VA:

	http://drafthouse.com/movies/the_silence_of_the_lambs_feast/northern_virginia 

	 

	7/17 – The Silence of the Lambs Feast – Alamo Drafthouse Vintage Park in Houston, TX:

	http://drafthouse.com/movies/the_silence_of_the_lambs_feast/houston

	 

#### Alamo Richardson Special Programming: 80th Anniversary of Prohibition Repeal Day (Dec 5) and Evening with THE HOBBIT (Dec 12-13)
 

	Alamo Drafthouse Cinema – Richardson (100 S. Central Expressway #14, Richardson, TX 75080) celebrates an anniversary from real history books and another from JRR Tolkien’s Middle Earth “history”.
	 
	Prohibition Night – Thursday, Dec. 5, 2013
	 
	On January 16, 1919, Congress passed the 18th Amendment, outlawing alcohol in an effort to hopefully put an end to drunkenness, crime, and poverty, ushering in 13 years of Prohibition. Ironically, America's thirst for alcohol increased during Prohibition, and organized crime rose up to replace formerly legal methods of production and distribution.
	 
	On December 5, 1933, Congress ratified the 21st Amendment, repealing Prohibition and restoring the American freedom to drink.
	 
	Tickets are now on sale for Thursday, December 5, 2013, Prohibition Night, in celebration of the 80th anniversary of the repeal! Get your illegal drink on from 7-8 pm in Glass Half Full Tap Room inside the Alamo- Richardson lobby with Prohibition-era cocktails, moonshine, 1930s music, a “Meet The Distiller” with Herman Marshall Whiskey, and more!
	 
	Then join us at 8 pm for a special showing of LAWLESS, paired with a conversation "The Wettest County in the World" author Matt Bondurant, the book in which LAWLESS is adapted from. Bondurant's grandfather, Jack Bondurant, and two granduncles ran a massive moonshining operation in the mountains of southwest Virginia and are the subject of his novel and the film.
	 
	Tickets: http://drafthouse.com/movies/lawless/dfw
	 

	++++++++++++++++++++++++++++++
	 
	Evening with THE HOBBIT – Thursday, Dec. 12, 2013
	 
	Alamo launches so many Hobbity things on Thursday, December 12 in preparation for opening weekend of THE HOBBIT: THE DESOLATION OF SMAUG, it will turn you into a wooly-footed slowcoach! So get your costumes ready, Ringers, and prepare to go on a journey to Middle Earth at Alamo Drafthouse – Richardson. THE HOBBIT: THE DESOLATION OF SMAUG opens at midnight Friday, December 13, 2013.
	 
	"Middle Earth is a long journey away, but we're bringing it closer to LORD OF THE RINGS fans this December at Alamo Drafthouse Richardson. Eat the Hobbit meals, hear Howard Shore's score live, come in costume and join us on an unexpected journey for the desolation of Smaug with THE HOBBIT Double Feature, and more!" said James Wallace, Creative Manager.
	 
	 
	Evening with THE HOBBIT – Thursday, Dec. 12 starting at 7 pm:
	 
	— A quartet from the Richardson Symphony Orchestra in lobby playing score selections from both the LORD OF THE RINGS and THE HOBBIT series on Thursday, December 12th from 7-10 pm before the midnight showings of THE HOBBIT: THE DESOLATION OF SMAUG.
	 
	 
	— A special LORD OF THE RINGS-themed menu specials featuring food and drink from the 7 Hobbit meals!
	 
	HOBBIT MENU SPECIALS INCLUDE:

	FOOD

	FIRST BREAKFAST:
	Fresh eggs, crispy bacon, grilled mushroom, seared orange
	 
	SECOND BREAKFAST:
	Strawberries and cream
	 
	DINNER:
	Stewed Coney with taters, carrot and leak served with crusty bread
	 
	ELVEN LEMBAS BREAD:
	More of a chewing exercise
	 
	SMAUG’S TREASURE FRIES:
	Sweet potato fries, house-made beef chili, cheddar, scallions
	 
	A HOBBIT’S SALTED PORK SANDWICH:
	Prosciutto, white cheddar, leaf lettuce, tomato, red onion, Dijon mustard on a fresh baguette
	 
	DRINK
	 
	DRAGON’S BREATH:
	Rye whiskey, lemon, and sugar with a malbec float
	 
	MITHRANDIR:
	Gin, lemon, maraschino liqueur, creme de violette
	 
	HOPPIT BREW:
	American double/Imperial IPA Moa Brewing Company from Blenheim, New Zealand
	 
	Menu subject to change per availability
	 
	 
	— And more to be announced soon!
	 
	— Buying advance tickets to opening weekend of THE HOBBIT will enter you in a drawing for one month's worth of free Alamo movie passes for January 2014. As a bonus, everyone who purchases advance tickets will receive a special FREE song download from THE DESOLATION OF SMAUG soundtrack, courtesy of Warner Bros.
	 
	2D Tickets: http://drafthouse.com/movies/the-hobbit-the-desolation-of-smaug-2d/dfw
	 
	3D Tickets: http://drafthouse.com/movies/the-hobbit-the-desolation-of-smaug-3d/dfw
	 
	3D HFR Tickets: http://drafthouse.com/movies/the-hobbit-the-desolation-of-smaug-3d-high-frame-rate/dfw
	 
	THE HOBBIT Double Feature Tickets: http://drafthouse.com/movies/the-hobbit-double-feature-2d/dfw
	 
	 

#### Alamo Richardson Special Programming: HALLOWEEN October 2013
 

	One of the best times of year to be at Alamo Drafthouse is leading up to Halloween! So many movies have been made to thrill, excite, stir and, let’s be honest, just plain scare the bejeebers out of audiences since the days of early cinema. At Alamo (100 S. Central Expressway #14, Richardson, TX 75080) this month, you’ll get a lot of the usual-suspect scary movies as well as other classics that don’t automatically pop to mind as being classic Halloween films. http://drafthouse.com/dfw/richardson.
	 
	In programming October, programmer, James Wallace explored the breadth of Halloween-centric movies—not just the all-time great Horror films, which include all-time great films that take place on or around Halloween like E.T. The Extra-Terrestrial, THE CROW and DONNIE DARKO, just to name a few—coincidentally three films that have given us some of the best Halloween costumes ideas year after year. As always, we encourage our audience to come in costume to complete the experience.
	 
	“Of course, our Halloween Horror programming all started with John Carpenter’s HALLOWEEN on Halloween itself. But because we need some tricks to go along with our treats, we’re also having our friends at Master Pancake make a trip up to bring you their unique brand of movie mockery of Michael Myers the Sunday before Halloween,” said Wallace.  “If you’ve ever seen a Master Pancake show, just imagine the hilarity that the long, silent shots of Michael starring creepily could provide!”
	 
	Halloween-centric Horror titles throughout the month include:

		Rob Zombie’s HOUSE OF 1000 CORPSES
	

		PUMPKINHEAD in 35mm
	

		THE MONSTER SQUAD in 35mm
	

		CREEPSHOW in 35mm
	

		NIGHT OF THE DEMONS in 35mm
	

		Girlie Night: HOCUS POCUS
	

		TRICK’R’TREAT
	

	 
	Spooky, fun family-friendly All Hallow’s Eve films including:

		The Cartoon Cereal Party: Halloween Special Extravaganza, an all-you-can-eat-cereal grub fest featuring some of the all-time great animated Halloween specials. (Really, this is as much for kids as it is kids at heart).
	

		FREE Kid’s Camp title: MONSTER HOUSE and THE ADDAMS FAMILY
	

	
	 
	Classic Universal Monster Matinee Sunday Series:

		THE WOLF MAN
	

		Double Creature Feature: FRANKENSTEIN/BRIDE OF FRANKENSTEIN
	

		DRACULA
	

	If you attend every Classic Universal Monster Matinee (including CREATURE FROM THE BLACK LAGOON in 3D, which kicked the series off on Sunday, Sept 29), you’ll have the chance to win the Universal Classic Monsters: The Essential Collection on Blu-ray!
	 
	Also showing in October:

		GHOSTBUSTERS Quote-Along
	

		Girlie Night: THE CRAFT
	

		Video Hate Squad: ROCKTOBER BLOOD
	

		Michael Jackson Sing-Along
	

		ROCKY HORROR PICTURE SHOW Sing-Along

#### Alamo Richardson Special Programming: Tough Ladies and T.Hanksgiving November 2013
 

	Sit up and take notice; the ladies are in charge this November—the ladies and the all-around good guy and everyman of our generation, Tom Hanks. At Alamo (100 S. Central Expressway #14, Richardson, TX 75080) this month, we celebrate Tough Ladies and T.Hanksgiving.
	 
	"We are thankful for a lot here at Alamo Drafthouse. In November, numero uno on that list is tough ladies, with programming including some of the best films featuring the most bad ass women in film from every genre and era,” said James Wallace, programmer.  
	 
	November’s Tough Ladies series includes these films:

		Amy Poehler's Smart Girls presents: TO KILL A MOCKINGBIRD with special video intro by Amy Poehler
	

		BUFFY THE VAMPIRE SLAYER 
	

		ADVENTURES IN BABYSITTING
	

		THELMA & LOUISE Beer Dinner
	

		GILDA 
	

		FOXY BROWN 
	

		BONNIE AND CLYDE Beer Dinner
	

		ALIENS 
	

		KILL BILL 
	

		KILL BILL, PART II 
	

		THE LADY EVE 
	

		Girlie Night: NINE TO FIVE 
	

		FARGO 
	

		COAL MINER'S DAUGHTER
	

	 

	“We're also thankful for Tom Hanks (let's be honest… who isn't?), and there's no better time than Thanksgiving to celebrate the aptly named T. Hanks with our T.HANKSGIVING series, featuring some of the everyman's all-time greatest films!” Wallace concludes. “You won't just have turkey, stuffing and pumpkin pie to fill up on this month; you'll have a cornucopia of awesome programming at Alamo Drafthouse Richardson!"
	 
	T.Hanksgiving films include:

		SLEEPLESS IN SEATTLE 
	

		LEAGUE OF THEIR OWN 
	

		SAVING PRIVATE RYAN (special Veteran's Day screening with proceeds going to HeroesProject.org)
	

		TURNER & HOOCH
	

		BIG 
	

		FORREST GUMP 
	

	 
	 
	Free Kids Camp films continue in November with:

		THE LAST STARFIGHTER (in celebration of ENDER'S GAME)
	

		EXPLORERS (in celebration of ENDER'S GAME)
	

		LAND BEFORE TIME 
	

		HOW TO TRAIN YOUR DRAGON
	

	 

	Very special screenings also playing in November include:

		A STREETCAR NAMED DESIRE (to honor the 100th anniversary of Vivien Leigh's birthday)
	

		FREE SHARKNADO showing with Sharknad-O-Vision!
	

		MOONRAKER with Richard Kriel in attendance
	

		SERENITY with the North Texas Browncoats
		 

#### Alamo Richardson: 50th Anniversary Screening of DR. STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB hosted by Chris Vognar and Robert Wilonsky of the Dallas Morning News
 

	Alamo Drafthouse Cinema – Richardson (100 S. Central Expressway #14, Richardson, TX 75080) celebrates the 50th Anniversary screening of DR. STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB on January 29, the day it premiered in 1964.

	DR. STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB – Wednesday, Jan. 29, 2014

	DR. STRANGELOVE, the British-American black comedy film, satirizes the nuclear scare of the mid- 20th Century. It was directed, produced, and written by Stanley Kubrick (co-written by Dallas resident Terry Southern) and stars Peter Sellers and George C. Scott featuring Sterling Hayden, Keenan Wynn, and Slim Pickens.

	“We couldn't let the 50th anniversary of Stanley Kubrick's monochrome masterpiece go unnoticed, especially with its roots right here in DFW—screenwriter Terry Southern graduated from Sunset High School in Oak Cliff and an SMU alum—which is why we've tracked down a pristine print of the film on 35MM to be shown on its original release date, January 29. We’ve invited a couple of our friends, namely Chris Vognar and Robert Wilonsky of The Dallas Morning News to introduce it and lead a discussion after the film. Something tells me, we won't have to tell them there's no fighting in the war room on this one!" said James Wallace, Alamo DFW programmer.

	Find out tidbits and trivia about DR. STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB on Wednesday, January 29, 2014, 7:45 pm when Robert Wilonsky and Chris Vognar of The Dallas Morning News host the screening 50 years to the day of its release in 1964.

	Tickets: http://drafthouse.com/movies/dr.-strangelove/dfw

	Admission: $10

#### Alamo Richardson: DSA ScriptsLIVE! Presents TOY STORY 3
 

	The Dallas Screenwriters Association (DSA) is proud to feature Toy Story 3 as the third screenplay to be read during its ScriptsLIVE! shows, returning to the Alamo Drafthouse Cinema – Richardson Wednesday June 11 at 7 pm. The screenplay, written by Michael Arndt, was nominated for Best Adapted Screenplay in 2011.

	The first two ScriptsLIVE! shows were performed in front of a full house with every seat in the ADH 73 theater filled with excited audience members.

	ScriptsLIVE! is a dramatic reading of a classic screenplay in front of a live audience. The professional actors, seated in director’s chairs, present the material with a fresh read providing the audience with a new take of a popular film. Behind the cast of local actors will be projected establishing shots to set the scene.

	Screenwriter Michael Arndt, known for The Hunger Games: Catching Fire (2013), Oblivion (2013) and Little Miss Sunshine (2006) wrote the screenplay for Toy Story 3 based on a story by John Lasseter, Andrew Stanton and Lee Unkrich. The screenplay took 2 1/2 years to write and storyboard.

	Based on the popular Script Read events produced by Jason Rietman at the LCMA in Los Angeles, the DSA is launching this new program as a way to educate people about the art and craft of screenwriting while also entertaining them.

	FEATURING TALENTS

	The entire cast is from Dallas/ Fort Worth. Woody will be played by Chester Maple (Avenue Q), Buzz Lightyear will be played by Lance Eakright, (Salem, Human Wreckage and Issues), Jessis will be voiced by Lara Woodhull (voice actress for FUNimation Entertainment) and Lotso will be voiced by returning ScriptsLIVE! actor Troy Randall Smith (S/A/T/X and Faisal Goes West).

	The supporting cast includes talented voice actress Brina Palencia, along with film actors Tim Taylor and Jeff Fenter.

	The remaining ScriptsLIVE! shows for the year (held every other month, always on the second Wednesday of the month) include  Groundhog Day and Back to the Future.

	The event is free to attend with a reservation.

	http://drafthouse.com/movies/scriptslive-toy-story/dfw

#### Albert Fish (DVD) – A Review by Michael Edwards
Back in 2004 I reviewed a film called “H.H. Holmes: America’s First Serial Killer”, and up until now I’ve thought that was the most disturbing movie about a serial killer I had ever seen. I was wrong. Leave it to the keen cinematic eye of filmmaker John Borowski to follow his earlier project up with a lurid new look into the mind of a maniac. His new film brings to life the sick, twisted and sadistic acts of 1930’s child murderer Albert Fish.
I’ve always been fascinated by serial killers. Not in the ‘I wanna be like them’ kind of way, but more the ‘how the heck can any human being do that to another human being’ kind of way. I still don’t understand… and maybe its better I don’t… how anyone can be so cruel and monstrous. And on the case of Albert Fish, and others like him, how they can be so horrible to a child. Watching “Albert Fish”, I could not help but think of my own little girl. She’s only three and I cannot imagine placing her in such a horrific situation.
For those of you who have never heard of Fish, he was arrested back in 1934 for the kidnapping, murder and cannibalism of 10 year old Grace Budd. He was already in his sixties, and the stories that came out of that trial painted a picture of evil that is almost unbelievable to any civilized person. The fact that he had also killed others came to light, though no one knows exactly just how many. Yet throughout his life he came across as a rather innocuous person. Someone you would tip your hat to going down the street and never give him a second thought.
But some of you, regardless of your level of interest in someone like Albert Fish, may be turned off by the fact that it is a documentary. But what sets Borowski’s documentaries apart from, say, something you’d see on the History Channel or Court TV is that the style of the film and attention to detail in the dramatizations are so shocking as to command your attention. We’re not talking some flat video sequences of mannequin looking actors dressed up, but real honest and compelling performances. Even the narration, by Tony Jay (who sadly passed away a few months ago) is delivered as if he is truly interested in sharing the subject with you and not simply reading off of a script.
Fish is portrayed by actor Oto Brezina, whom I’ve never seen before though his resume is quite extensive, and he gives quite the chilling performance. I think the fact that he is a relative unknown helps the credibility of seeing him as Fish. Through his body language and expressions, there is little doubt that a sociopathic individual lurks beneath what appears to be an innocent appearance.
Borowski includes interviews with experts in the film, though some of them seem a little less credible than the actor. Most notably is artist Joe Coleman, an Albert Fish aficionado who managed to get his hands on the original letter that led to his arrest. He comes across as being rather… disturbed… himself going as far as to compare his psyche to Fish’s. But instead of killing, he paints….. riiiiiigghhtt…. Still, Coleman’s appearance in “Albert Fish” is only one of two nitpicks I can find in the film. The other is some of the unusual imagery Borowski uses to give us the ‘impression’ of Fish’s religious delusions. From a filmmaking standpoint, I can see what he was going for, it just didn’t work for me the way I believe he intended.
Beyond that, “Albert Fish” just as powerful and disturbing of a story as “H.H. Holmes” did, and in many ways even more so. The emotions that are elicited run from watching it run the gamut from fascination to revulsion. Personally, watching the movie makes me even more adamant about the use and necessity of the death penalty. Fish was executed for his crimes, but I am reminded how many of todays killers sail through with little more than a slap on the wrist. I’m reminded of the hideous things that are done to children, and where I used to just shake my head in disbelief, it now brings tears to my eyes. When I read about a person like Andrea Yates drowning her 5 children or Dena Schlosser cutting off the arms of her infant daughter, and I understand that these modern monsters should suffer the same fate. Throw out the term Innocent by Reason of Insanity and replace it with Guilty by Reason of Insanity and put these animals down.
Getting back to the subject at hand, what really impresses me about the DVD for “Albert Fish” is that, for an independent release, it has an incredible amount of extra features. Borowoski really went all out and added tons of deleted scenes, extended interviews and a still gallery. You’ll also find a featurette on the history of the electric chair, a much closer look at Joe Coleman’s disturbing portrait of Albert Fish (where you can zoom in to look at the detail) and several of Fish’s letters ready by Harvey Fisher. There’s even a performance by the group Macabre of their song about Fish. This is probably THE definitive look at the life and crimes of Albert Fish.
The part of me that holds a fascination for serial killers really looks forward to any future projects John Borowski has on his docket, yet I would also like to see what kind of film he might make off of the subject. His filmmaking talent is unquestionable and leaves little doubt he has a passion for what he does, so it begs the question, “If not serial killers… what else?”
Directed by: John Borowski
Narrated by: Tony Jay
Starring: Oto Brezina, Derek Gaspar, Nathan Hall, Cooney Horvath
Extras:
INTERVIEWS – Insight into the serial killer culture behind Albert Fish.
Nico Claux – The Vampire of Paris, Cannibal
Macabre – Death Metal Band
John Borowski – Includes behind-the-scenes production footage and more!
OUTTAKES – Due to story flow, some scenes were cut from the final film.
Fritz Haarmann – The Vampire of Hanover
Walter Winchell’s Gossip Column
Roses
Tony Jay reads as Fish
Coleman Interview Outtakes
Katherine Ramsland, Ph.D. Interview Outtakes
THE HISTORY OF THE ELECTRIC CHAIR – Presented by Theodore Bernstein, Ph.D.
TRAILERS – View four Albert Fish trailers.
FISH’S LETTERS ON GRACE BUDD AND BILLY GAFFNEY – Complete letters read by voice-over talent Harvey Fisher.
JOE COLEMAN’S PORTRAIT OF ALBERT FISH – Zoom in on areas of the painting for detail.
MACABRE LIVE PERFORMANCE – Albert Was Worse Than Any Fish In The Sea.
STILL GALLERY – Includes production stills and poster designs.
Specifications: Full Screen
Release Date: 3/27/2007
Region: All Region
MPAA Rating: NR
Website

#### Albuquerque Film + Music Experience Named One of the Top Film Festivals
 
Worldwide accolades continue to roll in for the Albuquerque Film & Music Experience (AFMX). Along with being named a top film festival over the years by Moviemaker Magazine (top 50 film festivals worth the entry fee) and FilmFreeway (top 100 film festivals to submit to), AFMX now ranks in the top one percent of more than 12,000 film festivals and creative contests in the world based on reviews from real FilmFreeway users.
“This is all thanks to the filmmakers attending and reviewing the festival, our hardworking team of volunteers, and the phenomenal talent that gives their time to our festival programming,” said Executive Director Ivan Wiener. “AFMX is more than just a film festival. It’s a truly unique experience for each person who attends. We believe in inclusivity, a high level of service, and a culture of support.”
Going into its 11th year, AFMX advocates for the educational advancement of film, music, and all other art forms, hosting an average of 7,000 attendees per year since its inception in 2013. AFMX presents domestic and international movies, engaging industry panels and workshops, exciting networking events, concerts, and a unique platform to build strong personal and professional relationships.
About AFMX: AFMX enhances cultural richness by integrating film and music programs that provide entertainment and education for the community, contributing to the creative economy and supporting Albuquerque as an epicenter for film, music, and the arts. AFMX brings together award-winning and up-and-coming filmmakers and musicians worldwide to showcase and celebrate film and music and provide a platform for education, collaboration, discovery, and the sharing of impactful stories.
The AFME Foundation, a non-profit 501 (c) (3) organization, supports the nurturing, success, and growth of a vibrant creative community, specifically through film, music, and the arts, and seeks to help further a world-class economic center of excellence for these industries in Albuquerque, New Mexico. It produces the Albuquerque Film & Music Experience (AFMX), an annual film and music festival that attracts prominent attendees, filmmakers, musicians, and visionaries from around the globe to celebrate the art of storytelling and collaborate into the future. The Foundation also supports the Albuquerque film, music, and art scenes through the creation, facilitation, and support of complementary, mission-based projects and programs. We aim to provide opportunities for future generations while increasing exposure and economic impact for the City of Albuquerque, the State of New Mexico, and our partners.

#### Alexander Payne Retrospective at Angelika Film Center Dallas
[scribd id=71862526 key=key-tnt0acmavccu3zma7xr mode=list]

#### ALIENOID – A Review by John Strange
ALIENOID – A Review by John Strange
The science fiction film genre takes many forms.  Alienoid from South Korea combines “hard” science fiction with Asian-style fight scenes and just a touch of comedy. 
The film’s premise has not seen a lot of use in movies (though I have seen it a time or two in various manners in science fiction novels).  Aliens are using humans as holding vessels/prisons for their criminals.  Why?  It works and they don’t see us as being anything more than useful animals.
The other planet uses two robotic entities as guards at this prison.  The guards have the ability to change forms and move back and forth in history to deal with “jailbreaks”.  The aliens can occasionally extricate themselves from their human vessels but can only exist outside those vessels for about 5 minutes without dying.
The action in this film, the first volume of a two-part story, has the guards and a few humans dealing with a major breakout that could result in the death of every human on the planet.  The action occurs in both current times and back in time about 600 years.
The action is good.  The fight scenes are excellent.  The acting talent is wonderful.  The only downside to watching this film is that the ending has a cliffhanger-style ending.  Our company, Selig Polyscope Company, pioneered this format during the silent film era in the early years of the last century.  It has not gotten any easier to deal with in all of those years.
It reminds me of our friends at Marvel Studios who love making multi-part films.  The Lord of the Rings trilogy also comes to mind.  Like these films, we can only wait for the next film to give us an ending to this epic story.  Worth waiting?  I think so.
 
Director: Choi Dong-hoon
Cast: Ryu Jun-Yeol, Kim Woo-bin, Kim Tae-ri, Shin Jeong-geun, So Ji-seob, Woo-jin Jo, Ryu Jun-Yeol, Woo-bin Kim, Lee Si-hoon, Kim Tae-ri, Jung-ah Yum
MPAA Rating: Not Rated
Selig Rating: 4.5 Stars
Runtime: 142 Min.
Release Date: 08/26/2022
Local Release Locations: Cinemark Legacy (Plano, TX), Cinemark Music City Mall (Lewisville, TX), AMC DINE-IN Grapevine 30 (Grapevine, TX), Studio Movie Grill Spring Valley (Dallas, TX)
Language: Korean (with English Subtitles)
Movie Site: ALIENOID Official Website
Trailer: ALIENOID Official Trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### ALITA:  BATTLE ANGEL – A Review by Gadi Elkon
From visionary filmmakers James Cameron (AVATAR) and Robert Rodriguez (SIN CITY), comes ALITA: BATTLE ANGEL, an epic adventure of hope and empowerment.
Here is my full review of the film.

When Alita (Rosa Salazar) awakens with no memory of who she is in a future world she does not recognize, she is taken in by Ido (Christoph Waltz), a compassionate doctor who realizes that somewhere in this abandoned cyborg shell is the heart and soul of a young woman with an extraordinary past. As Alita learns to navigate her new life and the treacherous streets of Iron City, Ido tries to shield her from her mysterious history while her street-smart new friend Hugo (Keean Johnson) offers instead to help trigger her memories. But it is only when the deadly and corrupt forces that run the city come after Alita that she discovers a clue to her past – she has unique fighting abilities that those in power will stop at nothing to control. If she can stay out of their grasp, she could be the key to saving her friends, her family and the world she’s grown to love.
Alita: Battle Angel is the decades long adaptation of Yukito Kishiro’s beloved Japanese Manga series.  Cameron first came across the epic graphic novel back when he was making his Terminator films in the 80s.  The chance to showcase a strong female lead has been a staple throughout Cameron’s career and after his technological advances from Titanic to Avatar this unique tale became possible.  Add in the bold nature of Robert Rodriguez and this story finally had a legit chance to transform from page to screen.  One element that Alita does magically is that the team decided on motion capture over total green screen.  Actress Rosa Salazar’s voice and movements are the reality behind the incredible cyborg you’ll witness in the film.  DP Bill Pope brings such a wide array of larger world elements and still keeps things so intimate with each character.  Rodriquez’ push to make sure the actors were really there and that the streets of Iron City are a legit set makes this film transcend past Cameron’s visionary Avatar.  The visual reality that is showcased, especially on an IMAX or 3d screen, expands this into such an entertaining journey.  The fluid world that Kishiro’s series depicted finally has a worthy film version with this motion-captured success.  Just as Lord of the Rings or the Planet of the Apes series allowed motion captured characters to thrive so to does Alita:  Battle Angel.
Plot wise the film does have some hiccups.  The love story is the most simplistic and slightly awkward with the more youthful figure of Alita compared to her love interest Hugo.  Luckily the film relies on more of the connection between father figure IDO and the father/daughter passion is a major theme throughout.  The villain on top of villain is given a really unique figure in the ultimate bad guy isn’t someone who is fully immersed in this movie.  Obviously, the hope is that this movie will do really well and sequels can further expand on Kishiro’s overall story.  Mahershala Ali seems a bit to underused, but Jennifer Connelly’s character has a really nice arc.  Ed Skrein seems to relish every second he’s on-screen and becomes a real favorite.  Rodriguez and Cameron do share a lot of similar choices to previous bad ass Sci-Fi films like The Matrix, Blade Runner, and even Arnold’s Running Man.  The usage of an advanced sport is directly lifted from the King novel and 80’s film.  Granted the real ability to create a divide between the haves and the have-nots is the true overall struggle that should be fully explored and tackled.  Ultimately I was most fearful the plot would be a let down but I can admit that the tale does hold up throughout.  It may lean a bit more to a younger sensibility, but with the lead being such a youthful figure (she is MUCH older in reality!) actually seems to work.
The love of the film will come down to the nice ratio of violent action to the slow burn of a coming-of-age story.  Rodriguez films never lack enough violence to not entertain and his ability to blow shit up is super important to the overall enjoyability.  It’s simple, this little girl cyborg is a bad ass and she should resonate with young girls.  Imagine HANNA but as a cyborg who secretly knows a long forgotten martial arts.  Cameron shared a really interesting take on the lead character that Kishiro told him when they first met over 20 years ago.  Cameron looked at Alita as Joan of Arc leading an army to rebellion.  Kishiro reminded Cameron that Alita is not a leader but instead closer to a Ronin or lone warrior.  Her actions may allow for her to kick everyone’s ass but her inner war causes casualties to pile up.  I won’t spoil who gets the Ax, but the Ronin is ultimately a lone figure.  Our Battle Angel may well end up the only one standing when this film series concludes.  She is not Neo or Joan of Arc.
I do want to point out a few issues about the film.  The casting does have a nice diversity in Salazar being our lead.  But Mr. Ido, Hugo and all the other characters not having more of a reflection on Kishiro’s Japanese characters is a bit odd.  I won’t say this screams of the slightly racial issues that Avatar was blamed to have, but the question has to be asked about who should be cast.  Blind casting should be the norm, but when the characters are an obvious race it would be nice to see some proper representation.  Granted I feel like this movie certainly isn’t looking to “white wash” but I digress.   I think the image of a female lead should shine much brighter regardless of her skin tone.
Alita: Battle Angel should be the second major blockbuster of 2019 along with that wacky 2nd Lego movie.
 
Directed by Robert Rodriguez
Based on the graphic novels by Yukito Kishiro, Screenplay by Robert Rodriguez, James Cameron and Laeta Kalogridis
Rated PG-13
Selig Rating B
Running Time 2hr 2min
Action, Romance, Sci-Fi
Out Now
Starring: Rosa Salazar, Christoph Waltz, Jennifer Connelly, Mahershala Ali, Ed Skrein, Jackie Earle Haley, Keean Johnson, Jorge Lendeborg Jr., Lana Condor, Rick Yune, and Idara Victor
 
The Selig Rating Scale:
A – Excellent movie, well worth the price.
B – Good movie
C – OK movie
D – No need to rush. Save it for a rainy day.
F – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### All About Bette – Review by Gadi Elkon
https://www.youtube.com/watch?v=WrF55yjCAJQ

	Tonight and tomorrow night are the final two shows of ALL ABOUT BETTE with Morgana Shaw in the one-woman showcase of icon Bette Davis.  Click through for the review and info on catching these final performances.

	 

	

	All About Bette – An Interlude with Bette Davis by Camilla Carr has made its way across DFW over the last few months playing in three theaters.  Along the way Morgana Shaw has had the chance to highlight her talents in the one-woman show that dives into the world of Bette Davis.  The play pulls a reverse Benjamin Button as we are introduced to an octogenarian Bette and travel with Morgana to a young vibrant twenty-some Davis.  Carr's honest and biting look at the fearless Bette Davis unveils some fun rumors that have stuck with the ladies and gents of the golden age of Hollywood.  Morgana pulls a visual transformation with the opening sequence of the aged icon talking directly to us the audience and her constant connections back to us make for some wonderful moments.  Shaw fully immerses herself into Bette from the get go as she torments us the audience for our lack of quality attire, unlike her beautiful gown.  Carr's words help reveal the bold nature that stuck with Bette from her earliest days to her last final moments.  She was much more than just glaring eyes of power but a full figure that helped mold the acting world.  Her presence on screen was only a small showcase of her hold off the screen.  In a hollywood owned by a few studio heads Bette broke the barriers, best as someone of that era could, to set herself free and create some iconic stand alone roles that are purely Bette Davis.  The play doesn't shy away from Bette's home life either and traverses her marriages and even a few of her famous liasons.  Morgana seems to fully enjoy dicsussing the way Howard Hughes didn't fully treat Bette like his other famous relationships, a joke that is poignantly brought back in the play's moving finale.  Shaw is most brilliant when she is tackling the emotional battles Mrs. Davis felt about her daughter.  That final struggle between mother and daughter is a constant thread that haunts the legendary actress as she tells us her story.

	Now in it's final staging at the Stone Cottage in Addison where Shaw can put a lovely bow on this great interlude into Bette Davis' life and career.

	For more information please go, here.

	Morgana Shaw as Bette Davis in ALL ABOUT BETTE.

#### ALL ABOUT NINA – A Review by Cynthia Flores
 

	ALL ABOUT NINA – A Review by Cynthia Flores

	 

	Finally, a movie where the lead is a provocative female comic trying to make it in the comedy Biz.  Yes, women are and always have been, funny.  This one is named Nina Geld (Mary Elizabeth Winstead) who’s trying for her big break at being on Comedy Prime in Los Angles.  The opportunity comes at a perfect time because she needs to get out of NYC and away from her disaster of an ex-boyfriend named Joe (Chace Crawford) who is abusive, a cop and oh yeah, married.

	 

	When she gets to LA, there is the expected NYC fish out of water parts of the story.  Nina is dark and harsh while LA is sunny and filled with metaphysically sensitive people like Lake (Kate Del Castillo), a sexy Mexican writer and also a client of Nina’s agent Carrie (Angelique Cabral), who is letting Nina stay with her at her home while she waits for her audition.

	 

	While Nina is making the rounds of the LA comedy clubs, she meets the gorgeous and kind Rafe (Common) who is open, honest and a manly good guy.  He’s intrigued by Nina's tough straight-talking intelligent comedy on stage, and she is confused by such kindness from such a masculine man.  I tell you what, the scene where Common dances around and plays air guitar shirtless on a date with Nina is worth the price of admission all on its own.

	 

	The owner of Comedy Prime, Larry Michaels (Beau Bridges), which is a stand-in wink and nudge at Loren Michaels of SNL fame, finally makes his mind up about who he wants to consider for the opening he has.  He pits all the female comics he’s eyeing for the one chick spot on the team against each other at a showcase where they have to perform impersonations one right after another.  It’s entertaining watching the comradery and competition between the comedians before and after the show.

	 

	All About Nina is the directorial debut of writer/director Eva Vives and the pivotal truth that Nina tells to a crowd at a comedy club, using confessional style humor, at a pivotal moment in the audition process is a not so funny secret.  This heartbreaking performance on stage by Mary Elizabeth Winstead was inspired by what the director actually lived through as a child herself.  That is one of the reasons that the mess Nina has made of her life filled with destructive choices rings true in the writing and dialogue.  Which makes the appearance of Rafe, who’s a good-hearted man that genuinely cares for her, so earth-shatteringly hard for Nina to accept.  

	 

	All About Nina is wonderfully acted, believable, and a strong directorial debut.  I hope this will be the first of many great films to come from this new voice.  I give this film an A rating and hope you will seek it out this fall.

	 

	Directed by Eva Vives

	Written By Eva Vives

	Rated R

	Selig Rating A

	Running Time 1hr 37min

	Comedy / Drama

	Limited Release October 5th AMC Mesquite 30

	Starring: Mary Elizabeth Winstead, Common, Chace Crawford, Kate Del Castillo, Beau Bridges, Clea DuVall  

	 

	 

	The Selig Rating Scale:

	 

	A – Excellent movie, well worth the price.

	B – Good movie

	C – OK movie

	D – No need to rush. Save it for a rainy day.

	F – Good that I saw it on the big screen but wish I hadn't paid for it.

#### ALL DAY AND A NIGHT – A Review by Hollywood Hernandez
ALL DAY AND A NIGHT – A Review by Hollywood Hernandez
In the movie All Day and a Night, Jahkor Abraham Lincoln is played by Ashton Sanders, from the movie Moonlight. He struggles to keep his dream of being a rapper alive; however, instead, he follows in the footsteps of his abusive father in the middle of a gang war in Oakland. He ends up in prison alongside his father. His life as a drug dealer and real-world responsibilities with a young pregnant girlfriend drive him further and further across the line of right and wrong with tragic consequences.
Landing in prison beside his father, J.D. (Jeffrey Wright, Westworld) whom he never wanted to be like, Jahkor embarks on an unlikely journey of self-discovery, exploring the events that unite them, in hopes of helping his newborn son break a cycle that feels unavoidable. The young want to be rapper has a baby and the boy seems doomed to follow the family’s legacy of a life behind bars and a life of crime.
All Day and a Night is a powerful film and gripping tale written and directed by Black Panther co-writer Joe Robert Cole. In Cole’s directorial debut he crafts a story about the cycle that affects many men young of color who have limited options to provide for their family and break the cycle of poverty. Ashton Sanders does an excellent job playing a character who has a lot of love for his family; however, he is also a brutal killer who lands in jail.
The drama co-stars Isaiah John (Snowfall), Kelly Jenrette (The Handmaid’s Tale), Shakira Ja’nai Paye (Spider-Man: Into the Spider-Verse), Regina Taylor (The Unit), Christopher Meyer (The Affair), and Yahya Abdul-Mateen from Watchmen. 
All Day and a Night is a tragic story of a son following his father’s life of crime. It’s a story told with a very dark undertone that will affect you.
The movie is rated R for violence and has a run time of 2 hours. On my “Hollywood Popcorn Scale”, I rate this movie a LARGE.

#### All Genders, Lifestyles, and Identities Film Festival (aGLIFF) Promotes Jim Brunzell to Artistic Director
 
The All Genders, Lifestyles, and Identities Film Festival (aGLIFF) announced that former Program Director Jim Brunzell has been promoted to Artistic Director for the long-running Austin Based LGBTQ+ film festival. aGLIFF also announced that this year’s 32nd edition of aGLIFF would take place August 22-25, an earlier placement on the calendar than has been traditionally been presented.
Brunzell has been aGLIFF’s Program Director for the past five years, and has been noted for successfully navigating the festival’s programming and presentation to be widely thought if as more inclusive, critically astute, and successful in building filmmaker relationships and enhancing audience accessibility to their films.
aGLIFF Board President Ashley Marshall, said, “Jim has thoroughly and completely earned the title of Artistic Director of aGLIFF. Under his creative and pragmatic stewardship as Program Director, we have strengthened the reputation of aGLIFF and the view of the films we offer in the eyes of the critics, filmmakers, and our film fans. I can say personally that it is a pleasure working with him as we seek to continue the growth of aGLIFF and enhance the legacy of the fourth longest-running gay and lesbian film festival in the country.”
Jim Brunzell III had been the Program Director for the All Genders, Lifestyles and Identities Film Festival (aGLIFF) in Austin, TX since 2014. He was named a “Top 10 Local Queer Hero” by the Austin Chronicle in 2016 saying, “It says a lot when an ally makes the list, but as Program Director of aGLIFF, Brunzell has done a bang-up job curating the film festival and screenings for the entire LGBTQ spectrum.” He has also been the festival director for the critically acclaimed music/film/art festival Sound Unseen in the Minneapolis, MN since 2012. Sound Unseen was named “One of the 25 Coolest Film Festivals in the World for 2016” by Moviemaker Magazine. Originally from Saint Paul, MN, Brunzell was a film critic for over a decade covering film festivals worldwide and had his reviews published in local and national publications before shifting to film programming in 2006. He graduated from the University of Minnesota-Twin Cities in 2001 with a B.A. in English Literature and a minor in Film Studies.
aGLIFF recently announced the Call for Entries for its 32nd edition, which will take place this year, August 22-25. Submissions can be made via Film Freeway at: https://filmfreeway.com/AustinGLIFF.
Regarding the decision to move aGLIFF’s dates up two weeks from the previous year, Brunzell, said, “Film festivals are always seeking to find a ‘sweet spot’ when choosing the dates for their fests and aGLIFF is no different in that regard. Moving the dates into August the festival will be celebrated during Austin Pride Month, which falls in August and it also gives us an opportunity to offer up some counter programming just as the summer movie season is winding down. I’m thankful to the entire aGLIFF board of directors for this opportunity and hoping our 32nd will be one to for the books.”

#### ALL HEART – Interview with Writer-Directors Michael Govier and Will McCormack
The Oscar-winning duo of Michael Govier and Will McCormack created a new animated short: ALL HEART.

A father visits a young man who has a connection with his late daughter. 
Michael and Will spoke with our Gadi Elkon about the acting class that brought them together, leading to their co-writing trilogy of short films centering around loss. The first film in this trilogy is the 2020 short IF ANYTHING HAPPENS I LOVE YOU, which won the Best Animated Short Oscar.  ALL HEART is the second short of this trilogy. Please enjoy our in-depth chat with the dynamic Writer-Director combo that is Michael Govier and Will McCormack.
Interview with Writer/Directors Michael Govier and Will McCormack.

For more info about the film follow their Instagram.
For more info about ASTERIA FILM CO.
More info about Michael Govier and Will McCormack.

#### ALL IN:  MIRACLE AT ST. BERNARD’S – Interview with Director Gregg Backer and Principal Linda Anderson
Our Gadi Elkon talked with Filmmaker Gregg Backer and St. Bernard’s Principal Linda Anderson about the harrowing story of how a high school football team helped save their school!  Here is our interview with ALL IN: MIRACLE AT ST. BERNARD’S Gregg Backer and Linda Anderson.

ALL IN: Miracle at St. Bernard’s is about faith, family and football. This documentary chronicles a tiny, 100-year-old Catholic school in Fitchburg, Massachusetts struggling with insolvency yet defying the odds at a time when the Church was shuttering similar institutions nationwide. It’s the underdog story of a working-class community and the state’s smallest football program rallying in pursuit of an impossible goal. In 2018, the undersized team from St. Bernard’s Central Catholic won a surprising high school Super Bowl. But when the Diocese of Worcester suddenly announced that due to financial problems it was closing the school, Bernardians faithful needed a miracle. So they set about creating one.Their goal was one that many failing Catholic school communities had imagined, but few had ever achieved: raising money and enrollment to go independent. Emboldened by their big-hearted football coach and their intrepid, young principal, a grassroots group struck a deal with Diocesan leaders for one more year to prove the school could survive on its own. ALL IN documents the true story of the dramatic campaigns that came together to save a beloved institution, a fateful football season that became an existential journey of faith, on and off the gridiron.
Gregg and Linda talked with our Gadi Elkon about the Diocese, the School, the Coach and so much more!
Interview with Filmmaker Gregg Backer and Principal Linda Anderson:

All In:  Miracle at St. Bernard’s available VOD this Tuesday December 13th, 2022.
Amazon
Apple I-Tunes
IMDB

#### ALL IN:  MIRACLE AT ST. BERNARD’S – Interview with Head Coach Tom Bingham
Our Gadi Elkon talked with St. Bernard’s Head Coach Tom Bingham about the film, the kids and future.

ALL IN: Miracle at St. Bernard’s is about faith, family and football. This documentary chronicles a tiny, 100-year-old Catholic school in Fitchburg, Massachusetts struggling with insolvency yet defying the odds at a time when the Church was shuttering similar institutions nationwide. It’s the underdog story of a working-class community and the state’s smallest football program rallying in pursuit of an impossible goal. In 2018, the undersized team from St. Bernard’s Central Catholic won a surprising high school Super Bowl. But when the Diocese of Worcester suddenly announced that due to financial problems it was closing the school, Bernardians faithful needed a miracle. So they set about creating one.Their goal was one that many failing Catholic school communities had imagined, but few had ever achieved: raising money and enrollment to go independent. Emboldened by their big-hearted football coach and their intrepid, young principal, a grassroots group struck a deal with Diocesan leaders for one more year to prove the school could survive on its own. ALL IN documents the true story of the dramatic campaigns that came together to save a beloved institution, a fateful football season that became an existential journey of faith, on and off the gridiron.
Head Coach Tom Bingham was amazing enough to talk with our Gadi Elkon.
Interview with All In: Miracle at St. Bernard’s HEAD COACH TOM BINGHAM:

All In:  Miracle at St. Bernard’s available VOD today December 13th, 2022.
Amazon
Apple I-Tunes
IMDB

#### ALL IN: THE FIGHT FOR DEMOCRACY – A Review by Cynthia Flores
ALL IN: THE FIGHT FOR DEMOCRACY – A Review by Cynthia Flores
This fantastic and articulate documentary is something everyone should watch. It gives the background and history of how we have gotten to where we are now regarding voting in America. I was shocked, but not surprised, to find out that, according to The Electoral Integrity Project, the United States is ranked dead last amongst western democracies. All In: The Fight For Democracy deals with the often overlooked but real and pervasive problem of voter suppression in America.
Liz Garbus and Lisa Cortes, who co-directed/produced this film with producers Dan Cogan and Stacey Abrams, have done an outstanding job conveying a complex issue. They didn’t fill the screen with hyperbolic rhetoric and mudslinging. Instead, they stuck to the facts and well-documented history.
The film uses the experience of Stacey Abrams, the former Minority Leader of the Georgia House of Representatives, and her much-publicized run for Governor of Georgia against Brian Kemp in 2018. Her story is the linchpin that offers us an insider’s look into laws and barriers to voting.  Obstacles that most people don’t even know that threaten their fundamental rights as citizens of the United States. As the film interweaves her story with current activism and historical insight, it exposes a problem that has corrupted our democracy from the very beginning.
When asked why the two renowned filmmakers wanted to co-direct this project, they told Southern Poverty Law Center the following: “The project started when I met Stacey Abrams in the summer of 2019.” Liz Garbus said, “She came to New York to meet different filmmakers to explore making a film about voting rights and its tortured and tumultuous history. It was a bit of kismet, because I had wanted to make a film about the franchise after the 2016 election but didn’t have the “hook.” Stacey’s gubernatorial race of 2018 was that hook. It was the small story that could tell the big one.” Lisa Cortes also told them, “In our film, we spent time with activists and organizations across the country who are mobilizing their communities.” she continues, “You are left with a great sense of hope by their collective works. It will be the people who save us. We are the ones we have been waiting for.”
All In: The Fight For Democracy is as entertaining as it is enlightening. It’s a timely message for us as we go into voting booths soon. I hope they show this film in schools and teach the next generation all our history, the good and the bad. It’s a real eye-opener and will hopefully inspire people to get involved and exercise their right to vote.
I give All In: The Fight For Democracy 4.5-stars. Tell everyone you know to vote and to see this film.
 
Directed by: Liz Garbus, Lisa Cortes
Rated PG-13
Selig Rating4.5 Stars
Running Time: 102min
Documentary
Limited Theatrical Release: September 9th, available Amazon Prime Video September 19th
Featuring: Stacey Abrams
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### ALL IS LOST
ALL IS LOST

	By Gary Murray

	Starring Robert Redford

	Written and directed by J.C. Chandor

	Running time 106 min

	MPAA Rating PG-13

	Selig Film Rating Matinee

	 

	Robert Redford is an icon, a movie star among movie stars.  Some of his roles have been Butch Cassidy and the Sundance Kid, The Sting, The Great Gatsby and my personal favorite The Great Waldo Pepper.  He still does about a film every couple of years and his latest is All is Lost.

	In the beginning, we hear the worlds that the man writes in a journal, words of hopelessness, proclaiming his desperation.  Then the film goes back eight days.  A man (a name is never given) is in the Indian Ocean on a one-man sailing trip.  He seems to be a competent sea-man but even the best sailor can run into problems.

	As the film opens, his cabin is full of water.  A shipping crate has fallen off the side of a passing vessel and slammed into his hull.  The hull has been breached and he is in trouble. 

	The man works steadfastly to repair his vessel on the water and pump the excess fluids out of the interior.  The water shorts out his electrical system so he must manually get the brackish liquid from his boat.  Eventually, he is able to give a makeshift patch to his vessel.  It will not make it to the shore but it still floats

	He knows that he must get into the shipping lanes in order to be rescued.  He plots out his course, guessing where the lane is and how far he must travel.  It is a race against time and the elements for survival.  The film builds excitement as the man waits for a cargo vessel to notice him.

	If Hemmingway were alive today, he would have written All is Lost.  It is about man versus nature and man verses himself.  This is not a namby-pamby individual but a real man fighting real elements while still trying to keep sane.  It is methodical exploration of the step by step process of survival.  Much like the writing of Hemmingway, the writing of All is Lost takes a basic step-by-step approach to survival.    

	Robert Redford gives the performance of a lifetime with All is Lost.  The film is almost a silent movie with maybe three sentences spoken in almost two hours.  It is all done with slight glances and stoic resolve.  We are never given a back story with the character.  The film just starts and goes through the mishaps without ever revealing anything about life before our hero set sail.  There is no statement of how or why in All is Lost. 

	Writer/director J.C. Chandor has made a simple film of survival and blended with an introspective silent drama.  By using only his camera to tell the tale, the director uses the idea of visual feast rather than talking heads to weave the tale.  It is confident film making that shows a skill seldom seen anymore.   And the seascapes are frighteningly beautiful

	One of my favorite books is The Cocoanut Book by Richard Maynard.  The tome is about a man trapped on a desert island.  It is not Robinson Crusoe but a harsh reality of isolation and despair.  All is Lost follows the same kind of idea.  It is not an adventure tale but a story of impossible survival.  This is not a film that will be universally accepted and praised but it is a film that is different from 99.9% of what is shown on the silver screen. 

	All is Lost is one of the most unique cinema experiences of 2013.  It should get Robert Redford an Oscar nomination for Best Actor.  While not the best film of the year, it has one of the best performances. 

#### All My Puny Sorrows – Interview with Director Michael McGowan and Stars Alison Pill and Mare Winningham
Based on the international best-selling novel by Miriam Toews, All My Puny Sorrows is the poignant story of two sisters-one a concert pianist obsessed with ending her life, the other, a writer, who in wrestling with this decision, makes profound discoveries about her herself.
All My Puny Sorrows just screened at the Toronto International Film Festival.  Director Michael McGowan and Stars Alison Pill and Mare Winningham took part in a roundtable interview.  Here are my questions from the interview.

All My Puny Sorrows is a compassionate adaptation that captures Miriam Toew’s literary wit shown in the book as well as the tragic struggles of a family dealing with suicide.  Alison Pill carries an amazing amount of the film on her shoulders and delivers ten fold.  The film really hits high notes as Pill interacts with the subtle brilliance of Sarah Gadon and Mare Winningham.  The performances throughout highlight the actors fully tackling their roles with true love and honesty. One of the questions I asked Director Michael McGowan, and his stars was about the importance of getting to do rehearsal prior to the short 20-day filming schedule.
https://seligfilmnews.com/wp-content/uploads/2021/09/AMPS-Ques-1-about-Rehearsals-Michael-Alison-and-Mare-Order.mp3
* Michael responds first followed by Alison and finally a lovable short response from Mare!
The film pacing is quite impressive as the movie never lags even through emotionally difficult moments.  Michael and his editing duo of Michelle Szemberg and Orlee Buium have pieced together a vibrant mosaic that shows the deep love in such a tragic story.  I asked Michael about the editing in the film and also about the choices of when to cut or stay in a scene.
https://seligfilmnews.com/wp-content/uploads/2021/09/AMPS-Ques-2-about-Editing-for-Michael.mp3
The film was shot in North Bay, Ontario.  I asked Michael about the location of his film.
https://seligfilmnews.com/wp-content/uploads/2021/09/AMPS-Ques-3-about-North-Bay-for-Michael.mp3
All My Puny Sorrows is a film that is something to keep on your radar!!
Here are some still and behind the scenes shots from the film:
  
 
 

#### ALL THE OLD KNIVES – A Review By Gadi Elkon
Author and screenwriter Olen Steinhauer’s movie adaptation of his novel, ALL THE OLD KNIVES, is out now on Amazon Prime.  Does the film live up to Olen’s work and his previous film adapted spy thrillers?  Here is my full review of the film.

When the CIA discovers one of its agents leaked information that cost more than 100 people their lives, veteran operative Henry Pelham (Chris Pine) is assigned to root out the mole from among his former officemates at the agency’s Vienna station. His investigation takes him from Austria to England to California, where he is reunited with his one-time colleague and ex-lover Celia Harrison (Thandiwe Newton). The pair are forced to blur the lines between profession and passion in this riveting tale of global espionage, moral ambiguity and deadly betrayal. Directed by acclaimed Danish director Janus Metz and written by Olen Steinhauer, the film also stars Laurence Fishburne and Jonathan Pryce.
Before we dive into the film’s plot I’d like to point out the amazing cinematic feel of the film.  DP Charlotte Bruus Christensen elevates this spy thriller with superb cinematography throughout the film.  The open beauty of the northern California coast is a real sparkling location for a majority of the film’s story.  Christensen and Director Janus Metz ability to allow the scenic views to mask the suspense through the film really heightens the fear.  A film more about the emotional turmoil of past actions and relationships isn’t your typical spy thriller.  Instead Christensen and Metz grandest adventure is the various palates of London, Vienna, and North California.
Casting wise Pine and Newton are quite amazing together and the film would fall apart if their chemistry wasn’t spot on.  Fishburne like the rest of the cast are merely distracting elements to keep the heightened suspense.  Pryce’s Bill Compton character is a juicy role and his scenes with Pine hold the most obvious friction.  Overall the inter workings of this CIA group is handled nicely by the team and the cast delivers authentic performances.
The film’s hijacking element and search for the behind-the-scene masterminds aren’t given enough screen time to either sympathize or despise them.  The film loses a lot of the shock value by not emphasizing the reveal moments through the movie.  There are so many blink and you’ll miss it moments that are huge rationales for the choices made by the characters.  Our lead asset in the film Ilyas, played admirably by Orli Shuka, is a character grossly absent from the film.  More scenes with Ilyas and Pine’s Henry Pelham and the film would hold so much more spy thriller presence.
Instead we have a tragic love story that is mixed in a spy espionage film rather than a volatile relationship stuck in a harrowing hijack thriller.  The film’s slow pacing choices bogs down as you come to realize there is only a slight twist rather than a massive change of the story.
I feel like Christensen’s beautiful cinematography heighten this lackluster spy adventure.  So yes check out the film, but no need to rush out for this one.
 
ALL THE OLD KNIVES
Directed by: Janus Metz
Written by: based on book by Olen Steinhauer who also wrote the screenplay
Rated: R
Selig Rating: 3.5 Stars
Running Time: 1h 41min
Spy Thriller
Out now on Amazon Prime and in select theaters.
Starring: Chris Pine, Thandiwe Newton, Laurence Fishburne and Jonathan Pryce
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

ALL THE OLD KNIVES

#### All the President’s Men reading: Ruffalo, Hawke, Cheadle, Morrow, Fishburne, Brenneman, Cuoco and more
The Stella Adler Academy of Acting and Theatre presented a sold-out, one-night staged benefit reading of All the President’s Men last night, benefiting the Academy’s foundation.
Held at the Harmony Gold Theater in Los Angeles, the iconic screenplay by William Goldman, based on the book by Bob Woodward and Carl Bernstein, was directed by Ethan Silverman, and produced by Julianne Hoffenberg. Mark Ruffalo and Ethan Hawke led the extraordinary cast in the roles of Woodward and Bernstein, Amy Brenneman (The Bookkeeper), Don Cheadle (Ben Bradlee), Kaley Cuoco (Debbie Sloan, Kay Eddy), Laurence Fishburne (Deep Throat), Spencer Garrett (Harvey Rosenfeld), Rob Morrow (Howard Simons), Tom Pelphrey (Hugh Sloan, Barker, National Editor), Missy Yager (Martha Mitchell), Susan Traylor (Katharine Graham), and more (full cast list is here).
The post-performance talk back was moderated by Elsa Walsh, Moderator, Pulitzer Prize nominee, wife of Bob Woodward, Kevin Merida, panelist, former Executive Editor of the LA Times (four Pulitzer Prizes for the media organization during his tenure) Christian Williams, former Washington Post editor during Watergate, Tessa B Wick, Committee for the First Amendment, the Cast, and Director Ethan Silverman.
Speaking to how the film inspired a new generation of journalists and people who wanted to do investigative reporting and hold power accountable, Ruffalo said, “This script and film are about the hunt for the truth and the importance of journalism. In this script, we tell the story of journalism: how journalists find the story and the story finds them. It’s not lost on us how journalism is under attack, and tonight was a night to celebrate where journalism and our business meet.”
“Tonight, we honored journalists and the iconic Stella Adler by bringing an important script to life, bringing curiosity and importance to the story,” said director Silverman. “We wanted to present this script with the scenes that had been cut from the film and share the message of the tenacity of journalism and uncovering the truth.”
Celebrating the 50th anniversary of All the President’s Men. Mark Ruffalo brought this cast together after hosting a reading last summer in East Hampton, with Bob
Woodward and Carl Bernstein in attendance, and realizing how powerfully the story still resonates. While planning a benefit for the Stella Adler Academy, Mark proposed this special reading — assembling this extraordinary cast in just three weeks. The script combined Goldman’s original screenplay, the final shooting script, and the released film version.  The performance included scenes that had been cut from the film, including original material with Katharine Graham and Martha Mitchell that was never filmed. The first time this screenplay was staged this way was in 2006, produced by Julianne Hoffenberg, with Carl Bernstein performing as his own editor, Howard Simons.
Founded in 1985 by Stella Adler, Joanne Linville, and Irene Gilbert, the Stella Adler Academy is a non-profit arts organization dedicated to developing artists as both performers and engaged citizens. Nearly half of all students attending receive scholarships, with proceeds from this event directly funding the Academy’s scholarship program, ensuring world-class training remains accessible to artists from all backgrounds.
Ruffalo, a longtime supporter and Board Member of the Academy, personally assembled the cast in support of the Stella Adler Academy Foundation, which raises vital funds for student scholarships, professional training, community workshops, and arts education initiatives.

#### ALL THE PRESIDENT’S MEN To Open 2016 TCM Classic Film Festival
Scent of Mystery (1960)

	 

	Turner Classic Movies (TCM) will open the 7th annual TCM Classic Film Festival on April 28th with a 40th Anniversary screening of the Robert Redford and Dustin Hoffman political thriller All The President’s Men (1976). The festival, set to take place April 28 – May 1 in Hollywood, will also include tributes to the following screen legends:

		Director-writer Carl Reiner featuring a screening of Dead Men Don’t Wear Plaid (1982) and an extended conversation
	

		Actor Elliott Gould featuring screenings of his Golden Globe nominated performance in M*A*S*H (1970), The Long Goodbye (1973) and a conversation in Club TCM
	

	This year’s festival will include appearances by:

		Eva Marie Saint – on hand to introduce a screening of the political comedy The Russians Are Coming The Russians Are Coming (1966)
	

		Director John Singleton – presenting a 25th anniversary screening of his coming-of-age classic Boyz N The Hood (1991)
	

		Actor Stacy Keach – discussing John Huston’s gritty look at the world of small-time boxing in Fat City (1972)
	

		French actress Anna Karina – introducing Band of Outsiders (1964), Jean-Luc Godard’s riff on gangster films
	

	The 2016 TCM Film Festival will also feature special live events including:

		North American premiere of Holiday in Spain aka Scent of Mystery (1960) presented in “Smell-O-Vision” in a one-of-a-kind presentation at the Cinerama Dome
	

		Opening night poolside screening at the Hollywood Roosevelt of master comedian Harold Lloyd’s biggest hit, The Freshman (1925), featuring DJ Thomas Golubić spinning a unique live music mix for the silent film
	

		TCM is pleased to announce the return of the Academy Museum of Motion Pictures as an official festival partner as well as the co-host of the opening night screening and party. Returning once again as the festival's exclusive founding partner, Delta Air Lines will serve as the official airline of the TCM Classic Film Festival. Additionally, DIRECTV, The Hollywood Reporter and Bonhams all return as official sponsors of the festival.
	

	Complete bios for each of the artists appearing at the 2016 TCM Classic Film Festival can be found at filmfestival.tcm.com

	2016 TCM Classic Film Festival – Newly Added Films

	All the President’s Men (1976)
	Producer and star Robert Redford helped change the face of newspaper movies when he teamed with Dustin Hoffman for this tense political thriller about Washington Post reporters Bob Woodward and Carl Bernstein's investigation of the Watergate break-in, a story that led to President Richard Nixon's resignation. Presented in a 40th anniversary screening in collaboration with Warner Bros. Classics.

	Dead Men Don’t Wear Plaid (1982) – Featuring an appearance by Carl Reiner
	This masterful cinematic treat, created by director-writer Carl Reiner, intercuts scenes with Steve Martin as a private eye investigating the murder of the world’s leading cheese scientist, with classic films from the 1940s, casting him opposite such legends as Ingrid Bergman, James Cagney and Burt Lancaster. Presented in collaboration with Universal Pictures Home Entertainment.

	M*A*S*H (1979) – Featuring an appearance by Elliott Gould
	Director Robert Altman gave the war film a new look with this anarchic comedy about a mobile surgical unit during the Korean War where surgeons Donald Sutherland and Elliott Gould—in a Golden Globe nominated performance — spend almost as much time playing pranks on each other as they do saving lives. Presented in collaboration with Twentieth Century-Fox.

	The Long Goodbye (1973) – Featuring an appearance by Elliott Gould
	With Elliott Gould as Phillip Marlowe, director Robert Altman turns Raymond Chandler’s novel into a dreamlike riff on film noir—with the private eye trying to help a friend while searching for a missing novelist, only to land in more trouble than he can handle. Presented in collaboration with MGM/United Artists and Park Circus LLC.

	The Russians Are Coming The Russians Are Coming (1966) – Featuring an appearance by Eva Marie Saint
	The Cold War goes from bad to mirth in this political comedy directed by Norman Jewison about a New England town sent into a tizzy when a Russian sub runs aground on a nearby sandbar. The large cast includes Eva Marie Saint, Alan Arkin, Carl Reiner and Brian Keith. Presented in collaboration with MGM/United Artists and Park Circus LLC.

	Boyz N The Hood (1991) Featuring an appearance by John Singleton
	This semi-autobiographical tale of a young man (Cuba Gooding, Jr.) growing up in South Central L.A. who gets caught up in the area’s gang life marked the feature writing and directing debut of John Singleton, the first African-American nominated for a Best Directing Oscar, shown in a US premiere restoration in collaboration with Rialto Pictures.

	Fat City (1972) – Featuring an appearance by Stacy Keach 
	Director John Huston’s gritty yet affectionate look at the world of small-time boxing, with Stacy Keach as a down-and-out slugger and Jeff Bridges as a young up-and-comer, both moving gracefully through a world of seedy gyms and flop houses, presented in collaboration with Sony Pictures.

	Band Of Outsiders (1964) – Featuring an appearance by Anna Karina
	With its story of a bored student (Anna Karina) who gets involved with small-time crooks (Jean-Claude Brialy and Sami Frey), this dreamlike riff on gangster films by director Jean-Luc Godard is also a love letter to Paris, transporting the American crime figures to a Parisian world of cafes and landmarks. Shown in a US premiere restoration in collaboration with Rialto Pictures.

	Holiday in Spain aka Scent of Mystery (1960) 
	This combination mystery-travelogue, about a British mystery writer trying to protect an American heiress from murderers, features offbeat comedy, beautiful shots of Spain and, in this special North American premiere of the presentation at the Cinerama Dome, the return of Smell-O-Vision. Presented in collaboration withCinerama Inc., Redwind Productions, Scented Storytelling, Scent Events and the Institute for Art and Olfaction, presentation at ArcLight Cinemas’ Cinerama Dome.

	The Freshman (1925) – Featuring music by DJ Thomas Golubić with Suzanne Lloyd in attendance
	Music Supervisor Thomas Golubić  presents a live DJ re-score for master comedian Harold Lloyd’s biggest hit: the story of a college freshman so eager to please he makes a fool of himself and threatens to blow the big game, presented in collaboration with Harold Lloyd Entertainment.

#### All Things Must Pass – Tower Records – Interview with Russ Solomon
Established in 1960, Tower Records was once a retail powerhouse with two hundred stores, in thirty countries, on five continents. From humble beginnings in a small-town drugstore, Tower Records eventually became the heart and soul of the music world, and a powerful force in the music industry. In 1999, Tower Records made $1 billion. In 2006, the company filed for bankruptcy. What went wrong? Everyone thinks they know what killed Tower Records: The Internet. But that's not the story.  ALL THINGS MUST PASS.

	Click through for my interview with Tower records infamous founder, Russ Solomon.

	

	Colin Hanks vibrant and thorough documentary tackles the epic rise and fall of Tower Records through the eyes of those that lived it.  The cattle call of amazing musicians who are in the doc and all the incredibly captivating folks that worked at Tower Records allow for some really raucous memories.  The doc dives into Russ Solomon's life story as it highlights his rise to record store mogul.  The power in the film is that you see the massive highs, but more importantly the drastic fall.  There are those outrageous stories mixed in with the tragic loss of a beacon of musical lore.  Colin hasn't tried to curve the story, but rather gives us the complete look into the history of Tower Records.

	

	 

	 

	 

	 

	 

	 

	 

	 

	 

	 

	I was able to chat with the founder of Tower Records, Russ Solomon.

	 

	

	 

	 

	 

	 

	 

	 

	We started our conversation off by discussing the history behind Russ Solomon's empire.

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	The film does an incredible job of showcasing the wild and crazy bunch of lifers that worked at Tower Records.  It's the wild side of the employees that helped create the crazy mystic behind the stores.

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	One store stands out amongst all other American stores, San Francisco. 

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	In the film Colin Hanks highlights a cool thing Russ used to do.  Anyone who came into his office with a Tie on, would have it cut off.  I asked Russ about that wacky tradition and if any big wigs ties standout in his collection.

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	But overall Russ does hold onto his long time wish to run the largest record store. 

https://seligfilmnews.com/wp-content/uploads/2015/11/Russ-Solomon-Wish-of-building-the-largest-record-store-in-the-world.wav

	Finally, I asked Russ about his musical taste and got a fun answer about who he loved and loves.

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	The documentary opens today in Austin's Regal Row theater.  For more information about where else the doc is playing and to look into the amazing tale of Tower Records please go, here.

	 

#### ALLIED – A Review By Nick Askam
 

	*This review may contain spoilers*

	Brad Pitt once again delivers an exciting experience. This time he’s joined by Marion Cotillard and together they have chemistry that most directors couldn’t even imagine to have. Unfortunately, after their performances Robert Zemeckis gives us a film that doesn’t have much below its surface and is predictable and sometimes boring.

	Allied is about an officer named Max (Brad Pitt) going to Casablanca to complete a mission with a woman named Marianne (Marion Cotillard). Together, they complete their mission against all odds and fall in love. Max then tries to get Marianne into the UK and they start a happy family. It isn’t until later in the war that Max is alerted that Marianne might be a German spy. The pressure is mounting against him as he tries to discover the truth and goes to extreme measures to do so.

	Pitt and Cotillard’s chemistry works in this film. I understand now why some people are so adamant that Cotillard was the one to ruin Pitt’s marriage. I think that’s completely unfair and off base, but I can see how people who’ve seen this movie can believe so. What works about Pitt and Cotillard is how they seem like they’ve just met in Casablanca, but they have something. Then, when the film carries on, it just seems like more and more they get closer together. It’s like they shot this in order and that’s why they seem to connect so well. I was also blown away by how much you care for each character individually despite minimal screen time. There are moments when you think that this won’t work out, but the way that they carry themselves gives you hope.

	My biggest complaints are with the story and some of the locations that were chosen. I feel like this story is just inaccurate. There’s just weird moments when you just say to yourself, “I don’t think that’s how that works”. I don’t remember specific points, but I just get that feeling from time to time. I also thought the pacing is weird when they get back to London. There’s just a visible difference in everything once they get back. Maybe it’s the London air sucking away all their emotion and they’re coming back to reality, but it just felt like someone gut punched this movie after they get from Casablanca.

	The worst scenes in this movie for me were in the sand dunes. I thought it was pretty obvious that they were on a soundstage and they just felt out of place. I felt like it was to keep the film grounded, but it just made the film feel empty to me. There were moments when I thought these conversations should’ve just happened back at the apartment.

	Overall, this is a fun movie, but I think its lack of re-watchability hurts it. Despite having amazing chemistry between the top two characters, it’s hard to see past the story that falls flat on its face at times. I wish the film could keep the energy that it has in the first half, but I understand the choices that were made. I hope that this means we will see Marion Cotillard more because she was phenomenal.

	 

	Grade: B-

#### ALONERS – A Review by Jenn Rohm
ALONERS – A Review by Jenn Rohm
Currently, in Seoul, Korea one-third of households have single occupancy.  The term in South Korea for the lifestyle of people that prefer to participate in day-to-day activities by themselves is holojok (holo = alone and jok=group).  Hong Sune-eun’s debut film Aloners is a beautiful portrayal of one woman living her life this way.
Jina (Geon Seung-Yeon) is the top performer at her call center job.  Going through her day outside of being on calls she barely engages with others around her.  Using technology as a distraction she has developed a routine to make it from one day to the next allowing her to be alone yet not lonely.  When tasked with training a new employee she pauses and thinks being fired might be preferable to interacting with another human face-to-face.  Along with the new co-worker trying to make a connection Jina’s Father and neighbor are also reaching out to her.     
The filming itself was done before the pandemic, yet I am seeing more and more people shutting themselves off from others.  This is a good choice of film to watch and have a deep and insightful conversation with others afterward.  Why are we so willing to put in earbuds and focus on our phones instead of the world around us?  What are the risks of saying Hello?  Why is there so much stress at the thought of another person saying no to a lunch invitation?  What are the differences between being lonely and being alone?
Note this film is an introspective piece and not a big summer blockbuster.  Others have said the film is slow-paced.  I did not find this to be the case, life does not actually move at the speed of an action movie.  The film has moments of silence where what you see on the screen itself moves the story along.  Supporting Jina’s limited bubble very few locations were used in the filming.  These include a ramen shop where orders are placed on a computer and delivered without conversation, her job, and her barely furnished apartment.
I personally found the movie beautiful in its telling.  If you have the opportunity to see it, do.
 
Director: Hong Seong-eun
Written By: Hong Seong-eun
Cast: Gong Seung-yeon, Jeong Da-eun, Seo Hyun-woo, Jeon-hak Park  
Language: Korean with English Subtitles
Genres: Drama
Selig Rating: 4 stars
Runtime: 1 hr. 31 min.
Digital Release Date: June 9, 2023
Trailer: Aloners Trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well there was nothing else . . .
1 Star – Total waste of time.

#### ALONG CAME WANDA – Interview with Filmmaker Jan Miller Corran and Stars Constance Brenneman, Cathy DeBuono and Max Adler
ALONG CAME WANDA is now available across North America on all TVOD/Digital platforms.  Filmmaker Jan Miller Corran and Stars Constance Brenneman, Cathy DeBuono and Max Adler talked with our Gadi Elkon about the movie.

For many months, delivery person Wanda has been dropping off packages to Mary Beth Higgins during which they have developed a close friendship. With Mary Beth’s divorce almost final, Wanda suggests a road trip in her RV which doubles as a Soup food truck. Hesitant at first, Mary Beth gives in and the journey begins. Along the way, Wanda takes Mary Beth to two notable destinations- one a spiritual retreat and the other a camping adventure complete with the famous psychic Davina Moonbeam. Throughout, both women are learning about life and each other. By the end of this journey, unexpected love for each other has arrived for both of them. 
Interview with Filmmaker Jan Miller Corran and Stars Constance Brenneman, Cathy DeBuono and Max Adler:

For more information – ALONG CAME WANDA.

#### ALTA VALLEY – Interview with Writer Director Producer Jesse Edwards and Lead Actress Briza Covarrubias
Writer/Director/Producer Jesse Edwards and Lead Actress Briza Covarrubias talked with our Gadi Elkon about the beautiful landscape shown in the film, the Mexican and Navajo inspired elements, and much more!

Unable to pay for her mother’s medical treatment, Lupe Reyes, a Mexican-Navajo mechanic, ventures to Alta Valley to seek financial help from her estranged father, Carl. On the way, she befriends Maddy Monroe, an outlaw cowgirl on the run from a Mexican mob boss. When they finally meet Carl, his vile crimes are revealed, including his illegal trades and the mistreatment of Lupe’s distant Navajo family. In order to save her mother, Lupe must defend herself, her heritage, and overthrow the insidious exploitation of her people and their land.
Alta Valley’s visual exploration allows the tension-filled plot to seep through as the hope and dreams become realized by our two female leads.  The tour de force of Jesse Edwards feature debut is matched by the devoted acting and crisp cinematic choices.  Jesse and Briza talked about the surreal setting of Southern Utah, the power of a diverse cast & crew, and even about some of their fondest memories from the shoot.
Interview with Writer/Director/Producer Jesse Edwards and Lead Actress Briza Covarrubias:

The film is set of have it’s World Premiere at the 53rd Nashville Film Festival.
The WP is on Saturday, October 1st, 2022 at the Franklin Theatre at 5pm.
For more info about, ALTA VALLEY.
   
 

#### ALTERED REALITY – Interview with Writer/Producer/Actor Charles Agron
ALTERED REALITY is now in AMC and Regal theaters across the country.  Writer/Producer/Star Charles Agron talked with our Gadi Elkon about the film, K Street Pictures and so much more!

Oliver’s life transforms when gifted a not-yet-existing miracle drug. Riches, unscrupulous pacts, and morphing of past and present create this ‘Altered Reality, ‘ a gripping tale of redemption and choices.
Charles and Gadi talked about the incredible cast assembled, working with the late great Ed Asner, Charles own medical background and so much more!
Interview with Producer and Filmmaker Charles Agron:

The film is now in AMC and Regal theaters across the country.
For more info, ALTERED REALITY.

#### AMC Theatres Now to Begin Its Reopening of U.S. Theatres on Thursday, July 30
 
AMC Theatres (NYSE:AMC, “AMC” or the “Company”), the largest theatrical exhibition company in the United States, in Europe & the Middle East, and the world, today announced a new U.S. reopening date of July 30, when it will resume operations of 450 U.S. theatres as part of a phased plan that is expected to bring the 600-plus U.S. theatre circuit essentially to full operation by early August.
The new reopening date aligns with updated release timing for major theatrical blockbusters Warner Bros’ TENET (August 12) and Disney’s MULAN (August 21). AMC is also excited to offer movie-goers a broad selection of other new releases in July and August, including Solstice’s action thriller UNHINGED (July 31), Sony’s romantic comedy THE BROKEN HEARTS GALLERY (August 7), A24’s psychological horror film SAINT MAUD, Disney/Marvel’s action fantasy film NEW MUTANTS (August 28), Picturehouse’s inspirational drama FATIMA (August 28), Orion’s comedy BILL AND TED FACE THE MUSIC (August 28), and others. Additionally, Warner Bros. will celebrate the 10th anniversary of Christopher Nolan’s INCEPTION with a re-release on July 31st. Once the U.S. reopening commences, AMC will have theatres open in all 15 countries in which AMC operates. Theatres in all 14 countries AMC serves in Europe and the Middle East either opened in June or are planned to open in July as well. Barring further complications from the coronavirus outbreak, AMC expects to be open at essentially its full complement of approximately 1,000 theatres globally by early August.
Adam Aron, CEO & President, AMC Theatres said, “We continue to devote extraordinary resources into our plan to operate our theatres with a hyper commitment to the safety and health of our guests and associates, notably in the United States through our new AMC Safe & Clean initiative. Our theatre general managers across the U.S. started working full time again today and are back in their theatres gearing up to get their buildings fully ready just a few weeks from now for moviegoers. That happy day, when we can welcome guests back into most of our U.S. theatres, will be Thursday, July 30.”

#### AMC Theatres Strongly Commits to “Social Distancing” and Is Proactively Reducing Maximum Capacity by at Least 50 Percent in All Its U.S. Theatres
 
AMC Theatres (NYSE:AMC, “AMC” or the “Company”), the largest theatrical exhibitor in the United States, today announced full support of and compliance with CDC guidelines on social distancing. As the industry leader, AMC is taking aggressive, nationwide steps to provide additional space between guests within all its U.S. theatres, to keep its theatres clean and to discourage those with health concerns from coming to its theatres.
LIMITING SEAT CAPACITY
Beginning tomorrow Saturday, March 14 and continuing until April 30, 2020, AMC will cut in half the seating capacity of every one of its theatre’s auditoriums. It will do so by capping ticket sales for each showtime in each of its theatre’s auditoriums to an amount equal to 50% of the normal seating capacity. In those auditoriums with more than 500 seats, AMC will further cap ticket sales to a maximum of 250 in any case.
AMC is also actively complying with all local authorities’ directives on social gathering and is further reducing the availability of tickets to comply with any current or future federal, state or local governmental order.
ENHANCED THEATRE CLEANING
AMC theatre teams are following AMC’s stringent health and safety cleaning protocols, which have been enhanced to ensure that at least once per hour within an AMC building, the theatre team is cleaning high-touch point areas, including kiosks, counter tops, restroom areas, glass, handrails and doorknobs. In addition, AMC cleans every auditorium between every showtime.
GUIDANCE FOR GUESTS AND THEATRE STAFF
AMC has mandated that any theatre associate who feels ill is excused from work and should not come to the theatre.
Additionally, AMC urges all its potential guests to stay at home and seek medical assistance if they are not feeling well.
AMC COMMENT
Adam Aron, CEO and President, AMC Theatres, said: “The health and safety of our guests and theatre teams are of the utmost importance to AMC. Therefore, AMC is proactively taking action to cut in half the number of tickets that we will make available at all our U.S. theatres. With this action, we are facilitating the ‘social distance’ between guests who still want to see movies on a big screen.”
Aron continued: “These are uncharted times in the United States. We are very closely monitoring the guidance of the CDC. We are complying with all directives from federal, state and local health and government authorities, and with our unilateral move to reduce capacity and increase social distancing we are going beyond what governments are requiring of us. Founded in 1920, AMC Theatres has a proud history that spans 100 years. As we enter our second century, AMC remains firmly committed to offering a clean, healthy, entertaining environment every time our guests come to movies at our theatres.”

#### AMC Theatres to Close All U.S. Locations for 6 to 12 Weeks Beginning Tuesday Morning, March 17
 
AMC Theatres (NYSE:AMC, “AMC” or the “Company”), the largest theatrical exhibition company in the United States, announced that as of Tuesday, March 17, all AMC locations in the United States will close for at least six to 12 weeks, in compliance with local, state and federal directives, and as a precaution to help ensure the health and safety of moviegoers and theatre staff. AMC will continue to monitor the situation closely, and the Company will remain flexible on reopening, in accordance with CDC recommendations and governmental directives.
The COVID-19 situation has developed rapidly throughout the country over the last week, and during the last 48 hours more than a dozen states and major markets have mandated that movie theatres, bars and restaurants must close. Today, the federal government recommended no public gatherings take place that are larger than 10 people, making movie theatre operations essentially impossible. Throughout the past several weeks, AMC has complied with all CDC guidelines and governmental mandates.
As a result of the temporary theatre closures, AMC will automatically pause all A-List memberships for the time that AMC theatres are closed, with no billing or payments occurring. Members will be notified prior to this pause expiring and will have the option to choose to extend the pause for another month if they so desire. Additionally, any A-List member who did not renew their membership any time so far in calendar year 2020 will not have to wait the customary 6 months to rejoin.
AMC movie fans are encouraged to utilize AMC Theatres On Demand, which allows them to rent or buy movies from a selection of more than 3,500 titles, including recent and popular titles from every major studio. AMC Theatres On Demand can be accessed online through AMC’s website, through AMC’s mobile app, and through several smart TV apps.
AMC CEO and President Adam Aron said: “We are ever so disappointed for our moviegoing guests and for our employee teams that the new CDC guidelines that Americans should not gather in groups larger than 10 people make it impossible to open our theatres. Still, the health and wellbeing of AMC guests and employees, and of all Americans, takes precedence above all else. We will continue to monitor this situation very closely and look forward to the day we can again delight moviegoers nationwide by reopening AMC movie theatres in accordance with guidance from the CDC and local health authorities.”

#### AMERICA TO ME – Interview with Filmmaker Steve James
https://www.youtube.com/watch?v=-uNhmWJ4l5k

	In the multi part unscripted documentary series “America to Me,” Academy Award-nominated filmmaker Steve James (Hoop Dreams, Life Itself) and his team follow a diverse selection of the school’s 3,400 students, including artists, athletes, scholars, underachievers and iconoclasts, to present an indelible account of their dreams, fears, triumphs and aspirations.
	AMERICA TO ME.

	Click through for our interview with award-winning documentary filmmaker Steve James.

	

	In my chat with filmmaker Steve James one of my questions was about who chose the title.  I was familiar with the Langston Hughes poem and about Steve's diverse filmmaking choices.  He indeed backed up my thought.  I hope you'll take the chance to read Langston Hughes powerful poem.  And now to the honest documentary series that looks at a high school in walking distance from Steve James home in Chicago.  His children went to this high school and this film marks the first time, since HOOP DREAMS, that Steve tackled such young subjects.  His clout in the documentary world and his familiarity with the school went a long way into this project being possible.  The series has a solid shooting team with three talented documentary filmmakers joining Steve on this journey.  In our chat we discuss these elements, the enjoyment in shooting this age group, why discussing diversity is only the beginning, and even some fun stuff like what Steve does to unwind and I asked about his four-legged friend Dodger.

	Here is one of the best documentary filmmakers ever, Steve James.

https://seligfilmnews.com/wp-content/uploads/2018/10/Steve-James.mp3

	 

	For more information on the documentary series and filmmaker Steve James:

	AMERICA TO ME

	Kartemquin Films

	 

#### AMERICA’S LAST LITTLE ITALY: THE HILL – A Review by John Strange
March 2, 1981 – St. Louis, Missouri USA: Outside St. Ambrose Catholic Church in the Hill neighborhood, the Rev. Salvatore Polizzi waves to friends on March 2, 1981. In the background is Rudolph Torrini’s statue of Italian immigrants. Polizzi’s parents were from Sicily. (Karen Elshout/Post-Dispatch/Polaris ///
AMERICA’S LAST LITTLE ITALY: THE HILL – A Review by John Strange
At one time in this country, there were a lot of “Little Italy’s” around the country, especially on the east coast and in the mid-west.  They were a way for the immigrants to remain close to their roots.  Many of the residents made their living at whatever local jobs were available while enjoying the comradery of people who spoke their native language and preserving many of their beloved traditions.
In the decades since these enclaves were created, most in the early 1800s, the majority of them have changed and became enclaves for other nationalities of immigrants due to more and more of the younger generations moving to other locales, most to make a better (or maybe just different) living.
America’s Last Little Italy: The Hill tells the story of what may be the last enclave of Italian immigrants and their descendants in America.  The Hill area of St. Louis, Missouri, was settled in the early 1800s when a large deposit of clay was discovered.  The clay was the quality needed to make good bricks and other products.
As the Italian immigrants arrived to work in the mine, they used their pay to build homes in the same small area, within walking distance of the mines where they toiled.  The area today is 52 square blocks of mixed shotgun houses, stores, and restaurants.
Their community identity has survived wars that pulled away most of their men and the events that were changing the nation, all the while being centered upon the church.  A church that was paid for by the community and built of bricks made from the mine’s clay.
The film gives us a great view of an enclave where the citizens are happy to be amongst others who share their heritage.  America’s Last Little Italy: The Hill presents the area’s history and its current status via interviews with current and former residents.  These people flesh out this tale into a story that is both endearing and interesting.
This documentary is a 4.5-star film that won numerous awards during its festival run.  It is available on DVD and is currently showing on Amazon Prime Video.
 
Director: Joseph Puleo
Cast: Anne Agusti, Josephine Aiazzi, Keith Ballentine, and many more
MPAA Rating: NR
Selig Rating: 4.5 Stars
Runtime: 70 Min.
Movie Site: https://www.facebook.com/TheHillDoc
Trailer: THE HILL Trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### AMERICAN ASSASSIN – A Review by Hollywood Hernandez
 

	AMERICAN ASSASSIN – A Review by Hollywood Hernandez

	 

	American Assassin is an action/thriller filled with espionage, intrigue and plenty of action.  Dylan O'Brien (The Maze Runner and MTV's Teen Wolf) plays C.I.A. trainee Mitch Rapp. You'll be amazed at the transformation of O'Brien as he buffs up to play the stone cold killer in American Assassin. The movie is based on the bestselling novels of Vince Flynn and directed by Michael Cuesta, who also directs the TV series Homeland. 

	 

	O'Brien's character, Mitch Rapp, becomes a lone wolf who is obsessed with revenge after terrorists kill his girlfriend while they are on vacation on a small island in the Mediterranean. He trains for a year in MMA and with weapons. He is so ruthless that he is kicked out of both his martial arts class and his weapons training class. His plans are to pose as an American who is sympathetic to the cause of Isis so he can get near enough to kill members of their terrorist cells.

	 

	While he's making his plans he also being watched by the C.I.A. and they extract him from his first mission in Libya and offer him a chance to be a part of a super secret and elite black ops team. Sanaa Lathan plays Irene Kennedy, a C.I.A. Deputy Director who is in charge of the black ops team and Michael Keaton (who looks fantastic at age 66) is a former Navy Seal who's in charge of training the team. As an ensemble the actors make for a very entertaining movie. 

	 

	Keaton and his team travel all over the world to stop a terrorist plot between Russia and Iran to build a nuclear weapon. On the mission the team discovers a former black ops team member, only known as "Ghost" who is now a mercenary and is brokering the deal between the two countries. "Ghost", played by Taylor Kitsch (Friday Night Lights) is a former protégée of Keaton who's now seeking  revenge against his former mentor and against The United States, a country who he feels betrayed him.

	 

	While the cast is strong, it's O'Brien who carries the movie. He's on par with any former actor who's played James Bond except, unlike the Bond characters; he doesn't play his part with any humor or sarcasm. He plays it full out serious. He's a man obsessed with violence and killing, which makes for a very bloody, intense and entertaining movie. 

	 

	American Assassin is rated a very strong "R" for violence and it has a run time of 1 hour and 51 minutes. It will keep you enthralled and on the edge of your seat from start to finish. On my "Hollywood Popcorn Scale" I rate American Assassin a JUMBO. 

#### AMERICAN BIRTHRIGHT – A Review by John Strange
AMERICAN BIRTHRIGHT – A Review by John Strange
When I prepare to review a film, whether at home or in a theater, I do my research to learn the facts I need to fill in the facts listed at the end of this review to give you, the reader, a bit more to go on.  When I review films playing at film festivals like this one, that information is sometimes sparse and difficult to locate outside of the information provided by the festival.
American Birthright is one of these films.  The notes and the trailer provided gave me clues that intrigued me.  And I am glad I was granted permission to watch and review this wonderful story of discovery and learning.
Director Becky Tahel Bordo is an Israeli-born woman whose family came to the U.S. from Haifa, Israel when she was young.  Starting in New York City, this young woman eventually migrated to Los Angeles to pursue her career.
When her younger sister announced her engagement to a nice man, who was not Jewish, Tahel had questions arise in her heart and her head that led to her deciding to make this documentary film pursuing the questions of faith and life for a young Jewish person.
For a woman who was making her first documentary film, this effort is amazing.  Well-thought-out, it flows well as she begins by discussing her questions with her rabbi and her family, then flying to Grenada to talk to her sister face-to-face.
The answers she learned only made her desire to find the answers that were right for her that much stronger.  She and her producing partner, Erin Davis, traveled to Israel in pursuit of her quest.  Was she successful in her quest and did she answer the questions she had?  That is why we watch films like this one.  The filmmakers made our view of Tahel’s search for enlightenment both comfortable and enjoyable.
I had a wonderful time watching this film, self-examining my own life as it related to hers.  And thinking of others in my life who live on both sides of this idea/question of interfaith marriages and, at its core, faith as you as a person see and experience it.
The other wonderful piece of this film is the soundtrack.  From the film’s credits, I know most of it to be original music.  This is not as surprising these days as the rates to license music can cripple a film’s budget.  Tahel’s selections fit well with the film, the highlight being the song during the end credits, “Caught in a Flame” by Nuriel.  I Googled it and listened to this song again after the film ended.  It is truly beautiful.
You can see this film for yourself during the virtual screenings of the Miami Jewish Film Festival running from April 15-29, 2021 (see the link below).
 
Director: Becky Tahel Bordo
Cast: Becky Tahel Bordo, Eric Andre, Reza Aslan
MPAA Rating: NR
Selig Rating: 5 Stars
Runtime: 66 Min.
Trailer: AMERICAN BIRTHRIGHT Trailer
Virtual Screening:  Miami Jewish Film Festival, 4/15 – 4/29/2021, https://miamijewishfilmfestival.org/
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### AMERICAN CINEMA EDITORS (ACE) ANNOUNCES DATES FOR THE 77TH ANNUAL ACE EDDIE AWARDS
American Cinema Editors (ACE) has announced the key dates for the 77th Annual ACE Eddie Awards, honoring outstanding editing in film, television, documentaries, shorts and digital content. The awards ceremony will take place on Saturday, February 6, 2027, at UCLA’s Royce Hall in Los Angeles.
The eligibility period for all submissions runs from January 1, 2026, through December 31, 2026.
“Editing is the invisible art that makes everything else possible, and the ACE Eddie Awards exist to make that work visible,” said ACE President Sabrina Plisco. “We are proud to bring our community together once again at UCLA’s Royce Hall to honor the editors whose art shapes every story we love.”
Three special honors will be handed out at the ACE Eddie Awards ceremony including two Career Achievement recipients, presented to film editors of outstanding merit, and the Golden Eddie Filmmaker of the Year honor, presented to a filmmaker who exemplifies distinguished achievement in the art and business of film. Honorary award recipients will be announced later this year. The winner of the Anne V. Coates Student Editing Competition will also be announced that evening.
As a reminder, in addition to the regular film and television offerings, ACE added a new short film category. Most importantly, we’ve broadened eligibility across existing categories to include work released on platforms like YouTube. Whether reality or variety series or feature-length documentaries, ACE will judge these projects by the same rigorous standards it applies to all entries. This shift acknowledges the caliber of editing now seen in digital-first storytelling and ensures that editors working in these formats are recognized for their craft.
Submissions for nominations will open on Thursday, October 1, 2026. An early bird submission fee of $250 per title or episode is available until Monday, November 23, 2026. After this date, the submission fee will be $350. The final deadline for all submissions is Monday, December 7, 2026, at 5:00 p.m. PT.
Nomination ballots will be sent on Monday, December 21, 2026, and are due by Thursday, January 7, 2027, at 5:00 p.m. PT. The nominations for the 77th Annual ACE Eddie Awards will be announced on Thursday, January 14, 2027.
An ACE Nominee Cocktail Party will be held on Thursday, February 4, 2027.
Please note that if a show title receives more than two nominations in a single category, it may be subject to review by the Blue Ribbon Committee. For more information on submissions and the ACE Eddie Awards, please visit https://americancinemaeditors.org.
Key dates for the 77th Annual ACE Eddie Awards are as follows:
Thursday, October 1, 2026 – Early Submissions for Nominations Begin
Monday, November 23, 2026 – Early Bird Price Deadline (visit ACE website for details)
Monday, December 7, 2026 (5pm PT) – Submission for Nominations End
Monday, December 21, 2026 – Nomination Ballots Sent
Thursday, January 7, 2027 (5pm PT) – Nomination Ballots Due
Thursday, January 14, 2027 – Nominations Announced
Friday, January 15, 2027 – Deadline for Advertising
January 18 – 25, 2027 – Blue Ribbon Online Judging
Monday, January 18, 2027 – Final Ballots Sent
Monday, January 25, 2027 – Final Ballots Due
Thursday, February 4, 2027 – ACE Nominee Cocktail Party
Saturday, February 6, 2027 – ACE Eddie Awards at UCLA’s Royce Hall

#### American Cinematheque’s PROOF Film Festival Wraps Up 2nd Outing With Filmmaker Awards
HEMA
 
The American Cinematheque’s PROOF Film Festival announced the innovative film festival’s filmmaker awards as it wrapped a successful 2nd edition at the Culver Theater (9500 Culver Blvd.). Leading the award winners were Liz Sargent’s Take Me Home, which took the Grand Jury Prize, and Giselle Bonilla’s The Musical, which was the Audience Choice Award winner.
Along with the Grand Jury Prize, Sargent also received a $60K camera package, courtesy of Panavision, to assist them with fleshing out a larger project from their proof-of-concept.
Established last year as one of the first-ever film festivals dedicated solely to the presentation of proof-of-concept short films looking to be expanded into feature-length productions or series, the festival upped the ante for its second outing by opening its PROOF Pitch Deck Show & Tell to the general public. That resulted in the film festival receiving over 100 submissions for feature film and series pitches, from which eight participants were chosen to present their pitch decks live in front of a panel of industry professionals at the festival.
Additional panels were added as PROOF broadened its approach to not simply turn the spotlight on a slate of innovative films from up-and-coming filmmakers, but to also generate productive conversations on the art and business of filmmaking, to help the attending filmmakers make inroads to the industry with access to mentorship workshops, professional development opportunities and more.
American Cinematheque Film Programmer and Proof Film Festival Founder, Imani Davis, said, “It was exciting to see PROOF Film Festival continue to grow and develop in our second year. The filmmakers have been ecstatic about the experience. PROOF creates a platform for great work to find appreciative audiences, but perhaps more importantly, it is already becoming an event for these filmmakers to find solid footing as they take the next steps for their current projects, as well as sow the seeds for their future projects.”
Additional winners included Ritvik Dhavale’s Hema, and Chris Capel’s Fishers of Men sharing the PROOF Film Festival’s Gold Award, Hanna Gray Organschi’s F*ck That Guy winning the Silver Award, and TUSK’s Ripe! taking the film festival’s Bronze Award. Lucy Porter had the winning pitch for her Silver Spoon project and came out on top in the PROOF Film Festival’s Pitch Deck Show & Tell.
Winning filmmakers received a free story consulting session with a screenwriting professional, with ShotDeck to providing free yearlong subscriptions to their services.
The highly curated film festival placed the proof-of-concept shorts into programming themes which included titles like “Unlikely Friendship”, “One Bad Night”, “An Examination of Learning”, “In Search of Independence”, “Adventures in Nature”, “Kin”, “Bump in the Night”, “Not As They Appear”, “Age of Change”, “Facades”, and “The Trouble With Tech”.
Additional highlights included ShotDeck, the largest searchable cinematic image library, presenting a live Shot Talk with a cinematographer guest, hosted by founder Lawrence Sher, ASC. Antigravity Academy presented The Making of DÌDI (弟弟), with filmmaker Sean Wang and producers Josh Peters and Valerie Bush in person to discuss the making of the new hit indie film. Popular panel subjects; “Represented: A Conversation with Agents and Managers”, “Next Steps: From a Short to a Feature or Series”, and “Forging Your Own Path: Actor/Producers in Conversation” were highlights.
PROOF also hosted the Los Angeles premiere of the festival hit feature film Sew Torn, which is adapted from the 2019 short film of the same name, directed by Freddy Macdonald.
Community and Industry partners for this year’s edition of PROOF Film Festival include SAG-AFTRA, the Producers Guild of America, The Black List, Film Independent, The Light Leaks, Film Girlz Brunch, Creative Cypher, The Reel Champions, Not Your Daddy’s Films, Backstage Bar & Grill, The American Film Convention, The Cinegogue, Assistants vs. Agents, Anarchists United, MACRO, HappyBad Bungalow, Antigravity Academy, and Neon. Sustaining Sponsors include ShotDeck and Neon. Other sponsors include Callo, TheWrap, and The Culver Theater. The official spirits sponsor is Hendrick’s Gin. The official beer sponsor is Toña Beer. Water is provided by Liquid Death. The 2024 PROOF Film Festival Media Partner is TheWrap.
 
The 2024 Proof Film Festival Filmmaker Awards Winners:
Grand Jury Award 
Take Me Home 
Director: Liz Sargent
Audience Choice Award 
The Musical 
Director: Giselle Bonilla
Gold Award 
Hema 
Director: Ritvik Dhavale
Fishers of Men
Director: Chris Capel
Silver Award 
F*ck That Guy 
Director: Hanna Gray Organschi
Bronze Award
Ripe! 
Director: TUSK
Pitch Deck Show & Tell Winner
Silver Spoon
Pitched by: Lucy Porter
 

#### American Cinematheque’s PROOF: Proof-of-Concept Film Festival Debuts October 20
HUELLA
 
The American Cinematheque announced the lineup of official selections and events for the debut of PROOF: Proof of Concept Film Festival, taking place October 20-22. The innovative new film festival will present a dozen thematically curated programs featuring 42 official selections, filmmaking labs and panels – all taking place at the Culver Theater (9500 Culver Blvd.). PROOF will be one of the first-ever film festivals dedicated solely to the presentation of proof-of-concept short films, looking to be expanded into feature-length productions or series.
The festival, programmed and produced by the non-profit film arts organization, will look to spotlight a slate of innovative films from up-and-coming filmmakers, as well as panel conversations on the art and business of filmmaking, the ultimate goal being to help filmmakers make inroads to the industry with access to mentorship workshops, professional development opportunities and more.
American Cinematheque Film Programmer and Proof Film Festival Founder, Imani Davis, said, “Short films are often the way we are introduced to new talent and voices. Many times, filmmakers have a further vision to expand the world they have created in the short into a feature film or even an episodic series. Through this film festival is specifically for those types of films and goals, the American Cinematheque hopes to create an effective platform for that work, as well as foster connections with filmmakers that will lead connections to further their vision, and even help build industry relationships that will serve as the foundation of their career.”
Curated themes among the short film programs include the Opening Night presentation of “Limitless”, which will include Stephanie Kaznocha’s Confessions about two nuns inspired to embark on an adventure following the death of a friend. Alex Cohen’s Crack Shot follows a junior squash ex-champion who is offered a large sum to train an enigmatic teenager. André Cherkassky Pilli’s They Come from the Sky focuses on two sisters who being hunted by mysterious creatures. Sarah Moshman’s Unbound is inspired by the true story of a woman who was chosen for a mission to space while pregnant.
Additional programming themes include “Discovery”, “Independence”, “Age of Change”, “An Examination of Learning”, “Bump in the Night”, “Daring”, “Chicago Filmmakers”, “Not As They Seem”, “Fish Out Of Water”, and a special out-of-competition program with Gunpowder and Sky/Alter and Dust: “Late Night Sci-Fi and Horror Shorts”.
Four juried awards will be presented at the festival’s end, along with one audience choice award, with the jury consisting not only of filmmakers, but also creative executives, managers, agents and more. Industry figures currently on board to participate as jurors include Kyle Bowles (Creative Executive, Macro), Kristina Cuello (Coordinator, Curate), Kate Hagen (Senior Vice President, The Black List), Priyanka Kapoor (Creative Executive, Orion Pictures), Sarah Minnie (Head of Artist Development and Production, OTV), Yasmin Felice Morris (Manager, Rain Management Group) and Kayla Stamps (Creative Executive, Hartbeat).
The Black List will provide the winning filmmakers with free script hosting on their website, with ShotDeck to provide free yearlong subscriptions to their services, and a $60K camera package will go to the grand jury award winner, courtesy of Panavision, as they look to flesh out a larger project from their proof-of-concept.
The 2023 Proof Film Festival Official Selections:
 
OPENING NIGHT PRESENTATION: LIMITLESS: BLOCK #1
 
Confessions
Director: Stephanie Kaznocha
Country: USA; Running Time: 11 Minutes
After the death of a friend, two nuns in their golden years contemplate what their future holds. One confession leads to another and before they know it, they’re embarking on an adventure.
 
Crack Shot
Director: Alex Cohen
Country: USA; Running Time: 15 Minutes
Justin Huang is a junior squash ex-champion who now uses his skills to train children. But when a wealthy stranger offers a large sum to train with his enigmatic teenage son, he must decide whether to release his repressed demons.
 
They Come from the Sky
Director: André Cherkassky Pilli
Country: USA; Running Time: 7 Minutes
When two sisters are hunted by mysterious creatures, they find themselves in a race against time as one of them falls ill. After one of them tragically dies, a surprising discovery about their true identities comes to light.
 
Unbound
Director: Sarah Moshman
Country: USA; Running Time: 10 Minutes
Inspired by the true story of the 1st Mother in Space in 1984. Weeks before giving birth to her first child, Dr. Anna Fisher is chosen for a mission to space. Although the decision to go is easy, Anna is faced with the difficult intersection of motherhood and ambition on the way to her dream.
 
 
DISCOVERY: BLOCK #2
 
Cowboy, Choker, Harness & Heart
Directors: Nicolas Blanco and Julia Ponce Diaz
Country: USA; Running Time: 8 Minutes
A bathroom stall hookup gets complicated when some unexpected guests arrive.
 
For the Moon
Director: Nile Price
Country: USA; Running Time: 9 Minutes
A coming-of-age narrative based on the true story of Ronald McNair, the 2nd African American to go to space following his stand against segregation in an all-white Library.
 
Huella
Director: Gabriela Ortega
Country: USA; Running Time: 14 Minutes
When her grandmother dies, a Dominican flamenco dancer experiences the stages of grief through a visit from her female ancestors.
 
Little Hollywood                                                                    World Premiere
Director: Ed McCulloch
Writers: Lane Bender and Benjamin Thevenin
Country: USA; Running Time: 6 Minutes
An aimless art student and their prickly grandma embark on a comedy of errors as they wrestle with their strained relationship and the upkeep of an unruly movie museum full of cowboy nostalgia.
 
Vance
Director: Dakota Daulby
Country: USA; Running Time: 12 Minutes
In a world where vampires coexist with society, Vance is a captivating love story that follows an ordinary vampire’s transformative journey when he encounters a spirited human, sparking a profound exploration of life’s true meaning.
 
 
INDEPENDENCE: BLOCK #3
 
Café Racer
Director: Harrison Houde
Countries: Canada/USA; Running Time: 15 Minutes
A Japanese Canadian teenager wishes to stay connected to her father by pushing the limits of street racing, despite her mother begging her to quit.
 
Heritage Day
Director: Lara Everly
Country: USA; Running Time: 19 Minutes
Eight-year-old Evie becomes obsessed with playing Holocaust after dressing up as her estranged grandmother, a Holocaust survivor, for Heritage Day at school.
 
Suzie (& Jenny)                                                                     World Premiere
Director: Marie Rouhban
Countries: USA/France; Running Time: 8 Minutes
As the planet reaches an alarming state in terms of global warming, a 60-year-old woman decides to take action.
 
 
AGE OF CHANGE: BLOCK #4
 
Four Chairs
Directors: Ester Song Kim and Nika Burnett
Country: USA; Running Time: 9 Minutes
The morning after a new love affair, a woman reflects on her past relationships.
 
Pickled Herring
Director: Milana Vayntrub
Country: USA; Running Time: 17 Minutes
After an embarrassing accident shatters Irina’s hip, her ridiculous, old world, father visits, committed to fixing everything, except their relationship.
 
The First 30 Days
Director: Skylar Rochon
Country: USA; Running Time: 8 Minutes
3 black girls fresh to NYC go to a pre-game where the typical party conversation takes a turn.
 
The Jennifer Meyers Story
Director: Caroline Symons
Country: USA; Running Time: 12 Minutes
A mock true-crime episode covers the disappearance of a fictional teenager, but the reenactments are performed with mini-models. But as we learn more about the woman operating the mini-models, we also learn about the danger lurking in her one-bedroom apartment.
 
 
AN EXAMINATION OF LEARNING: BLOCK #5
 
Blue Boy
Director: Tyler Riggs
Country: USA; Running Time: 19 Minutes
Insecure New Jersey bodybuilder, Joey Rossi aka Joey Muscles, starts doing steroids in a last-ditch effort to go pro.
 
Clare
Director: Lauren Minnerath
Country: USA; Running Time: 12 Minutes
At a high school talent show, 17-year-old Clare tries to confront her teacher over a private matter, leading to unexpected consequences.
 
Marcy Learns Something New
Director: Julia Kennelly
Country: USA; Running Time: 16 Minutes
A widow (Rachel Dratch) takes a dominatrix class.
 
 
DARING: BLOCK #6
 
Juliet
Director: Ira Storozhenko
Country: USA; Running Time: 15 Minutes
A transgender teenager battles prejudice and her own self-doubt to audition for a female lead in her high school’s play.
 
Look Back at It
Director: Felicia Pride
Country: USA; Running Time: 12 Minutes
A forty-something single mother gets her groove back with a little assistance from her teenage daughter.
 
The Sheriff of Nottingham Meets Robin Hood                  World Premiere
Director: Omar Lopex
Countries: USA/Mexico; Running Time: 1 Minute
A lonely Border Patrol agent seeks purpose south of the border, and a fat Mexican boy dreams of blonde women.
 
 
The Universe and You
Director: Brendan Mitchell
Country: USA; Running Time: 13 Minutes
The host of a late-night cable access show takes a call from a viewer that could have dangerous consequences.
 
Trash Cats
Director: Maria Norris Scaffido
Country: USA; Running Time: 4 Minutes
Fang Dangler is tasked with making breakfast for his friends the morning after a bender.
 
BUMP IN THE NIGHT: BLOCK #7
 
It’s Not Real
Director: Tina Carbone
Country: USA; Running Time: 8 Minutes
A woman tries to convince herself that the strange occurrences in the 100-year-old apartment she just moved into aren’t actually happening.
 
Papergirl
Director: Jack Warren
Country: USA; Running Time: 5 Minutes
Gender dysphoria gives way to terrifying metamorphosis when a lonely partygoer discovers that their skin is turning to paper.
 
Silhouette                                                                              World Premiere
Director: Ana Liza Muravina
Country: USA; Running Time: 9 Minutes
Tess and Emmett are in love, but when she gets a promotion, the darkness hiding inside Emmett is revealed.
 
Skin & Bone
Director: Eli Powers
Country: USA; Running Time: 17 Minutes
After taking a job on a farm run by a reclusive woman, a drifter begins suffering from visions of men trapped inside the bodies of animals.
 
Skin Deep
Director: Abby Alleyne Brooke
Country: USA; Running Time: 13 Minutes
On the last night of summer in a sleepy seaside town, an insecure young woman finally reveals to her crush exactly how she feels — and what she is.
 
The Loop
Director: Rich Ragsdale
Country: USA; Running Time: 8 Minutes
Mikey’s older brother, Tommy, brings home a mysterious bootleg VHS tape of the scariest movie ever made. But what they expect to be a run-of-the-mill 80s slasher flick turns out to be something much more terrifying.
 
 
CHICAGO FILMMAKERS: BLOCK #8
 
All In
Director: Dusan Brown
Country: USA; Running Time: 15 Minutes
When an enterprising teen is left with seemingly insurmountable debt by his unscrupulous, late father, he must play poker to either make the money back and save what’s left of his family… or die trying.
 
 
Hindsight
Director: Kimberly Michelle Vaughn
Country: USA; Running Time: 15 Minutes
When racial unrest plagues Chicago, Illinois, four strangers with opposing political views and cultural ideologies agree to participate in a social experiment.
 
The Black Monk
Director: Jeffrey Gabriel Silva
Country: USA; Running Time: 14 Minutes
A musician suffers a nervous breakdown and is haunted by the supernatural apparitions of a black monk.
 
 
NOT AS THEY SEEM: BLOCK #9
 
Blackout
Director: Andrew Reid
Country: USA; Running Time: 7 Minutes
While on a routine mission, an astronaut soon finds herself battling for command, facing forces known – and unknown – intent on destroying her.
 
Humanized
Director: Colin Sevely-Ortiz
Showrunner: Gabriel Guimaraes
Country: USA; Running Time: 29 Minutes
Posing as a typical teenager, a humanoid robot must navigate the uncertainty of adolescence in order to conceal a haunting secret.
 
That’s Our Time
Director: Alex Backes
Country: USA; Running Time: 10 Minutes
Danny’s stuck in a dead-end job. It keeps him focused on the clock and unable to connect with those around him. However, his sympathetic therapist tries to help him realize that it’s more important to focus on the time you have left than the time you’ve already spent.
 
 
SELF-ASSURED: BLOCK #10
 
Dún Laoghaire
Director: William Lancaster
Countries: USA/Ireland; Running Time: 12 Minutes
During their morning tea, Julie reminds her elderly mother, Aoife, of a new stove that is to be delivered to the house today. Aoife believes Julie is lying about ever telling her and takes it upon herself to sabotage the delivery by any means necessary.
 
The Song of the Witch                                                         World Premiere
Director: Minos Papas
Country: Cyprus; Running Time: 13 Minutes
On a cold Christmas eve in nineteenth-century Cyprus, an old woman tells a folk tale of death, myth, and magic to the children gathered around her.
 
 
Youthful Pleasures                                                               World Premiere
Director: Rex Provost
Country: USA; Running Time: 20 Minutes
Ben, a dissatisfied twenty-something, is obsessed with perfectly recreating an embarrassing childhood memory. To pull it off, he reaches out to estranged friends from childhood. Under unlikely circumstances, the group of friends mend old wounds and give Ben the climax he didn’t realize he’d been seeking.
 
 
FISH OUT OF WATER: BLOCK #11
 
Bounce House
Directors: Callie Bloem and Christopher Ewing
Country: USA; Running Time: 16 Minutes
Civilization has ended. Everyone Polly loves is dead. But at least she has a bounce house.
 
Fraud
Director: Zen Pace
Writer: Dana Aliya Levinson
Country: USA; Running Time: 13 Minutes
A trans fraudster must decide who she wants to be when her target surprises her with an unforeseen proposition.
 
Out of Water
Director: Madi Stine
Country: USA; Running Time: 13 Minutes
When a disenchanted mermaid performer is mistaken for a real mermaid, she plays along to disastrous consequences.
 
 
ALTER & DUST PRESENT LATE NIGHT SCI-FI AND HORROR SHORTS
 
Death Snot
Director: Charlie Schwan
Country: USA; Running Time: 9 Minutes
Severe allergies drive a man to the brink of insanity as he desperately attempts to rid his body of mucus.
 
Future Boys
Director: Julian Clark
Country: USA; Running Time: 10 Minutes
In a future housing project, a permanent tenant of virtual reality receives a rogue transmission.
 
Violet Butterfield: Makeup Artist for the Dead
Director: Brooke H. Cellars
Country: USA; Running Time: 13 Minutes
Violet Butterfield, a mortician beautician, uncovers the beauty in death her clients could have owned in life.
 
Yummy Mummy
Director: Gabriela Staniszewska
Country: USA; Running Time: 14 Minutes
Ignored throughout her pregnancy, Lilith senses her identity is being smothered by her burgeoning motherhood. Her anxieties begin to have physical manifestations – and she starts to fall apart – literally.

#### AMERICAN CRIME STORY: THE PEOPLE V. O.J. SIMPSON – EP. 1 – A REVIEW BY HAYDEN PITTMAN
https://youtu.be/J2-vm-L_dk4

	Superbowls are big, but there are only a handful of major events and news stories that occur in life where you can actually recall where you were at the time and remember it being all anyone talked about. These can be natural disasters, elections, scandals, tragedies, or in the case of FX’s new TV series, “American Crime Story”, a white Ford Bronco speeding down the highway with fans cheering and the police in pursuit of the celebrity, O.J. Simpson, who would soon be put on trial for murder.

	Tuesday, February 3rd, American Crime Story’s first season premiered on FX, with the topic being “The People v. O.J. Simpson”, based on the book, The Run of His Life: The People v O.J. Simpson, by Jeffrey Toobin, which focuses on Simpson’s murder trial and the accusation that he killed his ex-wife, Nicole Brown Simpson. Starring Cuba Gooding, Jr. as O.J. Simpson, Sarah Paulson, David Schwimmer, John Travolta and more, this show is already getting very high praise and in my opinion is all around extremely well put together.

	Beginning with actual video footage of police brutality and violent riots, the pilot episode flashes back two years and really gets going right before the death of Nicole Brown Simpson. One of the first things we see is a neighbor walking his dog and approaching Nicole’s house, where he finds a dog with bloody paws running loose that leads him to two dead bodies, Nicole’s and a male’s body outside her house. The police investigate, and after going to O.J.’s house to notify him, they find blood on/inside his bronco, inside the house, and two matching black gloves, one at his house and one at Nicole’s. 

	O.J., who is apparently in another city at the time, quickly comes home distraught and angry, but willing to help the police in any way. Between the evidence found by the police and the fact that there is prior history of O.J. abusing Nicole, he is brought in for questioning but answers all the questions in a very odd, vague, and uncertain way. He is let go, and within no time, the blood comes back as a match, and they put a warrant out for his arrest. Before they attempt to arrest him, O.J. assembles a team of lawyers, including Robert Shapiro (Travolta) and Robert Kardashian (Schwimmer).

	O.J.’s lawyers convince the police to let them bring him down to the station at a certain time, but when that time approaches, they are no where to be found. Instead, O.J. is at home freaking out, writing a will and letters to his friends and family, before pulling out a pistol and threatening to kill himself. The police arrive, but before they can arrest him, he escapes in the white Bronco. This is where the pilot episode comes to an end, but not before showing a series of future scenes and episodes that show promise for the future of the show.

	For weeks prior to it’s showing, I saw the trailer for this show and looked forward to viewing it. The pilot episode was as good or better than expected, and the show appears to be doing all the right things. The acting is top notch all the way around, with a variety of known and unknown quality actors, the writing and characters is very smart and well thought out, and even though many viewers already know this story, the show does a great job at creating suspense and revealing facts that I personally had never heard before. 

	Cuba Gooding, Jr., John Travolta, and Sarah Paulson seem to stand out the most with their strong performances. Gooding, Jr. is just right for the hot-tempered Simpson, Travolta is perfect for a sleezy type lawyer, and Paulson plays the fierce prosecutor, Marcia Clark, who is set on nailing him to the wall and could care less about who O.J. Simpson is or any of his past glories. The film also stars Schwimmer, Kenneth Choi, Christian Clemenson, Bruce Greenwood, Nathan Lane, Courtney B. Vance, and has recurring performances from Selma Blair as Kris Kardashian, Connie Britton, Jordana Brewster, etc.

	“American Crime Story” is a true crime TV series, which means that the show examines an actual crime that took place, as well as the details and actions of the real people involved. From the people that brought shows like “American Horror Story”, “Glee”, “Nip-Tuck” and more to television, along with additional writers and producers, ACS first started being developed at Fox, before coming to the company’s sibling cable network, FX. The first season, which focuses on the murder trial of O.J. Simpson, is slated to consist of ten episodes, and the second season is rumored to focus on Hurricane Katrina.

	“American Crime Story: The People v. O.J. Simpson” can be seen on FX on Tuesday evenings and you can catch up on the pilot episode by going to http://www.fxnetworks.com/shows/full-episodes.

#### AMERICAN CRIME STORY: THE PEOPLE V. O.J. SIMPSON – EP. 2 – A REVIEW BY HAYDEN PITTMAN
 

	(CONTAINS SPOILERS)

	The last time we saw O.J. Simpson on “American Crime Story: The People V. O.J. Simpson”, he had just threatened to commit suicide and disappeared in a white Bronco to avoid turning himself into the police after being accused of murdering his ex wife, Nicole Brown Simpson, and her male companion, Ronald Goldman. In the second episode, O.J.’s breakdown continues as he still says he wants to kill himself while taking part in a police chase on the highway that can be seen on every news station in the country.

	After holding press conferences regarding O.J.’s temporary disappearance and issuing a nationwide manhunt, someone spots his Bronco on the road and calls it in to the police, resulting in a low speed chase. It’s a sign of the times seeing the couple stop on the highway to use a pay phone. With O.J.’s friend, Al Cowlings, or “AC”, driving the car and O.J. in the backseat with a gun to his head, the police keep their distance and eventually allow him to proceed home to see his family. As the episode comes to a close, Simpson is finally taken into custody.

	Just like the pilot episode, this week’s show continued the exciting and thrilling representation of the events leading up to the Simpson murder trial, and specifically, showed how the police chase with the white Bronco took place. Interestingly enough, the authorities were confused at first because Simpson’s blood-stained Bronco had already been impounded prior to the chase, but apparently his close friend AC purchased an identical vehicle, which is the one seen driving on the highway. Most remember the infamous white Bronco chase scene which was being broadcasted live during the NBA Finals.

	“American Crime Story” continues to give an impressive rendering of the events and does a great job at capturing the time period and characters involved. From clothes, to cars, the overall colors, the look and feel of the show is reminiscent and nostalgic of that time, and the characters are spot on, from their physical appearances, mannerisms, and attitudes, to the actors that play them. For someone like myself, I was only five years old or so and don’t remember the actual events, but watching the show today is not far off from following it back then, aside from the increased drama that TV provides.

	While watching the highway chase and the entire show for the matter, it’s as if these events are actually happening, and I’m watching it live on the news. The show increases this feeling by mixing fictional scenes with real footage and news coverage. Similar to the bit about there being two Broncos, there is information you can pick up from the show that even someone who followed the events back then might not even be aware of. Who knew O.J. signed his suicide note with a happy face, or that Simpson called the police on a car phone during the chase to apologize for the trouble he had caused. The cell phone looks nothing like our smart phones today.

	Whether relevant or simply for amusement, there is a short cut scene during one of the press conferences where we see the young Kardashian kids in front of their television cheering for their father who is speaking to the media about Simpson. Scenes like this are not crucial to the facts of the story, and only serve as a sort of Easter egg or humorous bit.

	“American Crime Story: The People v. O.J. Simpson” is heart pounding at times and very well put together. Good acting, a great cast, thrilling storytelling, nostalgic moments and more make this show worth watching. Even though the viewership dropped a little from the pilot, the show still brought in several million viewers, and I have confidence that this show will continue to impress and finish out this season strong, much in part to the public’s continual fascination with the guilt and innocence of O.J.

	You can watch “American Crime Story: The People v. O.J. Simpson” on FX on Tuesday evenings, and if you haven’t seen the first or second episode, you can catch up at http://www.fxnetworks.com/shows/full-episodes.

	“American Crime Story: The People v. O.J. Simpson” stars Cuba Gooding, Jr. as O.J. Simpson, Sarah Paulson, David Schwimmer, John Travolta, Bruce Greenwood, Courtney B. Vance and more. 

	By: Hayden Pittman

#### AMERICAN CRIME STORY: THE PEOPLE V. O.J. SIMPSON – EP. 4 – A REVIEW BY HAYDEN PITTMAN
(CONTAINS SPOILERS)

	Tuesday nights fourth episode of “American Crime Story: The People v. O.J. Simpson” continues the trend of producing quality episodes, great acting and interesting inside information. This episode was one of my favorites so far, as the show finally gets going with selecting the jury, so that the actual trial can begin.

	As seen in previous episodes, both sides are pushing for a certain type of person to be involved in the case, and as this episode goes on, at least half of the jurors turn out to be African American, and the personnel on both the defense and the prosecution appears to be shifting. 

	The episode opens with a flashback of an amusing party scene that Simpson is recalling. Drugs, alcohol, girls, music, flashy clothes and more fill the screen until we quickly find Simpson back in his cell and dreaming of a better life and situation. With his “dream team” of lawyers almost complete, the defense plans on challenging absolutely everything in the preliminary hearing, be it Marcia Clark’s request to use the restroom or being picky about the number of hairs the prosecution can request for a hair test. The more objections and challenges the defense can come up with, the harder and longer it will be for the other side.

	Before jury selection can begin, both sides poll different groups of people to see what their true opinions of O.J. are, and what they think of others involved such as Nicole Simpson, Clark, Shapiro, Cochran, etc. To no surprise, O.J. polls well among African Americans and Nicole isn’t very popular, while many think Clark is a cold b**** who needs to smile more and change her appearance. The numbers and news reports show that some believe Shapiro to be in over his head, while they seem to love Cochran. As a result, the defense naturally begins to push for as many African Americans on the jury as possible, while the prosecution says they simply want a group of fair, educated people. 

	During the jury selection, a newly published book comes to light, using the help and hearsay of Faye Resnick (decent performance from Connie Britton), a close friend of Nicole Simpson who paints O.J. in a horrible, abusive light. This suspends the selection for a time, so that the judge and both sides can fully examine the material.

	At one point, the prosecution decides to take the death penalty off the table, due to O.J.’s celebrity status and popularity and begin discussing the idea of bringing on an African American of their own to help out with the case. They also deal with the upset and heartbroken family of Ronald Goldman, the male victim found dead with Nicole, who seems to have been mostly forgotten in the shadow of this high profile case. The scene where Clark engages with the Goldman family is very emotional and intense to see play out.

	While the prosecution addresses their own issues, the defense begins to have internal trouble as Cochran and Shapiro start butting heads. Shapiro is annoyed that Cochran continues to step on his toes and acts as if he is in charge, and after Shapiro pushes for O.J. to take a deal and plead guilty to manslaughter, he is removed as lead lawyer, at O.J.’s request and the support of the rest of the team. This leaves Cochran in charge, and the team believes he has the better vocabulary and face to lead.

	By the end of the episode, the jury is finalized, Cochran officially takes over, and the defense finally adds a third lawyer to their team, Christopher Darden (Sterling K. Brown), who happens to be African American and an acquaintance of Cochran’s. If this episode was any indication of the exciting and detailed trial to come, then I’ll have an even harder time waiting for next week.

	You can see “American Crime Story: The People v. O.J. Simpson” Tuesday evenings on FX at 10PM ET/PT, and you can catch up on previous episodes at http://www.fxnetworks.com/shows/american-crime-story/episodes.

#### AMERICAN CRIME STORY: THE PEOPLE V. O.J. SIMPSON – EPISODES 5-8
 

	The titles of the past few episodes of “American Crime Story: The People v. O.J. Simpson”, “The Race Card”, “Marcia, Marcia, Marcia”, and “Conspiracy Theories”, suggest just about everything you need to know about what’s happening in the show. Unfortunately due to work conflicts, I’ve missed the opportunity to post a review the last couple weeks, but this week, I’ll highlight what I’ve missed, as well as taking a look at Tuesday nights episode, “A Jury In Jail”.

	Episode 5 – “The Race Card” – 3/1/16

	As the trial of O.J. Simpson continues to develop in the show, one of the biggest themes is race. Simpson is African American, as is his head lawyer, Johnnie Cochran, along with one of the opposing counsel, Christopher Darden, and a good portion of the jury. To understand how Simpson was ultimately acquitted of a double homicide, it’s important to understand the reality of the world at the time of the trial and specifically how it viewed and treated those of a different race.

	Episode 5 starts out with Cochran being pulled over with his kids in the car and being treated poorly by the police officer, until he quickly discovers who Cochran is and changes his attitude. Apparently, an African American driving a nice car in a nice neighborhood warrants suspicion by the white officer. After the officer leaves, Cochran’s daughter asks if the officer had used the “N” word (fully said multiple times in the show) to describe Cochran, in which Johnnie says, “No, he didn’t… he didn’t have to. But that is an ugly word”.

	While the issue of race continues to play a larger role in the trial, Darden requests that both sides refrain from using the “N” word in court, but a heated Cochran objects and appears to put Darden in his place during the opening statements, even going as far as to refer to Darden as “Uncle Tom” and a betrayer of his own race. Darden and Cochran continue their feud in and out of the courtroom, and at some point during the beginning of the trial, prosecutor Bill Hodgman has a heart attack while in mid-sentence, causing Clark to appoint Darden to be her co-lead prosecutor.

	Towards the end of the episode, there is a tour of Simpson’s house by the jury, judge, defense and prosecution, etc.  The defense completely redecorates O.J.’s house with pictures of his family, a display of his sports awards and more, to make him seem more appealing and get sympathy from the jury. The misrepresentation completely angers the prosecution, and in closing, Darden is very worried about putting Detective Mark Fuhrman on the stand, who at quick glance sounds okay, but to Darden, is as a disingenuous and potentially white racist.

	Episode 6 – “Marcia, Marcia, Marcia” – 3/8/16

	While the riveting murder trial of O.J. Simpson continues, this episode is all about Marcia Clark. It features the much-anticipated Fuhrman testimony and further scrutiny of the police department for their handling of the evidence (one detective takes the evidence home for the night before filing it the next day), as well as other testimonies from Nicole Simpson’s sister, Denise (played by Jordana Brewster), and the neighbor’s housekeeper, Maria Lopez. Through all of this, it’s the Marcia Clark show, and by the end of the episode, you might even feel bad for her.

	From a child custody battle with her ex-husband to a naked picture from her first marriage that surfaces to the continued ridicule in the media for her looks and more, it seems like one thing after another happens to Clark. Even through all of the bad attitudes and her generally negative/gloomy persona and despite which side you are on, Marcia Clark is still a person with feelings, and she finally reaches a point when the public scrutiny and pressure of the case becomes too much.

	Another big part of this episode is when Lee Bailey for the defense is questioning Fuhrman and actually uses the “N” word to ask him about his feelings towards African Americans. It furthers the race issue and even hearing the word said out loud clearly causes the jury and everyone else watching to shift their focus and only remember one thing from that day, associating Fuhrman and the police with the racist term.

	Episode 7 – “Conspiracy Theories” – 3/15/16

	Each week, this show continues to show how well put together it is and how fascinating this trial is. Passionate acting, a compelling and well-written story, quality directing and more, each episode is varyingly as good or better than the next. In the latest episode, entitled “Conspiracy Theories”, theories of who killed Nicole continue to fly around, and even O.J.’s closest confidants have to ask themselves, if not O.J., then who?

	As the episode begins, we quickly see that Clark has changed her hair once again, this time looking a bit more normal. While the day’s court session goes on, Alan Dershowitz (Evan Handler), a consultant of the defense, appears to be teaching a law-related college class. Before long, he has an idea and sends a fax to Cochran in court, who can be seen reading the fax shortly after on live TV and following through with Alan’s recommendation to ask the witness about a “Columbian necktie” in hopes of showing that Nicole’s murder could be drug or gang related.

	Throughout the episode, Darden and Clark grow closer by taking a weekend trip to celebrate a friend’s birthday, Cochran’s past marital indiscretions come to light, the prosecutors find a receipt that suggests Nicole purchased the black gloves that are part of the investigation, and Shapiro continues to butt heads with those around him. He tries to scare Robert Kardashian into pushing for O.J. to take a deal and ultimately has an argument with O.J. where Simpson tells him to shape up.

	One of the biggest parts of the episode comes towards the end when it’s time to examine the gloves in court. The idea of making O.J. try them on for the jury floats around, seemingly having both positive and negative repercussions depending on whether they fit or not. Finally, the defense tricks Darden into pushing for O.J. to try them on, and although O.J. wears latex gloves underneath, the black gloves in question ultimately appear to be too small, which looks good for the defense.

	Episode 8 – “A Jury In Jail” – 3/22/16

	Like most episodes of this show, each title reflects in short what the main focus of that episode is, be it the race issue, a specific character or topic, or in this case, the jury. In this episode, the viewer gets a deeper glimpse into what it was like to be a juror during this case and specifically how many issues arose for the court and the jury during the trial.

	The episode begins with a future scene showing the jurors complaining to their police escorts about their conditions, and before long, it flashes back to the early parts of the trial just after the jurors have been selected. They are asked to stay in a hotel for the duration of the trial, which at the time seems like only a few weeks at most, but later turns into more then 130 days. Their hotel room TV’s have been removed, they are not to use the pool area, they cannot talk to anyone else, including other jurors, about the case, their reading material is strict, and generally being a juror in that situation for such a lengthy time period looks to be is tough.

	As the episode catches back up to where the previous week left off in the trial, the issues with the jurors are only getting worse, and in the meantime, both the defense and people’s side begin to raise questions about certain jurors who apparently lied on their survey when asked if they had been involved in a domestic dispute at any point in there lives. Between past arrests and the rumors that some are attempting to use their jury seat to write a book on the trial, we see one juror after another get thrown out and an alternate brought it, which clearly shakes up both sides' original idea of what the jury looked like.

	In addition to the jury problems, it’s the part of the trial in which the court discusses the DNA that was found at the murder scenes, Simpson's house and Bronco. A DNA specialist tells the court that other than the victims DNA, there is no doubt that the most of DNA comes from a single person, which he identifies as O.J. Simpson. This raises a lot of concerns, even for friends of Simpsons like Robert Kardashian, who struggles with wrapping his mind around the clear evidence that only points to one person. With all this info, how could Simpson be innocent?

	The last scene in the episode shows a call to the O.J. Simpson tip line, where the person answering the phone writes down on a piece of paper that someone has recordings of Detective Mark Fuhrman saying “frame” and the “N” word plural. Then it fades to black and the credits roll.

	Like most episodes, “A Jury In Jail” highlights a specific topic or person, in this case the jury as a whole, while juxtaposing the progression of the trial. In my opinion, this gives the show a bit more material to work with, keeps the show fresh instead of only showing the trial, and also gives audiences a deeper look into some of the people and issues associated with the trial that viewers may have never seen before. This show is truly impressive, from story telling to acting and more.

	 

	You can catch “American Crime Story: The People v. O.J. Simpson” on FX on Tuesday evenings, and if you missed an episode, you can watch all the ones to date at http://www.fxnetworks.com/shows/american-crime-story/episodes.

#### AMERICAN CRIME STORY: THE PEOPLE V. O.J. SIMSPON – EP. 3 – A REVIEW BY HAYDEN PITTMAN
(CONTAINS SPOILERS) 

	Another week, another episode of “American Crime Story: The People v. O.J. Simpson” on FX. This week’s episode is entitled, “The Dream Team”, and really begins to dive into O.J.’s defense strategy and the completion of his “dream team” of lawyers, which includes the African American, Johnnie Cochran (Courtney B. Vance).

	The opening scene of this episode shows Robert Kardashian (David Schwimmer) taking his kids to Father’s Day lunch. At first, the restaurant appears to be too crowded to find a table, but after the hostess recognizes Robert and refers to him as “Richard Kardovian”, or “the O.J. guy”, they are immediately seated. Robert then begins to talk to the kids about whether O.J., who also happens to be their godfather, is guilty or not, and after mentioning that Robert will be interviewed by Barbara Walters, he tries to impart some wisdom to the kids.

	Regarding fame, Robert tells his kids that, “We are Kardashians, and in this family, being a good person and a loyal friend is more important than being famous. Fame is fleeting, it’s hollow, and it means nothing at all without a virtuous heart”. Whatever the reason behind this scene is somewhat unknown, but it is a bit comical that the show continues to highlight the Kardashians (more than just Robert), and that in this scene, Robert is discussing fame, which we all know the kids would go on to strongly desire someday.

	Most of the episode depicts the beginnings of putting together O.J.’s defense, which happens to involve using the race card. Apparently some of the white policemen involved with the case and evidence are known racists, and as a result, O.J.’s lawyers believe that they can get much of the evidence and witnesses dismissed, and similarly, if they can get even a single African American juror, they are confident they could at least get a hung jury.

	O.J’s head lawyer, Robert Shapiro, brings in additional help through other big lawyers, such as Alan Dershowitz (Evan Handler), as well as a Special Investigator and a DNA specialist, in hopes that they can find a strategy that will work. After getting some new faces on board, O.J. finally has what the episode calls his “dream team” of lawyers.

	Shapiro figures that the team needs another face that will be good with a certain type (or race) of people, so he suggests bringing in known African American lawyer, Johnnie Cochran. O.J. actually rejects this idea at first but eventually comes around and invites Cochran to visit him in jail (at Cochran's request), so that he can tell him to his face that he is innocent.

	On the prosecution’s side, what originally looked like an open and shut case, now slowly begins to fall apart, as one piece of evidence or witness after another begins being shown heavily in the news. They too have to evolve and develop a strategy that they hope O.J. and his lawyers can’t beat.

	What I like most about this show involves the solid characters and actors that portray them, the look of the time period – from hair, to clothing, cars, buildings, etc., and the little details about the case that viewers find out in the show that they might have never known before. Details like O.J. not wanting Cochran's help in the beginning and how Cochran received a prank call from someone calling themselves O.J. and asking for his help before he actually received the call. It’s also amusing that the show continues to showcase the Kardashians, and that many viewers I’ve talked to would rather see more O.J. related content than the Kardashians.

	TOP CHARACTERS/ACTORS OF THE WEEK: Johnnie Cochran, played by Courtney B. Vance, and Alan Dershowitz, played by Evan Handler. John Travolta and Sarah Paulson, who play Shapiro and Marcia Clark, respectively, also continue to show strong performances.

	You can catch “American Crime Story: The People v. O.J. Simpson” on Tuesday nights on FX, and you can watch the first two episodes on http://www.fxnetworks.com/shows/full-episodes.

#### AMERICAN FICTION – A Review by Cynthia Flores
AMERICAN FICTION – A Review by Cynthia Flores
American Fiction is Cord Jefferson’s hilarious and touching directorial debut which confronts our culture’s obsession with reducing people to outrageous stereotypes as well as telling an intimate family story.
This movie is the story of Thelonious “Monk” Ellison (Jeffery Wright). Named after the Jazz legend. He Is a disgruntled college professor who is not politically correct and does not care to be. On top of all that, he is a frustrated novelist who is fed up with the publishing establishment. He sees publishers jumping on the bandwagon and profiting from “Black” entertainment that relies on tired and offensive stereotypes.
After Monk blows up during class and something he says is taken out of context, he’s urged to take a sabbatical. This leads him back home to reconnect with his sister Lisa (Tracee Ellis Ross), a doctor dealing with her divorce. It is then that he realizes that his mother, Agnes (Leslie Uggams) has gotten worse concerning her dementia. Due to a sudden tragedy in the family, Monk has to spend time with his younger brother Clifford (Sterling K. Brown). Clifford is a successful plastic surgeon whose family life has imploded now that he’s out of the closet. He says he can’t stick around to help with Mom because he’s got to get back to his practice. Leaving Monk the only one available to stay with her and the housekeeper Lorraine (Myra Lucretia Taylor), who is more a family member than just an employee.
During all this, Monk’s latest book is declined by all the publishers because they want something “Blacker” to print, much like the new book from Sinatra Golden (Issa Rae) who is a well-educated author but writes in the vernacular of the streets.
To prove his point that the publishers no longer want good writing, a drunken Monk uses a pen name to write an outlandish “Black” book of his own. As a joke, he sends it to his publisher, Arthur (John Ortiz), and asks him to shop it around. To prove his point about how low the bar has gotten. It is immediately a hit.
That book propels Monk into the heart of hypocrisy and the madness he claims to hate because it comes with buckets of money. Money he needs to help take care of his mother Agnes who needs a special and expensive living facility to help her with her declining mind. Monk is dealing with all this as he falls in love with Coraline (Erika Alexander), a smart and loving lawyer he meets in the neighborhood of his family’s beach house.
Monk faces a lot of challenges to his integrity and his need to make a living as a writer.        
It’s hard to believe this is director Cord Jefferson’s first film to direct because of how good it is. He brought out an award-worthy performance from his leading man Jeffery Wright and gave veteran actress Leslie Uggams a chance to show off her acting chops. As a writer, he’s won fame and an Emmy for things he’s written. He co-wrote this film with novelist Percival Everett. Based on Everett’s 2001 book Erasure. Coming from a writing background, Jefferson’s dialogue in the film has a natural feeling while intelligently showing totally absurd situations in the writing world. Yet the other part of the film dealing with Monk’s family dynamics is written with a relatable bittersweet tenderness.
I felt like I was watching two films at once. One wacky and comedic, about the craziness that Monk has gotten himself into by penning this book under someone else’s name and persona. And the other film is a rich and textured family drama filled with love and self-discovery.
The genius of American Fiction is that the director never gets bogged down by either of the storylines. By doing a balancing act between the two themes the audience never gets tired of the razor-sharp jokes that are being shown about the writing and entertainment industry of today. For example, the moment the jokes die down, the film shifts gears into a smooth and touching story of family. Cord’s storytelling abilities are razor-sharp and full of wit in the funny parts and when dealing with family matters, they are as smooth as an expensive glass of whiskey. It goes down well and if you have enough of it, you’ll tear up with sentimentality.
I give American Fiction 5 stars. It’s going to be on the top ten list for this year’s films and should rack up a few Oscar nominations along the way as well. It is not just a one-joke film like the trailer leads you to believe. So, check out this film in theaters and find out what everyone will be talking about this season.
 
Directed by: Cord Jefferson
Written by: Cord Jefferson, Percival Everett
Rated: R
Selig Rating: 5 Stars
Running Time: 117 min
Comedy/ Drama
Wide Theatrical Release: December 15th
Starring: Jeffery Wright, Tracee Ellis Ross, John Ortiz, Erika Alexander, Leslie Uggams, Adam Brody, with Issa Rea and Sterling K. Brown
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### AMERICAN FILM INSTITUTE AND UNIVERSAL PICTURES EXPAND PARTNERSHIP FOR AN AFI MOVIE CLUB WEEK-LONG SERIES “BLACK STORIES MATTER”
 
The American Film Institute (AFI) and Universal Pictures today announced the launch of a week-long AFI Movie Club event called “Black Stories Matter,” spotlighting diverse and unique narratives from celebrated Black films. Born from a recent AFI/Universal collaboration honoring DO THE RIGHT THING and Academy Award®-winning director Spike Lee, the expanded partnership will pay tribute to notable films BLACKKKLANSMAN, GET OUT, GIRLS TRIP, LOVING and STRAIGHT OUTTA COMPTON with free digital movie rentals available all week. Enhanced AFI Movie Club content will feature new interviews with composer Terence Blanchard (BLACKKKLANSMAN), Malcolm D. Lee (GIRLS TRIP), cinematographer and AFI Alum Matthew Libatique (STRAIGHT OUTTA COMPTON), Ruth Negga (LOVING), writer Tracy Oliver (GIRLS TRIP), Ron Stallworth (BLACKKKLANSMAN) and more.
Each of the Universal films will be available to rent for free on Amazon, Apple, Charter, Comcast, Cox, Dish, FandangoNOW, Redbox, Verizon and Vudu, among others, beginning August 24 through August 30.
“For decades, Universal has supported thought-provoking stories and powerful perspectives that have served to enlighten, enrich and entertain,” said Donna Langley, Chairman, Universal Filmed Entertainment Group, and AFI Trustee. “Through this partnership with AFI, we are proud to further shine a light on these distinctly important works that continue to so poignantly amplify today’s conversation.”
AFI Movie Club will enrich the free rentals by highlighting each day’s film with a conversation between film critic Shawn Edwards and filmmakers and talent involved with the films; “Behind the Scene” featurettes about a specific scene examined by an artist from the film; and exclusive clips sourced from AFI’s extensive archive of Master Class Seminars, as well as curated trivia researched from the AFI Catalog of Feature Films.
“The mission of AFI and the AFI Movie Club has always been to educate and inspire audiences – and to drive culture forward,” said Bob Gazzale, President and CEO of the American Film Institute. “We are thrilled to expand our partnership with Universal and to further the conversation about stories that are culturally and nationally significant.”
The moderated conversations, featurettes and exclusive AFI Archive material will be available on AFI.com/MovieClub and the AFI YouTube channel at YouTube.com/AFI.
Launched on March 31 with the goal to show audiences a world of art above anxiety, AFI Movie Club has announced a classic film a day as a way of connecting audiences with “movies to watch together when we’re apart” and providing everyone with the means of engaging with this essential art form – and each other. The first title was THE WIZARD OF OZ, and was announced via special video introduction by Steven Spielberg. Since then, special guests introducing daily titles have included J.J. Abrams, Halle Berry, Jessica Biel, Jack Black, Kenneth Branagh, Millie Bobby Brown, Hanelle Culpepper, Robert De Niro, Benicio del Toro, Lena Dunham, Cynthia Erivo, Carl Franklin, Morgan Freeman, Danny Glover, Jeff Goldblum, Hugh Grant, Taylor Hackford, Jon Hamm, Asher Jelinsky, Eva Longoria, Leonard Maltin, Helen Mirren, Demi Moore, LaToya Morgan, Elisabeth Moss, Mira Nair, Brad Pitt, Natalie Portman, Issa Rae, Eddie Redmayne, Emma Roberts, Sarah Silverman, Alicia Silverstone, Sharon Stone, Emma Thompson, Kerry Washington and more.
 

#### AMERICAN GENRE FILM ARCHIVE LAUNCHES NEW FUNDRAISING CAMPAIGN TO SAVE ENDANGERED 35MM FILM PRINTS
 

	The American Genre Film Archive (AGFA) announces a new initiative to help preserve and share the rarest of its vast collection of 35mm film prints. The non-profit archive – which counts among its advisory board members filmmakers Nicolas Winding Refn and Paul Thomas Anderson – has launched a fundraising campaign via Indiegogo that will help support a mission to complete high resolution digital transfers of its endangered titles – film prints too rare and fragile to be loaned.

	"By any means necessary, we need to watch movies on film, because that's why God created cinema," says AGFA advisory board member Nicolas Winding Refn. "The American Genre Film Archive has begun a mission to preserve what I consider the greatest art form God has given us."

	The very first film that AGFA is setting out to preserve is Craig Denny's THE ASTROLOGER (1975). This self-financed movie stars Denny, a real-life astrologer, as an astrologer who rises to fame by advising the President of the United States. It is an intensely strange time capsule and a vision from a unique voice in American cinema – the self-produced eccentric.

	"There's no other movie like THE ASTROLOGER. It deserves to be seen," says AGFA advisor and Alamo programmer Tommy Swenson. "As the digital era supplants 35mm film and studios let preservation fall by the wayside, a huge swath of movie history, films like these, could disappear forever. Ultimately, film prints have a limited lifespan. However, with proper storage and care, we can prolong the lives of these prints and ensure that the movies themselves endure the ravages of time."

	AGFA is looking to raise $15,000 by May 30 to fund this first digital restoration project. Donation levels start at just $5 and go up to a $1,000. Each donation of $15 or more comes with its own unique perk, starting with tickets to see THE ASTROLOGER when the new digital transfer screens at Alamo Drafthouse. Depending on the donation level, additional perks range from a real astrology reading, to a shelf named in the donor's honor at the archive, to the chance to program a Weird Wednesday or Terror Tuesday at the Alamo.  

	"There are a lot of ways that you can contribute to make this goal a reality, from just a few dollars to a significant contribution," says AGFA board member and Alamo CEO/Founder Tim League. "One particular perk I think some of our regulars will like: You can host a screening of any AGFA film for you and 40 of your friends complete with beer and popcorn. If you contribute at this level you get an awesome movie party and will feel great knowing your fun is preserving our American genre film legacy."

	Founded in 2009, AGFA specializes in horror, sleaze, action, and independent regional filmmaking, as well as international genre cinema with an emphasis on films from Hong Kong. A home to over 3,000 film prints, AGFA has saved these from landfills, incinerators, and from literally being tossed into the sea. It serves as a sanctuary for endangered movies that no one cares about, but should.

	Access is a crucial part of AGFA's preservation mission. Every year, the archive loans hundreds of prints to arthouse institutions, film societies, festivals, libraries, and universities. For some titles, AGFA's print is the only one that exists. These fragile and endangered titles can't be safely loaned out due to risk of damage or of being lost. The mission to complete 2K digital transfers of these endangered titles, which can then be easily duplicated and loaned for theatrical use, helps ensure that these nearly-extinct titles can be shared with the largest audience possible.

	 "These films can be seen as frescos that are about to crumble off of walls without even having been documented. This initiative will essentially photograph these frescos so they can be seen and shared," says AGFA advisor and Austin Film Society programmer Lars Nilsen. "AGFA's longer term goal is to one day carefully restore and strike new 35mm prints of these films. But for now, the main effort is to make sure they stay accessible for everyone and not just sitting on a shelf."

	For full details, visit: 

	https://www.indiegogo.com/projects/the-american-genre-film-archive/x/7121108

	 

	http://vimeo.com/89252355

#### American Honey – A Review By Gadi Elkon
Writer/Director Andrea Arnold taps into the youth culture with her devious and captivating film, American Honey.  A24 continues to back bold inventive talents like Arnold who has made a teen film that is nearly 3 hours long.  Is American Honey worth your time and money?  Click through for Gadi Elkon's review of the film.

	

	Native Texan Sasha Lane commands your attention in this powerful introduction.  The young talent picked from normal life in Frisco, Tx is in nearly every moment of the 2 hours and 40 plus minutes of American Honey.  She owns the film and it's her presence that keeps you captivated.  Her innocence, her arrogance and her angry all become pivotal parts of our story.  Not necessarily a coming-of-age tale but more a rude enlightenment that identifies the lost nature of the modern youth.  Sasha's character Star completely lives up to her name.  The film is worth your attention simply for it's young star talent, Sasha Lane.

	The dirty and violent culture of this nomadic group of children harps back to films like KIDS.  But rather then revolve around an act of utter adulthood this group of kids battles together.  The rebel youth may fight and fuck each other, but they also are forever connected.  Andrea Arnold's story is an honest and open take on it's subjects.  We see their flaws on the surface and are forced to dig deeper to understand the sad state of this group.  In the end, the constant struggle to survive becomes the focus and animalistic theme that takes over the movie.  As we see the kids devolve into wild animals we continue to see the beauty of the nature surrounding them.  These kids may appear the dangerous animals ruining our America, but are really the saving grace…possibly.  Arnold's story doesn't pass judgment it only allows the harsh voices to be heard.  On the opposite cinematic take is the way we constantly see the mundane but beautiful landscape of middle America.  Nature engulfs their world even if they are oblivious to it's appeal.  Only Star seems to notice all the beauty around her.

	https://www.youtube.com/watch?v=d0I6rj0DwGY

	Optimism through anarchy seems to be a unique lesson from American Honey.  America is a young vibrant loud country that has the sweetness of Honey, but not the time to cultivate it to make something special.  Instead these traveling children remain childlike throughout the film and that naivety is paramount.  With out sympathy for these kids you're doomed to allow them to fail.  The interactions of the adults with these children is the real lesson making points.  Are the adults actually helpful or do they hinder the youth?  Who are the real bad guys, Riley Kerough's powerful lead bitch or the adults who surround the kids lives.  Star's sexually and physically abusive "dad" or the gentlemen cowboys who seem slightly to enamored with her young beauty.  Or is her love interest, Shia Labeouf's intriguing Jake, the real evil figure?  The film allows for sexuality, intimacy and youthful love to be believable elements rather than shocking plot devices.  Jake and Star's connection isn't exploited by Andrea Arnold, rather their back and forth nature seems fully real.  Many times in the film you start to believe these characters are real.  Andrea Arnold has made one of the year's best films.  A thought provoking masterpiece that begs for more communication between our youth and the adults that live with them.  Don't let the run time spook you, American Honey is worth every second of powerful screen time.

	FOR MORE INFO ON THE FILM PLEASE GO, HERE.

	

	 

	 

#### American Horror Story: Season 1 (Bluray)
Without shame, I admit that I love things that go bump in the night, as long as they don’t go bump in the night in MY house. When I was a kid I used to dream of owning a haunted house, thinking that most ghosts were like the captain in “The Ghost and Mrs. Muir.” I figured if we were lucky enough to have a spirit in the house, he or she would be very friendly and we’d play games.

	Of course, as I grew up I learned that not all ghosts are like the captain…. or even like Casper. This I learned from movies, and believe it or not… the experiences I had living in not one, but two houses that seemed to have a stowaway spirits in them. Long stories… no time here.

	This brings me to the series “American Horror Story”, which recently aired on FX. Not having cable, I was rather put out that I wasn’t able to watch it when it aired, and listening to all my friends talk about it frustrated the heck out of me. It sounded like something that was right up my alley. I avoided all details about the show, holding out for the inevitable Blu-ray release.  When said Blu-ray release was dropped on my doorstep… I actually hesitated. Were my hopes too high? Was it too scary?

	I turned to some of my trusted friends and asked them for their spoiler-free opinions. Immediately answers shot back, “Loved it” and “Hated it.” Both answers equally divided with no apparent middle ground. So, without any thing to really make me lean one way or another… I dove in.

	“Loved it” doesn’t even begin to describe my feelings for “American Horror Story.” Every one of the 12 episodes in this first season were wonderfully written, extremely creepy and meant to be watched at night with the lights out.  Even the opening credit sequence was fear inducing, one of the best I’ve seen for a horror type series. Definitely sets the mood.

	As it turns out, “American Horror Story” is going to be an anthology series of sorts. Each season will deal with a whole new house and story, with both new and returning actors (playing new roles). This first season introduces us to the Harmons (Dylan McDermott & Connie Britton), who have purchased a lovely old home in the suburbs of L.A. They moved from Boston with their teenaged daughter (Taissa Farmiga) to escape a bad family situation and start fresh. Unfortunately, you can’t really run away from most family issues… they just follow you.

	To make matter worse, the Harmons are not only haunted by their family’s indiscretions, it turns out the house they purchased has a history of its own. A rather murderous history. They move in aware of the previous owner’s untimely demise… but what they don’t know is that the house has been the scene of many…. many… MANY deaths. And most of its past inhabitants are still hanging around.

	To tell you any more would be a disservice to the brilliance of the series. Shocks and surprises lurk in every corner of the house and the margins of the script. To give anything away would be to ruin them. Suffice to say the story that threads itself through this first season is original, powerful and one hell of a scary ride.

	What I will say is that the material would be nothing without an excellent cast, and the creators of the series have gathered a terrific one. Both Dylan McDermott and Connie Britton are brilliant and believable in their roles as the damaged couple faced with an unbelievable situation. But the scene stealer for the series is undoubtedly Jessica Lange as the ‘next door neighbor’ Constance. A one-time wannabe actress, she insinuates herself into the Harmon’s lives, at first because you think she is just a nosy neighbor. But we quickly learn she is more entrenched in the house’s history than she lets on. Her performance is dead on amazing and she chews the scenery with every line of dialogue.

	“American Horror Story” also boasts to be as sexy as it is scary, perverse as it is gruesome and that’s not too far off the mark. However, due to the network it haunts, it is a tame compared to shows like “Game of Thrones” or “True Blood.” The sexual nature of the story is evident but I saw nothing that I couldn’t comfortably watch with any of my family (save for the kids).  What they show adds to the plot without going overboard. The scares on the other hand… well there are no holding back in that area.

	The Blu-ray release offers up a terrific picture, though some grittiness is evident. This is in no way a detriment as the show is shot on film (a refreshing holdout to the old days) and it gives a nice cinematic feel to the picture and makes the darker and scarier scenes all the creepier. As far as audio, it is a perfect blend of front dialogue and ambient surround sounds. The aforementioned things that go bump in the night do so here with clarity that is startling. You never know when something might ‘bump’ just behind you.

	Special features include a really well done audio commentary by co-creator Ryan Murphy on the pilot episode. He gives a lot of insight into the making of the series and is very entertaining as he does so. There is also a featurettes focusing on “The Murder House” as it is alluded to in the fictional tour in the series. This is a faux documentary as it would be presented with all the cheesiness these type of tours promote. Additionally, you’ll find a lengthy “Making of…” featurettes and a look at the creation of the opening title sequence. Finally, there are a series of interviews with the spirits of the Murder House.

	“American Horror Story” delivered on all levels and I enjoyed it immensely. I can see however, how there might be such a divisive opinion. The series is just odd enough to be a love it or hate it venture. I loved it and cannot wait to see the new story in season 2.  

	Episodes:

	Pilot

	Home Invasion

	Murder House

	Halloween Part 1

	Halloween Part 2

	Piggy Piggy

	Open House

	Rubber Man

	Spooky Little Girl

	Smoldering Children

	Birth

	Afterbirth

	 

	Starring: Dylan McDermott, Connie Britton, Jessica Lange, Taissa Farmiga, Evan Peters

	Extras: Audio Commentary; The Murder House; Overture to Horror – Creating the Title Sequence; Out of the Shadows – Meet the Ghosts

	Studio: 20th Century Fox

	Release Date: 9/25/2012

	MPAA Rating:  NR

	http://www.youregoingtodieinthere.com/

#### AMERICAN HUSTLE
AMERICAN HUSTLE

	By Gary Murray

	Starring Christian Bale, Amy Adams, Bradley Cooper and Jennifer Lawrence

	Written by Eric Singer and David O. Russell

	Directed by David O. Russell

	Running time 138 min

	MPAA Rating R

	Selig Film Rating FULL PRICE

	The 1970s had some of the worst music and some of the best films, usually at the same time.  For every beat of disco music poured into the collective conscious, cinema audiences were thrilled with such films as The Godfather, Apocalypse Now, The Exorcist, and Dog Day Afternoon.  It was a time of grit with real characters in life or death situations.  As homage to that era, we get the retro flick American Hustle.  It is one of the bright spots of the year.  

	With the opening slate of “Some of this actually happened,” the story is of a con-man Irving Rosenfeld (Christian Bale).  He is a paunchy, middle-aged guy with a knack for winning the ladies. He has the woman he loves Sydney Prosser (Amy Adams) and a wife Rosalyn (Jennifer Lawrence).  Irving and Sydney have an elaborate con going with people who need money. Irving explains by saying, “The more you say ‘no’, the more they want in.” Sydney is just as much as a player as he is.

	Eventually this con gets the ire of Richie DiMaso (Bradley Cooper).  He is a young FBI agent with a burning to make a name within the agency.  He sees Irving as his ticket to bringing down some major figures in this post-Watergate world.   Richie starts with Carmine (Jeremy Renner) a local politician who is trying to get Atlantic City back on the map with good jobs based in gambling. 

	In order to get those wheels of commerce greased, they need cash AKA payoffs to politicians.  Richie gets more involved into the underworld, the more he becomes enamored with Sydney.  The two begin a relationship on the side.  As all this plays out, one begins to wonder who is actually conning whom.

	The other wench in the works is Rosalyn.  She does not truly love her man but sees him as a step up in the world.  Through manipulation, she tries to get what she wants even if it is not good for her.  There is no fear in the woman.

	The film twists and turns upon itself as it lunges toward the payoff of cons.  In the world of American Hustle no one and nothing is exactly what it seems.  At times, the film is all over the place, which is a part of its charm.  There are moments when it is The Sting and others when it is melodrama.    There is no hint of where this film is going to end up. 

	David O. Russell is the man behind Silver Linings Playbook and The Fighter, two of the best movies of their respective years.  With American Hustle, he does it again.  The overall composition of this work is very early 1970s, with a gritty film stock and loud clothing.  One believes that this is an old film and not a feature made in this digital age.

	It has been said that 80% of directing is casting and once again David O. Russell succeeds.  Like last year’s Silver Linings Playbook, this film features a quartet of brilliant performances.  Christian Bale disappears in playing Irving.  It becomes almost impossible to see the action star behind the over-comb and shades.  One believes this frumpy mess of a man can get the best of any other player on the table.  Just as outrageous is Bradley Cooper, our FBI agent who is more interested in his perm than in the wheels of justice.

	Jennifer Lawrence is becoming the actress of her generation.  Once again, she just nails her part. The character of Rosalyn is funny, conflicted, crazed and sexy all in the same beat.  This is a woman who plays both sides to the middle and never lets up.  The actress delivers this rapid fire dialogue with the confidence of a gunnery specialist.  It is amazing to watch and an almost certain Oscar nod.

	By far, this is the gutsiest performance of Amy Adams career.   She shows no fear in looking bad.  There are moments when she is an exposed wire.  At times she looks perfect and at other times she looks like a woman half-way to death.  Most actresses shy away from being less than glamorous but Amy Adams does not back down from the more basal elements of the role.

	American Hustle is going to be on everyone in Hollywood’s short list in the acting category during award season.  It may not win a ton of statues but it will be nominated.  For those looking for something different this holiday season, this is the film to see.

#### AMERICAN IDIOT
 
American Idiot
By Gary Murray 
Starring Scott Campbell, Jake Epstein, Gabrielle McClinton, Nicci Claspell and Leslie McConel
Music by Green Day
Lyrics by Billie Joe Armstrong
Book by Billie Joe Armstrong and Michael Mayer
 
The jukebox musical has a varied history.  While some (like Mama Mia) seem to blend songs meant for a different media into a strong narrative structure, most just become a showcase for showing off the talents of the musical act that spawned them. 
Some (like Million Dollar Quartet) are not much more than homage to a time or an event.  Some (like The Who’s Tommy) are a complete work, with fully thought out characters and situations. The latest of these to grace the stage of the Opera House as a part of the ATT&T Performing Arts Center is the rock musical based on the music of those Post-punk outfitters Green Day.  The play is entitled American Idiot and is based on their rock opera.
The stage is reminiscent of Rent or Stomp, meaning a stage full of different junk, suggesting a unkempt world.  The entire rock band (half a dozen musicians) is on stage toward the back.  There are scaffolds that grace the area, moveable platforms for the performers to climb and sing from.  The stage designers use strobes and harsh lights toward the audience for an offsetting effect.
The play opens with the company singing “American Idiot”.  On the walls are TV screens that serve almost as a commentary of the last administration.  We get visions of Bush and Cheney, with images of the war as if it were just another television show.  Eventually the cast is focused on three individuals, Johnny (Van Hughes) Will (Jake Epstein) and Tunny (Scott J. Campbell).  They are best buddies who dream of breaking out of their ‘Jingletown USA’ existence of suburbia, wanting to be a part of the big city.  
As they are planning to leave, Will finds out that his girl is pregnant and decides to stay.  He sings about this lament in “Boulevard of Broken Dreams”. Johnny and Tunny go on their own with a group of wayward youths.  In the city, Johnny falls for a woman he sees in the window and Tunny is seduced into joining the Army.
Johnny goes off the deep end, falling into hard drugs and Tunny gets hurt.  In a dream sequence, Tunny and his nurse fly around the stage suggesting the medically induced euphoria of hospital drugs while Johnny finds a more street version of the same feeling.   
Eventually the three realize that the path toward becoming whole lies in coming together.  The work tries to tie itself up into a pretty bow of a mostly happy ending.  Then, in the best moment of the entire play, the cast takes a reprise bow of a good 20 acoustic guitars and the entire cast strumming “Time of your Life” easily the strongest song of the work.
 While the young cast is ecstatic about being on stage and giving it their all, the play is such a depressing experience.  While the music of Green Day is wonderful, it is best taken so in short bursts.  Three minutes of depressing music on the radio is much easier to swallow than wallowing in 90 minutes of nihilism.  This is a work with no hope, a death nail for long term success.    
The play felt as dated as Hair but without any of the joy. I cannot see how this work will ever become a part of the Great White Way traditions. It feels much more like a stunt than a classic Broadway work.  
The songs are all from the American Idiot LP with “Favorite Son”, “Last of the American Girls”, “Last Night on Earth”, “Too Much Too Soon” and “Before the Lobotomy” added to the story.  The biggest hit of the work was probably “21 Guns” an anthem for a new generation if there ever was one.
One of the problems with the musical is the lack of female breakout moments.  Both Gabrielle McClinton and Nicci Claspell have extraordinary voices but are given little chance to show off their pipes. Every little moment the two are given a line, the audience lights up and craves for more.  This play is a man’s world and the women are given the smallest bits to shine.   
Of the three male leads, Van Hughes shines above the fray.  He commands the stage every moment he is on stage.  His voice is full and strong, taking the words of Billie Joe Armstrong and turning them into his own.  This is an amazingly talented young man who should break out is a strong way very soon.  
American Idiot is just the kind of work that should bring a different audience into the world of musical theater.  This is a work for the Green Day fan base and those who enjoy three chord hard rock songs.  For those of the old guard, this will not be your cup of tea.  It is definitely a musical of a certain time and for a different audience.    
 
 
 

#### AMERICAN MADE – A Review by Hollywood Hernandez
© Universal PicturesAmerican Made

	 

	AMERICAN MADE – A Review by Hollywood Hernandez

	 

	American Made is based on a true story, that takes place in the 1980's, about an American commercial pilot who is recruited by both the C.I.A. and by Escobar's Colombian drug cartel. He first starts out gathering info and taking pictures from the sky for the C.I.A. but when he's made an offer that he cannot refuse by the Colombians to run drugs from Latin America to the U.S., his world changes at a break neck pace and the money starts rolling in.

	 

	More questions are asked than answered in this movie. The movie itself is too busy relying on Cruise's movie star charm. He's smiles from behind his aviator shades as he deeply immerses himself in his character as Barry Seal. He reminded me of what might have become of a young "Maverick" from Top Gun if we were to see him as an adult 20 years later. This story is fast paced and it does manage to keep you entertained.

	 

	Sarah Wright plays Cruise's wife Lucy. She's hilarious in her role as a girl who was working at KFC when she met her husband to the richest woman in a small Arkansas community where they are placed by the C.I.A. to run all kind of covert operations from gun running to smuggling in Nicaraguans to the U.S. to train them as "freedom fighters."

	 

	American Made is definitely a star-driven vehicle for Cruise and, to his credit, he acts well enough to make you forget that you're watching Tom Cruise on screen. He's Barry Seal, "the gringo who can get anything delivered" and he is very believable. The movie also shows the corruption in that was widespread in Ronald Reagan's government, but that's another story.

	 

	This movie is rated "R" for obscene language and some sexuality and runs just under 2 hours long. American Made is not a great movie, but it will keep you entertained. On my "Hollywood Popcorn Scale" it rates a LARGE.

#### AMERICAN OUTLAWS – Interview with Writer Director Sean McEwen and Stars Cory Hardrict and Sam Strike
American Outlaws is set to have its World Premiere at the Santa Barbara International Film Festival this evening.  Writer/Director Sean McEwen, Actors Cory Hardrict and Sam Strike were able to join our Gadi Elkon, from the festival, to discuss the film!

Facing the possibility of prison – and in search of an idealized freedom – three siblings take matters into their own hands with a cross-country crime spree of epic proportions. American Outlaws is based on a true story and the GQ article “The Whole True Story of the Dougherty Gang” by Kathy Dobie. 
Sean, Cory and Sam talk with Gadi about the filming process, working with their fellow cast, and so much more!
Interview with Writer/Director Sean McEwen and Stars Sam Strike and Cory Hardrict:

American Outlaws is a few hours away from its World Premiere at the 2023 Santa Barbara International Film Festival.

#### AMERICAN PACHUCO: THE LEGEND OF LUIS VALDEZ – A Review by Cynthia Flores
The synopsis for American Pachuco goes something like this: “Lewis Valdez elevates Chicano narratives to cinema through Zoot Suit and La Bamba, overcoming political and Industrial pushback to create Landmark films that broaden and honor America’s cultural story.” Sounds pretty fancy for a documentary about a brilliant man who started in the fields picking fruit with his family in California.
​What I like about this documentary is that it is a love letter to the man they call the Chicano Shakespeare, for his prolific output and influence on generations of Chicano artists and audiences. Not only do you get to see his very humble beginnings with his brother Frank, also a brilliant man, you get to see where they parted ways. Frank took education as his way into legitimacy. And Luis chose art. It called to his soul. Luis wasn’t in it for the money; he was in it for the sheer love of creating and giving voice to those who did not have a voice to that point.
​He happened to be at the right place at the right time in history. He was there when Cesar Chavez was running the strikes in California to unionize the fruit pickers. His love of using theater to explain to and entertain the masses came in handy during the movement. Luis founded El Teatro Campesino, and it was a huge success. After parting ways with Cesar Chavez, Luis and his team of performers struck out on their own.
​Luis Valdez is directly responsible for giving birth to the Chicano theater movement, which is still very much alive today. He is an acclaimed playwright and director. From a young age, he understood the profound impact of seeing one’s own humanity reflected onstage and on screen.
​I love the way that this documentary uses the lead narrator from Zoot Suit (voiced by none other than Edward James Olmos) to lead the way into this film with the simple and direct voice-over announcement as follows: “Ladies and gentlemen, it has come to my attention that some of you don‘t know the story of Luis Valdez—the man is a living legend.“ That sentiment is what drew the writer-director David Alvarado to create this project. He was unaware of Luis until he spoke at his University in North Texas when he was attending college in 2006.
David is quoted as saying, “Through the course of that lecture, I saw a picture of a Latino who was making art, being successful. He was still working on things, and I was impressed. At the time, I was trying to become a filmmaker, so, for me, as a Mexican-American, to see somebody like that, I was like, maybe this is possible. Maybe I could do this.“ It would take David dealing with COVID lockdowns in 2021 to remember the impact that Luis had on his career. And to begin to put this slick documentary together.
​I like the way American Pachuco flows. It is extremely entertaining and educational. That is a tough trick to pull off. I learned a lot about the Zoot Suit riots and the struggle for American-born Mexicans to find their voice and place at the table while watching this film.
​I give American Pachuco 4 stars. It’s a much-needed documentary that shines light on the extraordinary legacy of Luis Valdez, a man of humble beginnings and amazing accomplishments. As a proud Chicana, I hope they show this in schools so students are exposed to this great American success story.
 
Directed by: David Alverado
Written by: David Alverado
Rated: NR
Selig Rating: 4 Stars
Running Time: 1 hr 32 min
Documentary
Release: In theaters July 21st
Starring: Luis Valdez, Edward James Olmos, Cheech Marin, Linda Ronstadt, Delores Huerta, Lou Diamond Phillips, Lupe Valdez
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### American Pastoral – A Review By Nick Askam
 

	This movie is about Nathan Zuckerman (David Strathairn) going back to a class reunion to connect with old classmates. He’s a bitter, old writer who’s trying to connect with his human side. He meets a Levov brother (I forgot his name) to talk about the Swede (Ewan McGregor). The Swede was an amazing athlete who was destined for greatness. Levov informs Zuckerman that the Swede has passed away and he shares his story with him.

	The Swede married Dawn, a beauty queen, and they had a daughter, Merry. They lived an average live, but Merry had a stutter and started to act a little strangely as kid. Eventually she mulls the decision to fight for human rights and the Swede reacts.

	This movie is based off of a book that I have not read. I have no intention to read it and probably never will.

	This whole film revolves around the original narrative of Zuckerman going back to school to catch up with people and it’s pointless. It slows down the film and forces the audience to care about someone we have no connection with. It’s lackadaisical and boring. The pacing of these scenes is atrocious. If they wanted to make someone fall asleep in the first 10 minutes, they achieved that.

	Ewan McGregor is great in this movie. He plays a caring, loving man who just wants the best for his family. He delivers the best performance in the film. I felt compassionate for him and wanted him to succeed even when he made bad decisions over and over again. There was something mesmerizing about him. I knew his decisions were terrible, but I kept hoping that somehow things would work out for him. The way that he formed relationships with people was great. I felt that he had known these people for years and he had deep bonds with certain characters especially his father, Lou (Peter Riegert). The father is more of the comic relief and I think he’s good balance between McGregor.

	The other performances in the film were unfortunately not as strong. Dakota Fanning did all right, but Ocean James and her had different stutters. I just felt like they were two different characters. I especially didn’t care for Ocean’s performance. It’s definitely a hardest role in the film. Jennifer Connelly, on the other hand, is bad. I just never felt connected to her. She felt unconnected and just full of dismay. There’s a point in the film when something bad happens to her and I laughed. The therapist (Molly Parker) was fine. She was fine and I was hoping that she’d get more screen time. I thought her ideas of what was happening was an interesting parallel to what was going on.

	My biggest complaint was the shot composition and transitions. There wasn’t one shot that I said “hmm… that’s interesting”. The film was almost filmed like a play. It was just flat out boring to watch. The shots made the film feel like it was 3 hours long. The transitions are also dreadful. There were a few scenes that abruptly stopped or faded out for no reason. It destroyed the pacing and I think was a huge detriment to the whole film.

	Overall, this is movie that needs a little work. I think aside from Ewan; this film is largely forgettable. Although, the ending was so great. I just don’t know if it was worth the watching the rest of the film. I definitely won’t remember it in a few weeks and I’m having trouble remembering what happened after just a week.

	 

	Grade: C-

#### AMERICAN SICARIO – A Review by John Strange
AMERICAN SICARIO – A Review by John Strange
I have not watched any of the previous Sicario films.  The trials and tribulations of Narcos are not something that I generally find conducive to a fun movie-watching experience.  With Danny Trejo listed as one of the actors, I thought that American Sicario sounded like it might be worth a watch.
The base plot of the film revolves around US-ex-pat Narco-gangster Erik Vasquez (Philippe A. Haddad).  The burly Texas native ended up in Mexico while avoiding charges for narcotics sales in Laredo.  Since his arrival, he has worked himself up the food chain in the cartels, gaining a gang, a pregnant wife, and a father-in-law, Pedro (Danny Trejo), who may or may not be his biggest fan.
The story is a rough view of cartel life in Mexico.  It is graphic and bloody.  It concentrates on the gangs and their need for loyalty and what happens when that quality is not there.
This is not a great film.  The gunfights are poorly staged and poorly edited, looking very fake.  The acting is middle-of-the-road, neither great nor terrible.  Even the scene with the “dancers” in the “VIP room” was poorly written and executed.
I truly hate writing reviews that tell you not to bother with films.  American Sicario is not horrible, it’s just not good.  The film’s one shining star, Danny Trejo, was wasted on this film.  He did his best with the lines he was given, but the lines did not were simply not well-written.  This is a 2-star offering at best.
 
Director: RJ Collins
Cast: Philippe A. Haddad, Maurice Compte, Maya Stojan, Jaylen Moore, Johnny Rey Diaz, Danny Trejo
MPAA Rating: R (for Violence, Pervasive Language, Drug Use and Some Sexual Material)
Selig Rating: 2 Stars
Runtime: 101 Min.
Subtitles: Spanish, English SDH
Release Date:

In Select Theaters: 12/10/2021
On Demand and Digital: 12/14/2021

Trailer: AMERICAN SICARIO Trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### AMERICAN SKYJACKER – A Review by Jenn Rohm
Every time I travel by plane, I pass through security, something I have always accepted as necessary for passenger safety.  News coverage over the years has reinforced why these procedures continue to evolve, yet I had never given much thought to their origins.  The documentary American Skyjacker offers valuable insight into how and why today’s security measures, including the TSA, came to be.
Martin McNally’s hijacking of Flight 119 out of St. Louis was one of approximately 130 hijackings of an airplane in the United States between 1967 and 1972.  At the age of 28, he boarded Flight 119, intending to extort a ransom and vanish.  His plan, however, did not unfold as expected.
Directors Eli Kooris and Joshua Shaffer were inspired by Danny Wicentowski’s Riverfront Times article, ‘The Final Flight of Martin McNally’.  Through a well-crafted blend of interviews, archival news clips, and reenactments, the film traces the early days of commercial air travel, explores McNally’s motivations, and follows his life in prison and beyond.  McNally himself serves as the principal interviewee, and these same interviews are used in a podcast miniseries covering this turbulent era in aviation history.
The combination of historical footage and thoughtfully produced reenactments creates a vivid sense of time and place.  At moments, it feels as though the viewer has stepped directly into 1972, down to a particular fashion choice that becomes unexpectedly relevant to the story.
American Skyjacker succeeds not only because of its compelling subject matter but also because of its careful structure and engaging presentation.  It is a rare film that informs as effectively as it entertains.  If you are looking for an intriguing escape this holiday season, visit the film’s website for rental and purchase options and give it a watch.
 
Director: Eli Kooris, Joshua Shaffer
Cast: Martin McNally, Logan Spahitz, Angela Barber
Selig Rating: 4 stars
Runtime: 1h 38m
Genre(s): Documentary
Trailer: American Skyjacker trailer
Movie Site: American Skyjacker website – with link to buy/rent
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### AMERICAN SNIPER
AMERICAN SNIPER

	By Gary Murray

	Starring Bradley Cooper, Sienna Miller and Luke Grimes

	Written by Jason Hall

	Based on the book by Chris Kyle

	Directed by Clint Eastwood

	Running time 132 min

	MPAA Rating R

	Selig Film Rating FULL PRICE

	 

	Chris Kyle was one of the most decorated men of the Middle East War, a sniper with dozens of kills to his credit.  But, he was not some kind of killing machine.  He was a man who believed in God, country and family.  This true story of a patriot is the latest from director Clint Eastwood (Gran Torino, Letter from Iwo Jima, Million Dollar Baby) and it is one of the strongest films of the year.

	The film starts In Medius Rea, with Chris Kyle (Bradley Cooper) on top of a building.  He is watching for the enemy and sees a mother and her young son come out of a building.  The mother hands the boy something.  Chris is not exactly sure what the object is at first.  He has his sights set but if knows he’s wrong with his shot; killing innocents will have him court-martialed.  Chris eventually recognizes it as a grenade and takes out both targets.  He has killed his first two enemies.

	Then we go back to the beginning and see a much younger Chris hunting with his father and taking down his first deer.  Then we see Chris with his brother trying to be rodeo stars.  The attack on an American embassy changes the young man and he decides to join the Navy SEAL program.  There are all the training scenes that are pretty standard with these types of films.

	Chris meets Taya (Sienna Miller) in a local bar.  Very soon they are a couple and married.  Then 9/11 happens and America is at war.  This is where the film goes from a standard war flick and into something more interesting. 

	This is the first internet war, a conflict that is not edited by the Department of War or by the media.  This is an instantaneous war where civilians know what is happening before Washington.  In one scene, Chris calls his wife on his cell phone to find the sex of the baby and a firefight breaks out.  She can hear her husband in harm’s way, bullets flying and mortars exploding.  Taya falls to the ground with worry, not knowing if she has heard the death of her young husband.

	We see Chris Kyle go through four tours of the Middle East and his struggle to adjust to being stateside.  Taya knows that there is something wrong with her husband but the stoic warrior will not admit to the emotional scars of taking down women and children in the name of freedom.  Toward the end, there is a breaking point where Kyle confronts a target who is way too close to his stateside family situation.  .  

	Clint Eastwood is a very old-fashioned film maker and this is a very old-fashioned film.  He doesn’t try and gives us swooping camera work and artsy images.  He lets the characters and plot unfold naturally, not mechanically.  The choice of basic film-making gives the film a classic feel, like films about WWII made in the 1950s.

	Bradley Cooper has a great chance of getting an Oscar nod with his performance of Chris Kyle but little chance of winning.  This is the kind of role that the people love but not the critic or the Academy.  If Bradley were more of an anti-hero, he would have a better chance to get that statue.

	The better performance is by Sienna Miller.  She is the put upon wife who loves her man but knows Chris is not the same man he married.  Her journey is the journey of America, blissfully ignorant about the horrors of combat.  As much a she tries to understand about her man, the more she fails.

	The acting category will be flooded with so many outstanding performances and Bradley Cooper just doesn’t have the track record of some of the older thespians who should be nominated.  (The Oscar is Michael Keaton’s to win this year) But, it should put him on the short track of winning the prize in years to come.

	American Sniper is one of my favorite films of the year.  It has best performances by Bradley Cooper and Sienna Miller.  The film looks true much like The Hurt Locker but the story is much more in the vein of Americana. 

#### AMERICAN STREET KID – Interview with Director Michael Leoni
Here is our interview with Documentary filmmaker Michael Leoni.

Filmmaker Michael Leoni leads us into a world that most people don’t know exists. A world where in order to survive, kids are forced to sell drugs, beg for money or sell their bodies. They live under bridges, in abandoned houses or anywhere else they can hide to remain safe from the dangers they face daily on the streets. Follow his journey with homeless teens in Los Angeles as they expose the truth and illuminate the hardcore reality of this American crisis. These teens have traveled from across the country to converge in Los Angeles with the dream of finding something better. What they find is anything but that…their powerful stories are heartbreaking while their unrelenting hope and determination to create a better life shines through, in this true tale of love, friendship, and the triumph of the human spirit. Leoni reveals the answers to the most crucial questions: How did they get there? And why can’t they get off the streets? 
Interview with Filmmaker Michael Leoni
 
https://seligfilmnews.com/wp-content/uploads/2018/12/Michael-Leoni.mp3
 

Release Date: December 11, 2018 – Ft Lauderdale, FL; Washington DC; Chicago, IL; Los Angeles, CA; and Casper, WY
Distributed by:  An 11:11 Experience
Directed by:  Michael Leoni
Written by:  Michael Leoni
Executive Producer: Mark A. Burley
Produced by:  Erica Katzin, Michelle Kaufer, Michael Leoni, and Jon Pavlovsky
Cast: Greenz, Nick, Ryan, Ish, Bublez, Crystal, Kiki, and Mischa
Run Time: 104 minutes
Rating: Not Yet Rated
Film Website:  www.americanstreetkid.com
Instagram: @americanstreetkid
Twitter: @AmericanStKid
Facebook: @AmericanStreetKid

#### AMERICAN UNDERDOG – Interview with Co-Directors Andrew and Jon Erwin
Filmmaker brothers Andrew and Jon Erwin talked with me about their Christmas day release, AMERICAN UNDERDOG.

Andrew and Jon Erwin have had a tremendous 2021 as they released a feature documentary, The Jesus Music, and are days away from their Christmas day release of American Underdog.  The brothers talked with me back in September about their first film and we mentioned American Underdog.  Now the brothers have kindly given me a full interview about the film that chronicles the life of NFL Hall-of-Fame Quarterback Kurt Warner.  Their tremendous biopic dives into Kurt’s lifelong love of football, his meeting and falling for his wife Brenda, and all the struggles along the way.  The movie is a triumphant tale that is filled with intimate moments of connection and the best football scenes every done on-screen.  Dennis Quaid, Bruce McGill, Chance Kelly, Ser’Darius Blain and a talented cast bring to life the people that impacted Kurt Warner’s life.  Anna Paquin delivers a strong performance as Brenda Warner and young Hayden Zaller shines as Brenda’s son Zach.  One of the year’s most entertaining and uplifting films.
In my discussion with Andrew and Jon we talked about the impact of weather on their film schedule, the massive undertaking of bringing real football action to screen and so much more!
Interview with Co-Directors Andrew and Jon Erwin of AMERICAN UNDERDOG:

Interview with Andrew and Jon Erwin – Co-Directors of AMERICAN UNDERDOG from Gadi Elkon on Vimeo.
For more information – AMERICAN UNDERDOG.
For the link to my first interview with the Erwins – THE JESUS MUSIC.
Don’t miss this wonderful uplifting film!

Zachary Levi as Kurt Warner in American Underdog: The Kurt Warner Story. Photo Credit: Michael Kubeisy/Lionsgate
Anna Paquin as Brenda Meoni and Zachary Levi as Kurt Warner in American Underdog: The Kurt Warner Story. Photo Credit: Michael Kubeisy

#### AMERICAN WARRIOR – A Review by Jenn Rohm
The world is an ever-changing place, and currently, social media is impacting people’s identity.  Do we control who we are?  Or does the world control us based on their responses to what is put out on the internet about us?  Can an underdog use unintentional fame to become the man he wants to be?  American Warrior is a story that provides one perspective on how to do so.
Jai (Vishy Ayyar) has stopped at a convenience store at the end of a long day, when the person at the counter loses it and tries to rob the store.  Jai decides to step in and uses an MMA move to stop the would-be thief until the police show up.  Of course, others grab their phones and begin filming only to post on social media.  This brings attention to him and the gym in Chicago, where he works as a janitor.  Marcella (Veronica Falcón), the owner, gives him a chance to get back in the cage, and he decides to take it.  To assist with his training to get back into fighting shape, he reaches out to his former coach and mentor, Dennis (Danny Trejo).  He is also working on reconnecting with his family and starting a new relationship with Melissa (Taylor Treadwell).
While at its core, this is a story we have heard before about identity, redemption, and second chances.  These are such universal themes that it makes sense they are at the core of so many films.  The differences are part of what made this film enjoyable.  Using a moment in life that created social media buzz, the protagonist turned inward to decide who he wanted to be, and then he took the steps to become that person.  There are also more intelligent, strong female characters than typically seen in a “sports” movie.  Many of which were at the request of the “many women investors” for characters written as male to be female.  The Director, Gustavo Martin, and others making the decisions listened to the request and filled the roles with appropriate age choices in casting.  They then provided them with lines and back stories that I found realistic.
Ayyar wrote the story drawing on his own life as inspiration.  He trained for 18 months twice a day with an MMA fighter and followed a strict diet and exercise plan.  He gave blood, sweat, and (I am sure) tears to this project.  With him leading the way, it would have been difficult to give anything less than everything from the rest of the cast, and it showed.  I wasn’t seeing Trejo, or any of his prior roles, I was seeing Dennis on the screen.  The same with Falcón, she was Marcella.
This film has been at film festivals all over the world, and there are reasons why it is receiving recognition and winning awards.  Find the time to sit down and watch this one.
 
 
Director: Gustavo Martin
Cast: Danny Trejo, Veronica Falcón, Vishy Ayyar, Suleka Mathew
Selig Rating: 4 stars
Runtime: 1h 33m
Streaming Release: August 29, 2025
Genre(s): Action, Drama, Sport
Trailer: American Warrior trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### AMERICAN WOMAN – A Review by Cynthia Flores
 
AMERICAN WOMAN – A Review by Cynthia Flores
In American Woman, we see how an ordinary single mother in rural Pennsylvania is changed by a tragedy that will shape her life and those around her.  Deb Callahan (Sienna Miller) who has a seventeen-year-old daughter named Bridget (Sky Ferreira) that has just had a little boy herself, repeating the mistakes her mom made at the same age.  There is no condemnation about it, they have a close and tender relationship.  Bridget helps her cashier mom squeeze into a skin-tight dress as she spackles on makeup to get ready for a late-night hookup with her married boyfriend.  Bridget complains about how much weight she has gained since she had the baby.  Deb tells her it took her over two years to get rid of the forty-five pounds that she put on when she had her.  To which the daughter moans, “I just want it to go back to the way it was.”  Deb sits on the bed with her giving her a big hug as she tells her, “Honey, it’s never going back to the way it was.  We just have to make do with what’s left.”  This small moment is the underpinning to this whole richly layered drama.
The next evening Bridget asks her mom to watch the baby so she can see her ex-boyfriend Tyler (Alex Neustaedter) who also happens to be the father of her child.  Deb isn’t happy about it but relents.  When morning comes, and she wakes up to the sound of the baby crying, she is shocked to see that Bridget’s bed hasn’t been slept in. Deb goes across the street to her older sister Kath’s (Christina Hendricks) place and asks her to watch the baby for a minute because Bridget didn’t come home last night from her date with Tyler.  As she goes tearing out in her car, her brother-in-law Terry (Will Sasso) goes after her to keep her from doing something crazy.  By the way, on a side note, it is so good to see the comedian Will Sasso in this film playing a straight dramatic role.  He’s excellent as the ever-patient husband to Debs overbearing sister.
After Deb storms into Tyler’s parent’s home to ask him where she is, he admits they had a fight around 10 pm, and he dropped her off at a girlfriend’s house.  “She wasn’t ready to go home yet and wanted to see her friends” is what he tells her.  Deb goes there and finds out that after Bridget had a few drinks with her friends, she wouldn’t stay the night because she said Deb would kill her if she were not home to take care of the baby in the morning.  Her friends’ house was over three miles away from their house, and it was after midnight when she started walking back home.  When the local police and a neighborhood search party failed to turn up a single clue, Deb and her family are forced to confront the unimaginable truth: Bridget may be gone for good.
We watch as Deb is forced to confront the mistakes of her past in order to build a new life for herself and her grandson Jesse (played at different ages by Aidan McGraw and Aidan Fiske) she’s left to care for.  Sienna Miller is impressive in her portrait of a woman’s long journey towards maturity.  This is a tour de force performance by the actress.  When her character, Deb finally learns the truth of her daughter’s disappearance.  Your heart breaks for her as she sits face to face with the man responsible for it all. 
American Woman is an engrossing story about love, hope, and finding a way forward when all seems lost.  Deb said it best when she hugged Bridget that night so long ago as she got ready for her date.  What she said about “making do with what’s left”, never knowing that it would be the last time she would ever hug her daughter.
I give American Woman an A rating because it’s touchingly well crafted.
 
Directed by Jake Scott
Written by Brad Ingelsby
Rated R
Selig Rating A
Running Time 1hr 51min
Drama
Limited to Wide Release The Magnolia Theater, The Angelika Film Center Plano, AMC Grapevine Mills 30
Starring: Sienna Miller, Christina Hendricks, Amy Madigan, Will Sasso, Aaron Paul, Sky Ferreira
 
The Selig Rating Scale:
A – Excellent movie, well worth the price.
B – Good movie
C – OK movie
D – No need to rush. Save it for a rainy day.
F – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### AMERICAN: AN ODYSSEY TO 1947 – A Review by John Strange
AMERICAN: AN ODYSSEY TO 1947 – A Review by John Strange
American: An Odyssey to 1947 is the holy grail of documentaries, an engrossing story told imaginatively utilizing multiple narrators as well as recordings, where available, of the main subjects.
The film takes the story of Orson Welles’ life and blends in the stories of two additional families to bring us a view of history that is both interesting and informative.
Had the director, Danny Wu, concentrated solely on Orson Welles, the film would have been good.  By weaving in the story of WWII and the lives of the black soldiers and the Japanese Americans during the conflict, Director Wu has broadened the story making it more universal.
Mr. Welles’ story was narrated and presented using living notables such as Simon Callow, and via film clips of such personages as John Houseman.
The black soldier’s plight was told by Isaac Woodward’s family, telling the story of his treatment, not during the war, but upon his return to America following the end of the conflict.  The story of Japanese Americans was centered upon the Kakita family and told by the youngest son, Howard.
The three stories are skillfully interwoven using models, animated drawings, radio broadcasts, film clips, and still images with modern interviews to give us a more empathetic view of each.
I hope Danny Wu takes his talent and makes more stories like American: An Odyssey to 1947.  We, as Americans, need to see documentary films like this, to be reminded of where we came from and help us by giving us a fuller understanding of our past to help us better shape our future.
 
Director: Danny Wu
Cast: Orson Welles, Catherine L. Benamou, Gray Brechin, Simon Callow, Richard France, John Houseman, Satsuki Ina, Howard Kakita, Harlan Lebo, Mark Stoler, Todd Tarbox, Laura Williams
MPAA Rating: NR
Selig Rating:  5 Stars
Runtime: 102 Min.
Release Date: 09/08/2023 (New York – Cinema Village); 09/12/2023 (Digital)
Language: English
Trailer: AMERICAN: AN ODYSSEY TO 1947 Trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### AMERICONNED – Interview with Filmmaker Sean Claffey
Filmmaker Sean Claffey talks with our Gadi Elkon about his powerful and important documentary AMERICONNED.

Over the past few generations millions in the middle class have been pushed to the edge and even into poverty. Shamed into believing that if they tried harder things might work out, the middle class has been silent. No more. Americonned exposes the inside story, showing how corporations have wormed their way into government, laying out why the middle class should rise, and how it should do it.
Filmmaker Sean Claffey shares with Gadi the odyssey of making this film, the creation of the logo/poster that embodies the film’s message and of course about the hard working folks showcased and highlighted in the documentary.
Here is our Interview with Filmmaker Sean Claffey:

The film in US theaters June 9 with a VOD release to follow June 13.
For more info on AMERICONNED.
  
 

#### AMONG WOLVES – A Review by Cynthia Flores
 
AMONG WOLVES – A Review by Cynthia Flores
When Among Wolves opens, we see men on motorcycles riding into town and getting together to enjoy a heavy metal concert.  There are strippers and booze for the bikers who are called The Wolves to enjoy.  This scene looks like it could happen in any small town USA over a weekend except these people are speaking Croatian because it’s happening in post-war Bosnia 2015.  Unlike the idea we have of motorcycle clubs that we’ve seen on TV like Sons of Anarchy which are involved in various nefarious and criminal acts The Wolves are actually the exact opposite.  This motorcycle club is led by Bosnian War veterans who make it their mission to help their struggling small-town heal and defend the threatened herd of wild horses they first met on the front lines when they were young men.
It’s been nearly 20 years since the brutal civil war in Bosnia Herzegovina, and we follow the Wolf Motorcycle Club based out of the small mountain town of Livno as they live their day-to-day lives and recover from the physical and mental wounds of war.  You feel like you’re a passenger in the back seat of the car as the men take turns driving back into the hills where they fought to now tend and defend a herd of wild horses whose numbers had once dwindled after the war but have managed to since double thanks to the intervention.  As the men work amongst the horses, we experience the rugged peaceful vistas of this beautiful land.  Several of the members talk about how much peace there is walking out amongst the hills, that it helps quiet their minds.  One of the members named Zelijko says, “People after the war who don’t have anything to do – they have a complete breakdown.  PTSD hits you the hardest when you are sitting at home.  Out here in nature, with the horses, everything is different.”  The men also talk about the camaraderie that they have with each other in the club.  They can share troubles that they can’t share with their families because the men have all gone through a lot of the same things and they understand.
The leader of the Wolves is Lija.  He was a paramilitary leader at the young age of 20.  He led the successful defense of his town against imposing odds.  He said they were outmanned and outgunned five to one but what they had going for them was that they were crazier and that’s why they stayed to defend their homes.  The Wolves are rough in image only.  Lija’s wild crew of multi-ethnic men has chosen to become a positive force for good with a focus on humanitarian deeds.  Lija said “ Why would I want to be in a club that just rides and drinks?  What good would that do?”  He also states that they don’t do it because they feel guilty about what they did in the war instead, he says, they do it because it’s the right thing to do.  To see these rough looking men helping out at a hospital, fixing a kindergarten, or giving blood regularly and just helping people in any way that they can is heartwarming.  Also, no one takes credit for the good deed themselves instead they say that “The Wolves” did it.  Also, when you see how the wild horses trust them and allow them to walk amongst the heard with little fear of the big men, it’s really quite impressive.  They actively combat the stereotypes many have of bikers, war veterans, ex-Yugoslavs, and even men.  The film even starts out with a quote by Victor Frankl – “What is to give light must endure burning.”
The cinematography in Among Wolves by Shawn Convey, while being intimate in its scope, is still able to give you a taste of the vast beauty that surrounds these hills and mountains.  With the ever-present score by Josh Convey and Skooby Laposky which sounds like those bells that the Tibetans use to chant and meditate with it sets a mood of constant tension mixed with anticipation.  You can’t help but be drawn into these men’s lives, giving the film an arresting power that is profoundly affecting.  I give Among Wolves a solid A+ rating and hope you will seek it out on VOD.
 
Directed by Shawn Covey
Written By Kevin Ripp
Rated NR
Selig Rating A+
Running Time 1hr 34min
Documentary
Release  February 12th VOD
 
The Selig Rating Scale:
A – Excellent movie, well worth the price.
B – Good movie
C – OK movie
D – No need to rush. Save it for a rainy day.
F – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### AMS Pictures Announces New Documentary “Mysteries of Oz: 85 Questions Answered” in Celebration of The Wizard of Oz’s 85th Anniversary
 
AMS Pictures announced today its latest documentary series, Mysteries of Oz: 85 Questions Answered, commemorating the 85th anniversary of the timeless classic The Wizard of Oz. This fast-paced documentary takes audiences over the rainbow and down the yellow brick road, answering 85 fascinating questions about the iconic film. https://MysteriesOfOz.com/
Mysteries of Oz: 85 Questions Answered delves into the magic, music, and myths surrounding the making of The Wizard of Oz. Focusing on newly discovered truths, the series debunks age-old myths and misconceptions, revealing the enchanting world behind what the Library of Congress recognizes as the most-watched movie ever.
Significance of Revisiting Oz
The three-part series takes a fresh approach, celebrating the beloved 1939 film by highlighting its impact on diverse audiences, with a special focus on its significance to the LGBTQ+ community. Emphasizing inclusion and belonging, it explores how The Wizard of Oz and its star, Judy Garland, resonate with people of all ages, races, and backgrounds. The series also examines Oz adaptations like The Wiz and Wicked, showcasing their contributions to Oz’s enduring legacy.
“It’s fascinating when you get to the heart of it, to the truth,” says William Stillman, along with Jay Scarfone, authored The Road to Oz: The Evolution, Creation, and Legacy of a Motion Picture Masterpiece. The two are the foremost authorities on the making of The Wizard of Oz and offer a historical perspective that includes “insight that the layperson looking at clickbait online might not be privy to.”
In addition to experts like Scarfone and Stillman, over two dozen voices contribute to telling these incredible stories, including Gregory Maguire, author of Wicked: The Life and Times of the Wicked Witch of the West. Maguire reflects, “I wonder if some of the thirst for discovering what goes on behind the scenes stems from knowing that nothing is truly that brightly colored. And if it is that brightly colored, it’s false.”
Belonging and Acceptance Matter
Drag queen superstar Ginger Minj explains the fascination with Judy Garland as a gay icon. “We love someone who bears the weight of the world and remains fabulous despite it all,” says Minj. “Many of us relate to her because we’ve been told we’re too fat, not pretty enough, or don’t sing well enough. Any criticism imaginable was thrown at this young lady, yet she still became a shining star.”
Nichelle Lewis, the star of Broadway’s 2024 revival of The Wiz, reflects on being cast in the iconic role. “I couldn’t believe it when they called to tell me I would be playing Dorothy,” she shares, adding, “We want little kids who see this show to feel proud of who they are and where they come from.”
Currently in production, Mysteries of Oz: 85 Questions Answered will be available for distribution in late 2024. For more information, please visit www.mysteriesofoz.com.
 
 
 
 

#### AMS Pictures Hosts Special Event Celebrating the 25th Anniversary of VideoFest
From Subversive to Sublime:

	25 Years of Dallas VideoFest

	AMS Pictures Hosts Special Event

	Celebrating the 25th Anniversary of VideoFest

	Friday, Sept. 14, 2012 at AMS Pictures Studios

	 

	Dallas, TX – AMS Pictures, a Dallas-based creative media company (http://www.amspictures.com), hosts a special event celebrating the 25th anniversary of the Dallas VideoFest on Friday, September 14, at its studios at 16986 Dallas Parkway, Dallas. The special event will feature a mini-Festival of screenings of VideoFest favorites from the past, a preview of this year’s VideoFest programs, a DVF poster and photography exhibition, a special presentation by a panel of artists, and a silent auction featuring unusual items.

	 

	In the spirit of the Dallas VideoFest, AMS Pictures studios will be transformed into three themed screening rooms featuring some of the groundbreaking videos and performances that helped establish the Dallas VideoFest as one of the most unique cultural events in Dallas. Screenings will include works of video art, experimental video, music and performance video, narrative shorts and animation. Panelists, including media critic Ed Bark, video artist Carolyn Sortor, filmmaker Mark Birnbaum, arts journalist Manny Mendoza, and former DVF program coordinator Katie Gimenez, will share clips from their favorite DVF programs,

	 

	“We’re excited to host this event celebrating the 25th year of the Dallas Video Festival. Who would have thought in 1987 this eclectic little festival would become one the most unique and influential video festivals in the nation?” says AMS Pictures owner Andy Streitfeld.

	 

	Laura Neitzel, former executive director of the Video Association of Dallas and a producer/writer at AMS Pictures, is helping to organize the event. “We want to recreate the vibe that was the Dallas Video Festival back in the days when it would literally take over the Kalita Humphries Theater. There is a burst of creative energy that happens when VideoFest fans are together in one place, discussing something provocative that they just saw,” she said. “Anyone who has been inspired by something they saw at the Dallas VideoFest will not want to miss this.”

	 

	Tickets to the event are $25 per person or $40 per couple, and include drinks, appetizers, and all entertainment. Tickets can be purchased online at
	http://www.eventbrite.com/event/3875922990

	 

	ABOUT DALLAS VIDEOFEST 25

	 

	The Video Association of Dallas celebrates the 25th anniversary of its VideoFest Sept. 27-30, 2012 at its original home, the Dallas Museum of Art, 1717 N. Harwood St. in downtown Dallas. VideoFest (videofest.org) is now the oldest and largest video festival in the United States and continues to garner critical and popular acclaim.

	 

	The Dallas VideoFest 25 would not be possible without the support of our sponsors. Major Sponsors: HBO, NBC 5 and Jeff & Jani Leuschel. DVF25’s hotel sponsor is The Omni Hotel and Resort. Sponsors: Alamo Drafthouse DFW; Auto Web Expo, Brad Abrams Glass; Dallas Producers Association KD College, College of Film and Dramatic Arts; La Madeleine; IRed Agency; MargaretADonnelly.com; Thompson, Coe, Cousins & Irons, LLP; and The Trammell and Margaret Crow Collection of Asian Art. DVF25’s media sponsors include: Art&Seek, A+C Magazine, Alford Media Services, AMS Pictures, Brainfood, camBLOCK, Creative Eye Q, D Magazine Front Row, Meva Inc., Roderick Cordova Photography, Sell.com, Texas MicroCine, and VisionWise. DVF25’s Industry sponsors are Dallas Film Commission, Office of Cultural Affairs City of Dallas, Texas Commission on the Arts, and Texas Film Commission.

	 

	 

	 

	ABOUT AMS PICTURES

	AMS Pictures is a Texas-based creative media company with studios in Dallas and Austin. Whether creating original entertainment for broadcast television or crafting targeted communication strategies and tools for corporate and public interest clients, AMS Pictures leverages 30 years’ experience in creative media with the latest innovations in digital tools and a mastery of storytelling to create dynamic experiences that engage audiences.

	 

	ABOUT VIDEO ASSOCIATION OF DALLAS 

	The mission of the Video Association is to promote an understanding of video as a creative medium and cultural force in our society, and to support and advance the work of Texas artists working in video and the electronic arts. The Video Association of Dallas (VAD) is a 501(c)(3) organization incorporated on April 25, 1989. It began in 1986 as a weekend event, “Video As A Creative Medium”, presented at the Dallas Museum of Art by independent curators Barton Weiss and John Held. That first event, which included two nights of video by selected local and national video artists, was a great popular success, which led to the founding of the Dallas Video Festival (DVF) in 1987. Video Association of Dallas also presents the 24 Hour Video Race, the Texas Show Tour, North Texas College Film Festival, Texas Independent Film Network screenings, Texas Fllmmakers Production Fund workshops, Three Star Cinema, and other programs throughout the year.

	 

	VIDEO ASSOCIATION OF DALLAS 4329 Belmont Ave Dallas, TX 75204-3033

#### AMSTERDAM – A Review by Gadi Elkon
AMSTERDAM marks the 10th feature in David O. Russell’s canon and showcases his long history of quality casts playing in imaginative plots.  Here is my full review of the conspiracy filled world that is AMSTERDAM.

“Amsterdam,” the latest film from acclaimed writer/director David O. Russell, is a fascinating and richly intricate tale that brilliantly weaves historical fact with fiction for a timely, cinematic experience. 20th Century Studios’ and New Regency’s original crime epic about three close friends who find themselves at the center of one of the most shocking secret plots in American history, will open exclusively in theaters October 7, 2022.
The film’s tremendous cast is the obvious first selling point to the movie.  From Christian Bale as war-veteran turned amputee doctor Burt Berendsen we are thrust into the wacky NYC of pre-WWII changing America.  Bale’s best bud is Harold Woodman played stoically by John David Washington and rounding out the trio is the electric Margot Robbie as mysterious Valerie Voze.  Add in Robert De Niro, Mike Myers, Chris Rock, Zoe Saldana, Taylor Swift, Rami Malek and Michael Shannon and this is another classic line-up for Russell.  The cast seemed to relish diving into the secret filled world that was WWI impacted America rife for global impact…depending on who to align!  The power of 5 is the “evil” figures looking to push America towards the axis powers that would attempt a world coup.
The quirky early 20th century look and vibe allows the absurdly complicated conspiracy to take hold.  The twists and turns our tale takes us on seems fairly familiar to Russell’s other 3 lead plot THREE KINGS.  That all-star cast tackled the wacky turmoil of the Iraq invasion.  This dive back in time allows Russell to trick out the wardrobe, the music and the production value behind 20’s and 30’s NYC.  The film does an amazing job of transforming you to that era. Emmanuel Lubezki’s sly cinematic impact is hugely felt in the sweeping NYC given to us.
Overall Amsterdam’s humor maybe a little rooted to the time frame to fully translate.  But the political and socio-economic subjects touched upon are just as pertinent now as back in the turn of the 20th century.  The stakes of a new world’s powerhouse country ebbing back and forth on nationalist (fascist) or capitalist society is still felt today!  The film’s wild adventure doesn’t hide the obvious connections to our current world.  Racism, sexism and classism are all apart of Russell’s plot.  How successful that translates to the masses will be tested by the release, but there is little doubt Russell, his cast and crew came to play the game correctly.
Worth your time and money if still not worthy of finally garnering Russell his Oscar win.  A quality effort with funky laughs and fanciful performances which are becoming signatures to Russell’s work.
For an added treat, we interviewed Martin Harris who has a small role in this film!
AMSTERDAM
3.5 out of 5 Stars.
Written & Directed by: David O’ Russell
Rated: R
Running Time: 2h 14min
Comedy  /  Drama / History
Exclusive release October 7th
Starring: Christian Bale, John David Washington, Margot Robbie and Robert De Niro

(L-R): Christian Bale, Margot Robbie, and John David Washington in 20th Century Studios’ AMSTERDAM. Photo courtesy of 20th Century Studios. All Rights Reserved.
(L-R): Christian Bale as Burt Berendsen, Margot Robbie as Valerie Voze, John David Washington as Harold Woodman, Mike Myers as Paul Canterbury, and Michael Shannon as Henry Norcross in 20th Century Studios’ AMSTERDAM. Photo by Merie Weismiller Wallace; SMPSP. © 2022 20th Century Studios. All Rights Reserved.
(L-R): Christian Bale, Margot Robbie, and John David Washington in 20th Century Studios’ AMSTERDAM. Photo courtesy of 20th Century Studios. All Rights Reserved.

#### AMY
AMY

	By Gary Murray

	Starring Amy Winehouse

	Directed by Asif Kapadia

	Running time 128 min

	MPAA Rating Not Rated but R for language

	Selig Film Rating FULL PRICE

	 

	I remember the moment Amy Winehouse won The Best Song Grammy along with her other five awards.  It was the last time I ever watched the awards show.  I was a big fan of the song “Rehab” and thought the song had a great 1960s girl group sound but with a modern edge.  I wanted to see Miss Winehouse perform it live and with a big brass band.   It is not something one sees on the modern Grammy stage.  Most of the music is pre-programmed and soulless. 

	That night she did not disappoint.  With her wild upturned hair and slight frame, Amy was like an animated lollipop.  But it was those eyes, those soulful sad eyes that would draw the audience into her melancholy world.  In the new documentary, film-maker Asif Kapadia explores the short and heartbreaking life of Amy Winehouse.

	The story is of the rise of Amy Winehouse from an obscure English jazz maven to one of the biggest starts of a year and her downfall into drugs and alcohol.  We are told the story through her family and friends and with the use of many home videos and pictures.  There is much discussion about Frank her first LP and her leaching boyfriend and super leaching father.

	The producers tell the story using the lyrics of the songs and showing them in her real life.  Her musical struggles are also her real life struggles.  Amy admits that even at an early age, all she wanted was her own flat where she could write and smoke weed.  It was a life destined to explode. 

	The producers show most of the night she won her Grammy awards.  The thing that made her so ecstatic was watching Tony Bennett on stage announcing the award.  It was almost as if just having him read her name was a victory enough.  But, went Tony announced her name, the London audience erupted and the young woman was genuinely shocked.  It became the biggest moment of her career and the justification for years of work and struggle.  She considered what she did as jazz performer in a pop world as doubly important. 

	We eventually find that by the time Amy has been singing “Rehab” she is way beyond the song and almost beyond help.  Like Janis Joplin decades before, Amy was never made to survive these times, he spirit too frail for the fountain of emotions that poured from her pen and mouth.  It was almost a foregone conclusion that she would be single comet in night sky, shining bright and fading too fast.

	Amy died in 2011 at the age of 27.  When she died, Amy was up to write the theme for the new James Bond film, the one that got Adele an Oscar.  She was also to record more songs with her idol Tony Bennett.  Tony eventually recorded with Lady Gaga in a million selling recording that generated much crossover interest.  The more we learn of the plans of Amy Winehouse, the sadder her untimely passing becomes.

	The film is produced by my new favorite independent company A24.  They are the group behind Ex Machina.   This is another triumph for the group, an inspired work on a subject that few know much about.  Amy is a much see film that it ultimately a sad experience.  Everyone knows how it will end but still one wants to just grab at the screen and save this young woman from her downfall and eventually from herself.    

#### AMY – A Review by John Strange
14211899

	 

	AMY

	 

	By: John ‘Doc’ Strange

	 

	Directed by: Asif Kapadia

	 

	Cast: Amy Winehouse (archive footage)

	 

	MPAA Rating: R (for language and drug material)

	 

	Selig Rating: FULL PRICE

	 

	Runtime: 128 Min.

	 

	 

	Amy Winehouse was a true talent.  As a young girl growing up in London, she loved to sing.  At 16, she was talked into making a demo by her friends and a young man, Nick Shymansky.  Nick became her manager even though he was too young to have any real experience at it.  Despite this, Amy’s career took off and did well.

	 

	Amy had to be convinced that the poems she was constantly writing to help her work out her personal problems would make great lyrics for songs.  These lyrics bring her fans from around the world.  They also bring her awards.  These awards are the beginning of her downfall.

	 

	How can that be?  That is what this documentary by director Asif Kapadia attempts to help us discover.  He begins with a video collage of images of her early years as she spent time and partied with her friends. 

	 

	The story then cuts to the car with Amy and her friends riding with Nick to her first recording session.  From her first recording session on, we get to see Amy doing what she loved, singing jazz.  Singing her songs; songs that still speak to people of all ages.

	 

	We see her life change when she gets her first recording contract and its half million pound advance.  First she moves into a new flat with her girlfriend.  There they can do whatever they want, even smoke all of the weed they might want.

	 

	Amy’s life is shown to us using clips taken from the personal videos of the folks around her, concert and award show footage and interviews with those same friends.  We see the story of a young girl who just wants to be loved.  We watch her career gain momentum.  While she grows in status in the industry, her need for love and acceptance from those closest to her is shown to us one story at a time culminating in her descent into drugs at the hands of her husband, Blake Fielder-Civil.

	 

	Watching her slowly unravel in the public’s eye was painful.  The people who should have been there for her were constantly justifying their actions by saying that they had to let her make the final decisions for herself.  Even more painful was watching her go through multiple rehab sessions without truly shucking off the yoke of addiction.

	 

	Her lyrics grew increasingly dark as they reflected where her life was going.  Curiously, these lyrics brought more and more acclaim which accelerated the process of her downfall.  She had periods after rehab stints where she was relatively clean.  As time went by she began to use alcohol as a substitute for the drugs she craved.  It broke my heart to hear that she told one of her friends that life without drugs was boring.

	 

	Amy’s life was a lesson to all of us.  She had so much talent.  Her dependence on her husband was so extreme that when he accidentally cut himself during a drinking binge following their joint stint in rehab, Amy took the broken glass and cut her own arm so they could be alike.  When the police raided their apartment, Blake went to prison for drug possession leaving Amy without him and his strength.

	 

	The videos from the final few years of her life were filled with scenes that brought tears to my eyes.  Her life was anything but happy though there were times like her days in Saint Lucia where she found a little bit of peace. 

	 

	Sadly, the drugs and alcohol binges had damaged her health.  She lost her life to alcohol poisoning on July 23. 2011.  Her death at such a young age was a tragedy.  Director Asif Kapadia has done an excellent job of blending the video footage and interviews into an emotional look at her life.  I didn’t know much about her prior to watching this film.  Listening to her songs used in the film gave me a look into her feelings about life.  I am now a fan of her work.  I have to admit I am a bit glad that I didn’t follow her career when she was alive.  It was hard enough watching her implode on the screen. Watching it in real time would have devastated me.

	 

	This film is a great film about a talented subject.  It will remind fans of just how good she was.  For people like me, who didn’t know her, the film will open their eyes and make fans.  Bring a handkerchief or grab some napkins on your way into the auditorium.  You’ll need them.

	 

	 

	Movie Site: http://amy-movie.com/

	 

	 

	The Selig Rating Scale:

	 

	FULL PRICE – Excellent movie, well worth the price

	MATINEE – Good movie

	DOLLAR – OK movie

	CABLE – No need to rush. Save it for a rainy day.

	FREEBIE – Good that I saw it on the big screen but wish I hadn't paid for it.

	COMMERCIAL TV – Commercials and cutting to the allotted time will not hurt this one.

	FORGET IT! – Bad. If you see this one, do yourself a favor and keep it to yourself.

	GET YOUR TORCHES – BAD! – Burn the script, the writer, the director and maybe even the actors!

#### AN AMERICAN BOMBING:  THE ROAD TO APRIL 19TH – Interview with Filmmaker Marc Levin and Subject Kathy Sanders
Filmmaker Marc Levin and subject Kathy Sanders talked with our Gadi Elkon about their eye-opening documentary, AN AMERICAN BOMBING:  THE ROAD TO APRIL 19TH.

 On April 19, 1995, the Oklahoma City bombing became the deadliest act of homegrown terrorism against the government in U.S. history. An American Bombing: The Road to April 19th examines the details of that day, the experiences of the people there, the hunt for the perpetrators, the pivotal moments of the trials, and its effects still felt today. 
Filmmaker Marc Levin and subject Kathy Sanders talked about connecting the dots to the last few decades of domestic terrorism and how it’s impacting our country today.  Marc and Kathy shared the importance of understanding the past events to make the necessary changes in the present for a safer future.
Here is our interview with Filmmaker Marc Levin and Subject Kathy Sanders:

The HBO documentary premieres this Tuesday April 16th on MAX.
For more info, AN AMERICAN BOMBING:  THE ROAD TO APRIL 19TH.

#### An Important Message From Rose McGowan, A Friend
 

	Dear Fellow Humans,
	Sitting across from me is the remarkable human and brave survivor, Asia Argento, who has been through more than most could stand, and yet stand she does. She stood up to her monster rapist and now she has to stand up to yet another monster, suicide. The suicide of her beloved lover and ally, Anthony Bourdain. I write these truths because I have been asked to. I know so many around the world thought of Anthony Bourdain as a friend and when a friend dies, it hurts. Many of these people who lost their ‘friend’ are wanting to lash out and blame. You must not sink to that level. Suicide is a horrible choice, but it is that person’s choice.
	When Anthony met Asia, it was instant chemistry. They laughed, they loved and he was her rock during the hardships of this last year. Anthony was open with his demons, he even wrote a book about them. In the beginning of their relationship, Anthony told a mutual friend, “He’s never met anyone who wanted to die more than him.” And through a lot of this last year, Asia did want the pain to stop. But here’s the thing, over their time together, thankfully, she did the work to get help, so she could stay alive and live another day for her and her children. Anthony’s depression didn’t let him, he put down his armor, and that was very much his choice. His decision, not hers. His depression won. Anthony and Asia had a free relationship, they loved without borders of traditional relationships, and they established the parameters of their relationship early on. Asia is a free bird, and so was Anthony. Was. Such a terrible word to write. I’ve heard from many that the past two years they were together were some of his happiest and that should give us all solace.
	 
	Anthony was 61, the same age my father was when he died. My father also suffered from intermittent deep depression, and like Anthony, was part of a “pull up your bootstraps and march on” generation. The a “strong man doesn’t ask for help” generation. I know before Anthony died he reached out for help, and yet he did not take the doctor’s advice. And that has led us here, to this tragedy, to this loss, to this world of hurt. Do NOT do the sexist thing and burn a woman on the pyre of misplaced blame. Anthony’s internal war was his war, but now she’s been left on the battlefield to take the bullets. It is in no way fair or acceptable to blame her or anyone else, not even Anthony. We are asking you to be better, to look deeper, to read and learn about mental illness, suicide and depression before you make it worse for survivors by judging that which we do not understand, that which can never fully be understood. Sometimes we are stuck in the unknowable, and that is where we are now, a massive wave of darkness that threatens to swallow everyone in its wake.
	As I watch Asia do her job on set today, I see a pillar of strength who continues to work to put food on her children’s table. I see Elizabeth Taylor carrying on filming Cat on a Hot Tin Roof despite her love, her husband, dying in a plane crash. I see all of us who have carried on. Please join me in sending healing energy to Anthony on his journey, and to all who’ve been left behind to journey on without him. There is no one to blame but the stigma of loneliness, the stigma of asking for help, the stigma of mental illness, the stigma of being famous and hurting.
	 
	We must do more and be better. Anthony, our friend, would want it that way.
	 
	To the media and to the random commenter, Anthony would never have wanted Asia to be hurt, I’d like to think he would want us to have the collective conversation that needs to be had about depression. Blame is NOT a conversation, it is the shutting down of our collective growth. Which is where we are now. We have a choice as humans, shrink to our smaller, uglier selves, or be better and grow as only true Phoenixes can. I urge you to be that Phoenix.

	With great sadness and even greater hope, I remain,
	 
	Rose McGowan
	 
	cc: Asia Argento
	 
	If you are considering suicide, reach out. We need you here. You matter. You exist. You count. There is help a phone call away, reach out.

	
	Suicide Prevention Hotlines:
	 

		Argentina: +5402234930430
	

		Australia: 131114
	

		Austria: 017133374
	

		Belgium: 106
	

		Bosnia & Herzegovina: 080 05 03 05
	

		Botswana: 3911270
	

		Brazil: 212339191
	

		Canada: 5147234000 (Montreal); 18662773553 (outside Montreal)
	

		Croatia: 014833888
	

		Denmark: +4570201201
	

		Egypt: 7621602
	

		Finland: 010 195 202
	

		France: 0145394000
	

		Germany: 08001810771
	

		Holland: 09000767
	

		Hong Kong: +852 2382 0000
	

		Hungary: 116123
	

		India: 8888817666
	

		Ireland: +4408457909090
	

		Israel: 1201 or 972-889-1333 from abroad
	

		Italy: 800860022
	

		Japan: +810352869090
	

		Mexico: 5255102550
	

		New Zealand: 045861048
	

		Norway: +4781533300
	

		Pakistan: 15 / 115 (Emergency)
	

		Philippines: 028969191
	

		Poland: 5270000
	

		Russia: 0078202577577
	

		Spain: 914590050
	

		South Africa: 0514445691
	

		Sweden: 46317112400
	

		Switzerland: 143
	

		United Kingdom: 08457909090
	

		USA: 18002738255
	

	
	For a USA Crisis Text Line, please text CONNECT to 741741 from anywhere in the USA, anytime, about any type of crisis.

#### AN INCONVENIENT SEQUEL: TRUTH TO POWER – A Review by John Strange
This image released by Paramount Pictures shows Al Gore in "An Inconvenient Sequel: Truth to Power." (Jensen Walker/Paramount Pictures via AP)

	 

	AN INCONVENIENT SEQUEL: TRUTH TO POWER – A Review by John Strange

	 

	 

	In 2006, Al Gore and filmmaker Davis Guggenheim made a documentary on the dangers of global warming and the need for the world to take notice and do something about it.  Now, eleven years later, Al Gore and filmmakers Bonni Cohen and Jon Shenk have returned to update the message in An Inconvenient Sequel: Truth To Power.

	 

	The film follows Vice President Gore as he moves around the world working with (and training) volunteers who have spread the message about the dangers.  We see Al checking out the changes in Antarctica, discussing what is happening and how the effects will affect us both short and long term.

	 

	Mr. Gore is followed by the film crew as he travels around the world speaking to individuals and governments about their roles in saving the planet.  He has spent a lot of time working with the climate summit.  It is during this section that President's Trump's statements and decisions on  the US's involvement with the treaty are brought to light and discussed.

	 

	We see meetings with Mr. Gore and his staff as they prepare for meetings and the global climate summit.  The meetings are like those you would observe in any board room.  Until you think about where the presentations will be given and who will be in the audience.

	 

	This film is one well-made commercial for what Mr. Gore and his team think we need to know about the current state of global warming and what the world (and Al Gore in particular) is doing to slow down the progression to the potential disaster posed by global warming.  Does it get it's point across?  Yes, I think so.  Mr. Gore is a very eloquent speaker with decades of experience in this field.

	 

	Ordinarily I would tell you that you will enjoy a film.  In this case, while you will be entertained, the important point to make here is that you will be educated on this very important cause.  I know I was.

	 

	 

	Directed by: Bonni Cohen, Jon Shenk

	 

	Cast: Al Gore, Barack Obama, Donald J. Trump

	 

	MPAA Rating: NR

	 

	Selig Rating: A-

	 

	Runtime: 98 Min.

	 

	Movie Site: https://inconvenientsequel.tumblr.com/

	 

	 

	The Selig Rating Scale:

	 

	A – Excellent movie, well worth the price.

	B – Good movie

	C – OK movie

	D – No need to rush. Save it for a rainy day.

	F – Good that I saw it on the big screen but wish I hadn't paid for it.

#### An Interview With Sachiin J Joshi
 

	Actor-entrepreneur Sachiin J Joshi is now back with his third film, Jackpot The Full Jhol. An exciting comic thriller set in Goa, the film helmed by Kaizad Gustad, will see Sachiin share screenspace with Naseeruddin Shah and Sunny Leone. Interestingly, Sachiin who had taken Sunny as the brand ambassador for his energy drink XXX, has cast her in a challenging role in the film that promises to showcase Sunny’s histrionics as much as her glamour quotient if not more.

	We catch up with the actor who has managed to get that perfect V shaped hot bod by spending his leisure at the gym, working out rigorously between shoots and helming his company Viiking Ventures. Though almost on a 24/7 work schedule for two months, juggling between entrepreneurship and histrionics, Sachiin is energy personified.

	Excerpts from a tete-a-tete with the man of the moment, Sachiin J Joshi.

	You're doing the film Jackpot. In your last film, Mumbai Mirror, your character was very different to your role in this film. How would you describe your role in this movie?

	Yes, with every film, you learn and grow as an actor. And each film uncovers newer shades. In Jackpot, play Francis, a very smart yet simple man, who wears his heart on his sleeve. Yet, there is much more to his persona than what meets the eye. I loved the narration of Kaizad Gustad. He is known for his stylisation of characters and this film was a thriller with its own quirky comic moments. You will love Francis for his earthiness and his street-smart attitude.

	You're working with Naseeruddin Shah in this movie. How does it feel to work with an established and critically acclaimed actor like him?

	It is a honour to share screenspace with  Naseer ji. It also goads you to work harder as you have to match scenes and wits with him in Jackpot. He has an amazing sense of humour. And he is an institution. You learn so much… Each of us in the film have a style, a character and a journey. We pit wits against one another and it is a con-game that just begins when you think it ends… it isn’t easy pitting wits with Naseer saab. You have to work really hard to try and measure up to him on camera as you look up to him off camera in each frame. And in this challenge lies the fun.

	Your wife, Raina, is a former model and actor. Do you two discuss your future projects?

	My wife Raina is my backbone. She is my producer. It is due to her and my team that I can afford to be just an actor on the sets without production hassles. She is a wonderful person and when one is at peace, the world is beautiful.

	Would we ever see you two share screen space together?

	Not immediately no. But sometime may be. 

	You recently celebrated your birthday. What was the best part of that celebration?

	Birthday is a day when wishes keep pouring in. And every friend is like a bouquet adding fragrance to your life. The best part of the celebration was the cake my wife wrote for me. Literally. It was a letter inscribed on a cake. It was the best gift to me from a woman who is my gift from God.

#### An interview with Sheena Shahabadi
“obsession is the plus point in my acting”… Sheena Shahabadi

	Sheena Shahabadi first shot into fame with Satish Kaushik’s Teree Sang as the unwed teen mother. Next came Fast Forward and now it is time for Amit Mishra and Ashish Mishra’s Raqt. Sheena has histrionics in her genes with her mother Sadhana Singh being the heroine of films like rajshri’s Nadia Ke Paar. 

	A tete a tete with the actress…

	Tell us about your character in Raqt. It is very different from the character you essayed in Teree Sang.

	Yes, my character in Raqt has varied shades. It is very interesting to ply a girl who has been brought up by her aunt who wants her to everything in this world and the girl ends up developing a strange possessiveness for her mother and doesnot want anyone to get close to her. She will even not mind killing anyone if that is the only way to keep them away from her mother.

	Sheena, when did you really make up your mind to be an actor.

	Actually, as  a five-year-old kid, I had made up my mind that I wanted to be an actress. In fact I started grooming myself when I was just 16 years old. Of course initially my parents were surprised that I was really serious about this profession but it didn't take them much time to understand my passion for doing films. My mother supported me whole heartedly though my dad gave an okay-dokay reaction

	What did the acting course teach you?

	You can say, I actually discovered myself.

	Your mother has been a pillar of support…

	Yes, my mother is there for me as my guiding force.

	Playing a pregnant girl in your very first film is not a joke. Did it come easy to you? And now a psychotic killer?

	Playing the unwed teenage mother in Tere Sang was not easy. I purposely kept myself tense and exhausted in real life as well for all the portions in the film where I had to play a pregnant girl. After all I had to convince the audience that I was going through all the pain and trouble.
	As for playing the obsessed daughter in  Amit Mishra and Ashish Mishra’s Raqt, I told you, 'obsession' is a plus point in my acting. I can portray the emotion of obsession and romance quite well. And directors Adi Irani and Shiva Rindan were with me at every step guiding me.

#### An Irishman, A Rowdy Guest and A Cute Couple are Stuck in a Storm.
The Guest doesn't actually come out in theaters until next month, but it certainly looks good.  Click through for reviews for Calvary, What If, Into The Storm, and an interview with Calvary's Writer/Director John Michael McDonagh.

	

	I did go into the tornado fest of a film with anticipation of sharks or whales or something flying through the air but airplanes?  Eitherway this adrenaline ride is totally worth it.  Instead of wasting your money on TMNT invest in this doc-u-like super-twister tale. The sound design of the film really stands out as the sheer sound of powerful winds is quite unnerving.  Overall a hell of a fun summertime movie.  Jon Reep steals every scene he's in and even has the best Walking Dead reference when talking with Sarah Wayne Callies.  Also glad to see Arlen Escarpeta own his scenes.  Make sure you checkout Brotherhood if you haven't, Arlen is explosive in that DFW shot film!

	The F Word, excuse my French, and I mean What IF is a real treat of a film.  The brutally sarcastic wit of Daniel Radcliffe and Zoe Kazan's characters is brilliantly fresh.  The film is even more impressive once you realize you'd watch an entire film with just the supporting duo of Adam Driver and Mackenzie Davis.  Overall one of the better written romantic comedies to come out in a while.  It's the anti-nicholassparks film and thus ten times more believable and honest. 

	https://www.youtube.com/watch?v=8eFMlwASOqM&index

	John Michael McDonagh is in the midst of a terrific trilogy of films all starring the dynamic Brendan Gleeson and a group of us had the chance to sit down with John.  Enjoy our chat…we sure as hell did!

	*Thanks to fine folks at Movies and Shakers for suppling the video.

	John's dark witty tone is amazingly amplified by the incredible landscape shots showcased throughout the film.  Easily one of the smarter plots amongst all these summertime films that lack real depth.  This story tackles religion, society, family dynamics, friendship, authority, and so much more.  It's a real pleasure to not only be shown the beauty of the country, but also the rich complexity of the people who inhabit it. Brendan Gleeson's run through the 5 steps of grief is a wonderful showcase of his tremendous range.  Brendan's interactions throughout the film all seem so rich and important to the structure.  John Michael McDonagh has a bold and intelligent voice that deserves your full attention. 

#### ANASTASIA MUSICAL – Review By Gadi Elkon
From the Tony Award®-winning creators of the Broadway classic Ragtime, this dazzling show transports us from the twilight of the Russian Empire to the euphoria of Paris in the 1920s, as a brave young woman sets out to discover the mystery of her past. Pursued by a ruthless Soviet officer determined to silence her, Anya enlists the aid of a dashing con man and a lovable ex-aristocrat. Together, they embark on an epic adventure to help her find home, love, and family.   From DSM Website.
Here is my review of the musical.

ANASTASIA features a book by celebrated playwright Terrence McNally, a lush new score by Stephen Flaherty (music) and Lynn Ahrens (lyrics) with direction by Tony Award® winner Darko Tresnjak.
The lavish setting of St. Petersburg at the peak of Russian royalty is set ablaze in the exciting opening to Anastasia The Musical.  This fiery beginning, the accompanying song is aptly titled “The Last Dance of the Romanovs”, sets the stage for a journey about overcoming against all odds.   Our young lead Anya, aka Anastasia the 2nd to last surviving member of the Romanovs, is immediately struck down into the darkest depths of St. Petersburg.  The first act slowly introduces us to the changing world now under the socialist movement.  Anya quickly finds two potential friends in Vlad and Dmitry.  Vlad the elder of the two is a brash figure whose fun demeanor becomes the real treat of the production.  Dmitry is our Anya’s love interest and like her a lost soul trying to figure out the next step in his adventure.  While this is all going on we lay witness to the pursuing Gleb and his never-ending desire to see an end to the Romanov family legacy.  Vlad and Dmitry convince Anya to travel to Paris to start her life anew by trying to come into the good graces of her Grandmother.  The former Romanov matriarch travelled to France in the musical’s prologue and she is thought of as the last remaining member of the famous family.  Over the years many a fake Anastasia has tried to prove her connection to the Dowager Empress.
The petite Lila Coogan is our Anya and her stints on Broadway’s Mary Poppins have given her a real strength on stage.  She commands ever scene she is in and works really well off Dmitry, Stephen Brower.  Brower and Jason Michael Evans’ Gleb are almost interchangeable as far as look, but their deliveries are unique enough to give them each a stand alone presence.  Edward Staudenmayer’s Vlad though is the real treat of the opening act as his bravado carries across the entire music hall.  Our Matriach Romanov and Dowager Empress is played by veteran Joy Franz whose real power jumps to life in the musical’s more profound second act.
The production truly sparkles in its second act.  The first act is bogged down telling us all of the mystery and tale of the lost Romanov that it doesn’t have a chance to shine.  The second act opens with a mirroring party that plays perfectly off the fiery war sequence that opens the musical.  In the beauty of Paris we lay witness to the real fun and wildness of the 1920s.  Big extravagant elements bleed into each song and the stage’s fluid transitions between unique sets are really tantalizing.  The second act really saves the musical from falling flat.  “The Countess and the Common Man” is the fourth song of the second act but by far the most humorous and enjoyable of the entire production.  Staudenmayer’s Vlad meets his match with Tari Kelly’s Countess Lily.  Their back and forth tale of lost love now found is a real gem.  I’d recommend watching the musical for that song alone.  Joy Franz also gets to fully tackle her Empress title with a wonderful second act song, “Close the Door”.  It does get to the heart of her losing hope in ever meeting her long-lost Anastasia, but in her sorrow filled deliver we are treated to something special.  The second act does pick up in the last few numbers to give us a really enjoyable close.  Our mystery is given its cloaked finale to keep the dream like quality to Anastasia alive.
The musical plays through this Sunday March 3rd and is a lovely treat for families, especially ones with little girls looking for heroic inspirations.  For more information please go to, DSM ANASTASIA.

 

#### ANCHORMAN 2: THE LEGEND CONTINUES
ANCHORMAN 2

	By Gary Murray

	Starring Will Ferrell, Paul Ruud and Steve Carell

	Written by Will Ferrell and Adam McKay

	Directed by Adam McKay

	Running time 119 min

	MPAA Rating PG-13

	Selig Film Rating Cable

	 

	Anchorman was a 2004 that did some decent numbers at the box office.  Like many other comedies (Austin Powers comes to mind), it did some incredible numbers in the home video market.  It seemed that everyone caught the film during its second run on the small screen.  The film has become so successful, that a sequel has emerged.  That sequel is Anchorman 2: The Legend Continues.

	Our story starts in Medius Rea, with Ron Burgundy (Will Ferrell) being chased by a shark.  Then we go back to Ron and his wife Veronica (Christina Applegate) working as a husband and wife team on weekend news in NYC.  With a major surprise cameo, Veronica is promoted to the new anchor spot and Ron is fired.  This is the beginning of the downward spiral of Ron.

	It is a few months later and Ron is at the bottom of the barrel with MC work.  One day, he is offered a chance to join a new concept–24 hour cable news.  Before one can blink, Ron is getting the band back together.  The funniest moments happen when they travel across country.  It becomes the way too early high point of the film.

	Once in NYC, the boys begin to see how monumental a task they have taken on.  The group draws the lowly graveyard shift.  It is like high school and they are not the cool kids. The quartet decides to take a different take on the news and basically invent sensationalism journalism.  It becomes a ratings boon and the envy of everyone else at the station.

	Thrown into the mix is Linda Jackson (Meagan Good) a high-powered news producer. At first appalled by the antics of Ron but eventually falls in love with the ratings.  Everyone is shocked that she is black and there is a big scene addressing this issue.  This is set in the 1980s not the 1880s—what’s the shock?

	As cable news devolves into what it has become in our modern world, Ron once again becomes enamored with everything Ron Burgundy.  We know that the vaulting will lead to another crash and burn.  The audience just has to wait for it to happen.  In so many ways it feels more of what we’ve seen before. 

	The giant climax is yet another battle royal that seemed funnier the first time we saw it in the original Anchorman.  The film doesn’t build as much as it sputtered to its eventual conclusion.  All of the famous comics seem to be having a ball doing these little cameos.

	And that is the major problem with the film.  It feels like a lukewarm retread of the first film with stolen bits from Austin Powers and half a dozen other comedies thrown in for good measure.  With so many comics, someone should have come up with something more original to do with them.

	For a two hour film, there are many moments of stunningly bad comedy.  It is said that brevity is the soul of wit and Anchorman 2 proves how true of an axiom that can be.  It needed to have at least a half-hour cut from the film.   It drags along time after time without giving the audience anything and anyone to root for.   At times it is painfully unfunny.

	The part of Anchorman that worked the best was Will Ferrell playing off Christina Applegate.  They were gold with him being over the top and she playing the ‘straight-man’ role.  That dynamic is sorely missing in this adventure.  It is al way too much Ron without any balance or strong counter presence.

	By far the biggest miscue is done by Steve Carell as Brick Tamland, the weather guy.  There is just too much weirdness in the role.  A pinch of sugar is needed and he adds a pound to the proceedings.   With the addition of Kristen Wiig as the loony love interest is even more of a bad thing.   It just did not work.

	This film will make a ton of money but just doesn’t hold together as well as the first film held together.  Anchorman 2 feels like a search for movie patron gold rather than a desire to tell a second tale with this cast of characters.  It is a weak entry.  

#### ANDY SOMEBODY – Interview with Director/Co-Writer Jesse David Ing, Executive Producer/Actress Leslie Wong, Co-Writer/Actor Jeremy M Evans and Actor Jonathon Buckley
The creative team and stars of Andy Somebody joined our Gadi Elkon for a chat about the hilarious indie-comedy.

Andy, a depressed accountant, steals money from his corrupt boss, and runs off to LA to start a new life. But he quickly finds himself being hunted by his boss’s men and must find a way to outsmart his pursuers to keep himself and best friend alive.
Executive Producer/Actress Leslie Wong, Co-Writer/Actor Jeremy M. Evans and Actor Jonathon Buckley talked about the origins of this story, where they filmed and much more!
Interview with Executive Producer/Actress Leslie Wong, Co-Writer/Actor Jeremy M. Evans & Actor Jonathon Buckley:

Co-Writer and Director Jesse David Ing talked with our Gadi Elkon about the film, his work with Jeremy and Leslie, and his long history in Reality TV Casting.
Interview with Filmmaker Jesse David Ing:

For more info, ANDY SOMEBODY.

#### ANGEL HAS FALLEN – A Review by Hollywood Hernandez
 
ANGEL HAS FALLEN – A Review by Hollywood Hernandez
After saving the White House, then saving England, Mike Banning (Gerrard Butler) has to prove his own innocence in Angel Has Fallen after being accused of trying to kill the president, played by Morgan Freeman.  Banning is an aging Secret Service agent with health issues from his years of concussions from protecting the president.
After an attempt on the president’s life by a third-party, President Tumbull ends up in the hospital in a coma and Banning wakes up handcuffed to a hospital bed, under arrest for allegedly attempting to assassinate the Commander-in-Chief.  Banning’s mission is to escape from custody and to clear his name as an assassin.
The cast features some amazing actors.  Besides Butler and Freeman, Nick Nolte plays Mike Banning’s dad who is paranoid and living a self-sufficient life as a survivalist.  Jada Pinkett Smith is an FBI agent who’s on the case trying to get to the bottom of the mystery of who really tried to kill the president.
The story is a good spy drama with a plot involving the Russians.  That makes the story very relevant to the current political climate involving our current real-life president.  The action, with some great fight scenes, is non-stop and intense.  The personal relationship between the President and his own personal “angel” also adds a lot to the movie.  As in previous roles, Morgan Freeman plays the best president in movies today.
Angel Has Fallen is rated R for some pretty strong violence and has a run time of 2 hours.  On my “Hollywood Popcorn Scale”, I rate this movie a LARGE.

#### ANGELIKA FILM CENTER & CAFE IN PLANO REOPENS APRIL 9
 
The Angelika Film Center & Cafe in Plano, owned and operated by Reading International, Inc. (NASDAQ:RDI), will welcome back film lovers to the Shops at Legacy location on Friday, April 9. In an environment carefully designed to address COVID-19 concerns, and to comply with the various governmental guidelines, guests can return to again share the magic of movies on the big screen.
“We look forward to having our loyal film lovers back at the Angelika to enjoy our best-in-class arthouse, independent and international film,” said Adam Conway, the Angelika’s marketing manager. “Our upcoming film programming highlights the season’s most celebrated award nominees, alongside highly anticipated global cinema including the Telugu-language film Vakeel Saab.”
On Friday, April 9, the Angelika Plano will open four diverse arthouse standouts: Tunisa’s critically acclaimed Oscar contender The Man Who Sold His Skin; Telugu-language courtroom drama Vakeel Saab, starring popular Indian actor Pawan Kalyan;  the Academy Award nominee and Golden Globe winner for Best Foreign Language Film Minari, a tender and sweeping story of family and resilience from director Lee Isaac Chung; and French Exit, starring an unforgettable Michelle Pfeiffer as a penniless socialite who is forced to move in with her son (Lucas Hedges). The Angelika provides guests the opportunity to host a private watch party of these new releases by requesting a Private Buyout at angelikablog.com/buyouts.
Guests continue to have the option to reserve an auditorium for a private VIP Screening, allowing them to select from a variety of over 60 movie options including Family, Date Night, Action/Adventure, Sci-Fi Hits and 80s Favorites. Groups can also tailor-make their own Private Rental Events by providing their own content via Blu-Ray, streaming device, or gaming console. Each of these events are available for booking at angelikablog.com/vip.
The Angelika is committed to meet or exceed all CDC, state and local regulations, as well as expert-backed suggestions from the National Association of Theater Owners’ CinemaSafe. The Angelika will reopen with extensive sanitation and safety measures in place, and per the State’s regulations.
“The Angelika has been working hard to develop a plan for health and safety that touches all areas of our operation,” said the Angelika’s Division Manager, Scott Rosemann. “From the box office to the concession stand to the auditoriums, each and every aspect has been reevaluated to prioritize health and safety for both our guests and our staff.”
The Angelika has implemented the following policies and procedures for health and safety:
• Masks are required to be worn by all guests and staff. Guest are permitted to remove masks when seated in their auditorium enjoying fresh popcorn and other refreshments.
• Guests will be encouraged to skip the box office and buy tickets in advance, either online or through the Angelika Film Center mobile app in order to decrease physical contact.
• Only credit, debit, or gift cards will be accepted to limit monetary exchanges. A designated transactional space will be available on site where cash amounts can be transferred onto a gift card.
• Guests should arrive no earlier than 30 minutes before their showtimes to decrease building traffic and allow for increased sanitization.
• Auditoriums will have limited capacity. Guests will be required to sit in their assigned seats and every other row will be blocked off to help ensure six feet of social distancing between parties. The Angelika further encourages parties to be made up of immediate household members where possible.
• Increased cleaning and sanitation will take place regularly, with extra sanitation at high touch point areas. Auditorium seating and armrests will be disinfected after each use.
• To improve air quality, the Angelika has upgraded all HVAC filters and increased maintenance frequency.
• Floor decals and signage have been placed throughout the theater to help guests maintain a safe distance from others.
• Hand sanitizer stations will be placed throughout the theater. Guests will be encouraged to wash their hands before and after consuming food and drinks.
For film lovers staying at home, The Angelika is pleased to allow audiences access to the Angelika Film Center experience on the new streaming platform Angelika Anywhere. In addition to curated programming, Angelika Anywhere also offers exclusive Q&A content with filmmakers and talent from live events at the Angelika Film Centers. Concessions to go are also available during operating hours for those watching at home.
The Angelika Film Center in Plano is located at The Shops at Legacy at 7205 Bishop Road. For additional information, please visit www.AngelikaFilmCenter.com, or follow us on Facebook, Twitter, Instagram and YouTube.

#### ANGELIKA FILM CENTERS BUTTER UP FILM FANS WITH NATIONAL POPCORN DAY DEAL
Great deals are popping up at Angelika Film Center concession stands to celebrate National Popcorn Day, on Sunday, Jan. 19, just in time for Awards Season buzz and some of the biggest releases.
Guests will enjoy 50% off on any size fresh-popped popcorn as well as the Angelika’s famous family-sized bags of popcorn packed with eye-popping proportions equivalent to seven large popcorns. The popcorn deal is available at all Angelika Film Center locations including Angelika New York, Village East Cinemas and Cinemas 123 in New York, Angelika Dallas, Angelika Carmel Mountain (San Diego), Angelika Pop-Up (Washington, D.C.) and Angelika Mosaic (Fairfax, Va.). The offer does not include concession combos.
“It’s an exciting time for the movie industry, and we’re looking forward to expanding the fun,” said Charlotte Kim, Senior Marketing & Creative Director for Angelika Film Center. “We have great films lined up across every genre and National Popcorn Day is the perfect time to pop in and get caught up on Golden Globe winners and Oscar-nominated films.”
For more information, tickets and showtimes, visit www.angelikafilmcenter.com, check out the Angelika Film Center app, or stop by the box office.
 
 

#### Angelina Jolie, Angela Lansbury, Steve Martin and Piero Tosi to Receive the Academy’s Governors Awards
The Board of Governors of the Academy of Motion Picture Arts and Sciences will present Honorary Awards to Angela Lansbury, Steve Martin and Piero Tosi, and the Jean Hersholt Humanitarian Award to Angelina Jolie.  All four awards will be presented at the Academy’s 5th Annual Governors Awards on Saturday, November 16, at the Ray Dolby Ballroom at Hollywood & Highland Center®.

	“The Governors Awards pay tribute to individuals who’ve made indelible contributions in their respective fields,” said Academy President Cheryl Boone Isaacs.  “We couldn’t be more excited for this year’s honorees and look forward to bringing their peers and colleagues together to celebrate their extraordinary achievements.”

	Lansbury has received three Academy Award® nominations for her supporting performances on film – the first in her 1944 feature debut in “Gaslight,” followed by “The Picture of Dorian Gray” (1945) and “The Manchurian Candidate” (1962).  Her numerous other credits include “The Long, Hot Summer,” “Blue Hawaii,” “The World of Henry Orient,” “Bedknobs and Broomsticks,” “Death on the Nile” and “Mr. Popper’s Penguins,” as well as voice work for the first animated feature to receive a Best Picture nomination, “Beauty and the Beast.”

	Martin, who got his start in television, is a versatile actor, writer, comedian and musician who began to display the breadth of his big-screen talent as the screenwriter and star of the 1977 Oscar®-nominated short film “The Absent-Minded Waiter.”  He wrote and starred in “The Jerk,” “Dead Men Don’t Wear Plaid,” “Three Amigos,” “Roxanne,” “L.A. Story,” “The Pink Panther” series and “Shopgirl,” which he adapted from his critically acclaimed book of the same name.  His other acting credits include “All of Me,” “Parenthood,” “Father of the Bride” and “It’s Complicated.”  He also is a three-time host of the Oscars®, most recently in 2010 with Alec Baldwin.

	Tosi rose to prominence through his collaborations with Italian director Luchino Visconti on such films as “White Nights” and “Rocco and His Brothers,” and continued to work with him on several other features, including the Costume Design nominees “The Leopard,” “Death in Venice” and “Ludwig.”  Tosi received two more nominations for his designs for “La Cage aux Folles” and “La Traviata.”  His other notable credits include “Yesterday, Today and Tomorrow,” a Foreign Language Film winner, and “Marriage Italian Style,” a Foreign Language Film nominee, both directed by Vittorio De Sica.

	Jolie, who won an Oscar for her supporting performance in “Girl, Interrupted,” has been an impassioned advocate for humanitarian causes, traveling widely to promote organizations and social justice efforts such as the Prevent Sexual Violence Initiative.  Staking out a career at the nexus of entertainment and philanthropy, Jolie has worked for a number of global advocacy groups including the Council on Foreign Relations and the Office of the United Nations High Commissioner for Refugees (UNHCR), for which she was appointed Special Envoy of High Commissioner António Guterres in 2012 after twelve years of service.  Her dedication to these causes has also shaped her work in films that tackle global humanitarian issues including “A Mighty Heart” and her feature film directorial debut “In the Land of Blood and Honey.”

	The Honorary Award, an Oscar statuette, is given “to honor extraordinary distinction in lifetime achievement, exceptional contributions to the state of motion picture arts and sciences, or for outstanding service to the Academy.”

	The Jean Hersholt Humanitarian Award, also an Oscar statuette, is given “to an individual in the motion picture industry whose humanitarian efforts have brought credit to the industry.”

#### ANIMAL FARM – A Review by John Strange
In 1945, George Orwell published a book in which he satirized the Russian Revolution with an allegory using a farm of animals who take control of their farm.  Angel Studios and Andy Serkis’ reenvisioning of this story uses animation to tell a story of a farm where the animals take control after the farmer is taken out of the picture.
The animals are led first by a sheep named Snowball (voiced by Lavern Cox).  Under her leadership, the farm is soon up and running as the animals all pitch in shoulder to shoulder to raise the food they need to live, an animal utopia.
Sadly, as in all tales of this sort, their utopia is sidelined by a pig, Napoleon (voiced by Seth Rogen), who feels that everyone is equal, but pigs are more special.  As the pig slyly takes control of the farm, everything goes downhill.
Animal Farm is a very well-made film, filled with excellent voice talent including Glenn Close, Jim Parsons, and Kathleen Turner.  The story is as relevant today as it was back in 1945.
The film will go over kids’ heads and make adults who know the story very uncomfortable.  Those who aren’t aware of the backstory may enjoy this film for its high production quality.  Sadly, I knew the original story.
 
Director: Andy Serkis
Cast: Seth Rogen, Gaten Matarazzo, Steve Buscemi,  Glenn Close, Laverne Cox, Kieran Culkin, Woody Harrelson, Jim Parsons, Andy Serkis, Kathleen Turner, Iman Vellani
MPA Rating: PG (for thematic elements, some action/violence, rude humor, and language)
Selig Rating: 3.5 Stars
Runtime: 95 Min.
Release Date: 05/01/2026
Language: English
Genre(s): Animation, Adventure, Comedy, Drama, Family, Fantasy, Mystery
Trailer: ANIMAL FARM Final Trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### Anirban Roy’s humane side got him a gifted artist for SHORTS
 

	SRK’s dialogue of “when you put your heart to something, the entire universe conspires with you,” came to life in the case of a 13-year-old kid for Anurag Kashyap and Tumbhi’s Shorts.Seems, an enthusiastic casting director chased director Anirban Roy with the profile of a kid, and insisted that she was the right choice for the character of Lily in the film Audacity in Shorts. Having already locked his cast, Roy was not willing to go through the rut to please a casting director and an enthusiastic kid actor.But the man just wouldn’t give up and the child was just too enthusiastic. Exasperated, Roy decided to take an audition.This little kid was a bundle of talent indeed. Roy’s explanation of the character seemed to sink in fast into the kid. And soon, she began to mouth the dialogues and the director in Roy got the better of the disgruntled man that he was at the moment. He began to see a dawn of a new sunrise in the casting guy’s words. And Preety Singh was in. Sometimes, it is best to give in to your heart than your head, wot say!

	Shorts, a series of short films by Anurag Kashyap’s protégés, brought to you by AKFPL and Tumbhi, is all set for a theatrical release with Cinemax on July 12.

#### ANNA AND THE APOCALYPSE – A Review By Gadi Elkon
In ANNA AND THE APOCALYPSE, a zombie apocalypse threatens the sleepy town of Little Haven – at Christmas – forcing Anna and her friends to fight, slash and sing their way to survival, facing the undead in a desperate race to reach their loved ones. But they soon discover that no one is safe in this new world, and with civilization falling apart around them, the only people they can truly rely on are each other…  FROM AATA Film Site.
	 

	Here is my full review of the film.

	

	The NY Times had a wonderful article about the origins of this film, here.  In the article it's explained where this fun idea came from…

	 In 2009, a Scottish film student named Ryan McHenry went to his close friend Naysun Alae-Carew with a delicate question: Would you like to make a zombie musical?

	“He’d been watching a trailer for ‘High School Musical,’” Mr. Alae-Carew recalled, “and he thought it would be vastly better if Zac Efron were eaten by zombies.”

	Sadly this film doesn't have the actual Zac Efron being consumed by a group of zombies, but an adorable and entertaining film thus was still created.  Ella Hunt is our title namesake Anna and her mixture of beauty and sulky teen carries the film quite nicely.  The rest of the cast is pretty much molded by their stereotypical characters.  Marli Siu does steal every scene as the hormonal best friend.  Paul Kaye's, future Principal Savage (explained in the movie), is the real heart of the film and his evil demeanor is rather captivating.

	The pacing of the hour and 37 minutes is brisk and allows for a comfortable viewing experience.  No worries the movie doesn't linger or carry on.  No it's not Shaun of the Dead level, but it's still quite enjoyable.  The musical numbers are slightly corny but still endearing.  Think 10 Things I Hate About You but minus the charm and sophistication.   

	Director John McPhail studied cinematography at the Royal Conservatoire of Scotland and his keen eye is noticeable.  For a young director and cast to have pulled off such a fluid film is impressive and bodes well for the futures of many of these kiddos.  The film won't blow your mind but it sure will have your foot tapping and you giggling till the end.

	For more information on the film please visit their site.

	 

	Directed by John McPhail

	Rated R

	Selig Rating B-

	Running Time 1hr 37min

	Comedy / Horror / Fantasy / Musical

	Out now in Theaters

	Starring: Ella Hunt, Malcolm Cumming, Sarah Swire, Marli Siu, Ben Wiggins, Christopher Leveaux, Paul Kaye, and Mark Benton 

	 

	 

	The Selig Rating Scale:

	 

	A – Excellent movie, well worth the price.

	B – Good movie

	C – OK movie

	D – No need to rush. Save it for a rainy day.

	F – Good that I saw it on the big screen but wish I hadn't paid for it.

	 

	

	 

#### Annapolis Film Festival Snags Sundance Favorite for 2025 Opening Night
The Annapolis Film Festival is thrilled to announce that its Opening Night Film for the March 27-30, 2025 festival is THE BALLAD OF WALLIS ISLAND from Focus Features starring three-time Academy Award nominee, Carey Mulligan.
ABOUT THE FILM
After agreeing to do a private gig on a remote island, international music superstar Herb McGwyer (Tom Basden) is perplexed to learn that he’ll be playing for an audience of one—eccentric millionaire Charles (Tim Key). But the surprises don’t end there. The hotel where he’ll be staying is, in fact, Charles’ historic home. The landline he needs to use after his mobile falls into the sea? That’s a pay phone far down the lane, just outside the area’s only shop. And the seaside concert he’s set to do? That’s actually a reunion show for McGwyer Mortimer, the folk-rock duo that shot him to stardom years before.
Reuniting with his old partner Nell (Carey Mulligan) after nearly a decade of estrangement brings up feelings Herb would prefer to leave behind, a situation made even more awkward with her husband Michael (Akemnji Ndifornyen) having accompanied her on the journey. As the musicians re-engage with their back catalog in preparation for the big show, Herb and Nell find their musical chemistry remains as strong as ever, but old wounds soon begin to resurface, jeopardizing the concert.
Somehow, amiable Charles must find a way to manage a collection of strong personalities if he’s to witness his dream performance, while Herb slowly begins to realize that his happiness might depend on his willingness to reconnect with his past.
From Focus Features and director James Griffiths (A Million Little Things, Episodes) comes a charming and affecting tale of miscommunication, lost love, and renewed hope. THE BALLAD OF WALLIS ISLAND stars Tom Basden, Tim Key, Sian Clifford, Akemnji Ndifornyen, and three-time Academy Award® -nominee Carey Mulligan. Based on the 2007 short The One and Only Herb McGwyer Plays Wallis Island, the film is directed by James Griffiths from a screenplay by Basden and Key.
THE BALLAD OF WALLIS ISLAND is produced by Rupert Majendie; executive producers are Carey Mulligan, Tom Basden, Tim Key, James Griffiths, Sarah Monteith, Laurence Brown, Stephen Kelliher, and Yana Georgieva. Director of photography, G. Magni Agústsson; Editor, Quin Williams; Casting director, Catherine Willis, CDG; Production designer, Alexandra Toomey; Costume designer, Gabriela Yiaxis; Hair and make-up designer, Frances Hounsom.
Focus Features’ THE BALLAD OF WALLIS ISLAND will be released only in theaters on March 28, 2025.
“We couldn’t be more excited to open this year’s festival with The Ballad of Wallis Island,” said Patti White, Festival Director.
The screening will take place following the Red Carpet at 7 PM on Thursday, March 27th, at Maryland Hall. The evening continues with the Opening Night After Party, where festivalgoers can celebrate with dancing, fusion cuisine compliments of The Palate Pleasers, and cocktails courtesy of TIto’s Vodka. Tickets on sale 3/7.
Join us for the 2025 Annapolis Film Festival and be part of a community where stories come alive. Experience the thrill of discovery, the joy of connection, and the inspiration that only great cinema can provide. At AFF, every film is an invitation to see the world differently—and we can’t wait to share it with you. See you at the movies!
For more information about the Annapolis Film Festival and Film Society, including membership and upcoming events, please visit www.annapolisfilmfestival.org

#### ANNETTE – A Review by Cynthia Flores
ANNETTE – A Review by Cynthia Flores
This is a two-hour and twenty-minute film where, like an opera, the dialogue is often sung. Think along the lines of the film version of Les Misérables. Unfortunately for Annette, there aren’t any catchy tunes that you will leave the theater humming. Also, did I mention the wooden puppet child? I liked it at first, but then again, I loved the stage production of War Horse. Even if you can get past the use of puppetry cast as the child for the majority of the film, there is so much more in this movie to get mired down in. 
Annette is set in current day Los Angeles. Henry (Adam Driver) is a stand-up comedian with a fierce sense of humor along the lines of a young Dane Cook. Henry falls in love with Ann (Marion Cotillard), a world-renowned opera singer. Under the spotlight of the ever-present paparazzi, they form a passionate and glamorous couple. They marry as both keep climbing the ladder of success, with Ann leading the way. The birth of their first child, Annette, changes everything. Henry loses his comedy mojo while Ann keeps going farther up the superstar ladder. This puts a considerable strain on the relationship with disastrous results. Annette is a mysterious little girl with an exceptional destiny that turns all their lives upside down. 
This film is by visionary French director Leos Carax of 2012’s amazing film Holy Motors, with story and music by Ron and Russell Mael. The two men are known as the avant-garde music group Sparks. Carax and Sparks chose to make an original musical about a journey of love, passion, and fame. I think this team looked great on paper, but something got lost in the execution. Or perhaps this team is too full of super “hip, not commercial” dudes, and I just didn’t get the snarky inside jokes. It’s too bad, really, because I am part of the audience they were shooting for. The group of arthouse aficionado, musical-loving, old movie reference nerds waiting with excitement for the release of this film. After seeing this terribly long film, I felt let down and left out of the punch line for the joke.
I give Annette a 2.5-star rating. It’s not the worst movie I’ve ever seen and perhaps it will find a cult following audience somewhere. 
 
Directed by: Leos Carax
Written by: Rone Mael, Russell Mael
Rated: R
Selig Rating: 2.5 Stars
Running Time: 2hr 20min
Musical Drama
Limited Theatrical Release: Aug 6th in theaters, August 20th on Prime Video
Starring: Marion Cotillard, Adam Driver, Simon Helberg
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### ANNIE
ANNIE

	By Gary Murray

	Starring Issie Swickle, Lynn Andrews and Gilgamesh Taggett

	Book by Thomas Meehan

	Music by Charles Strouse

	Lyrics by Martin Charnin

	Directed by Martin Charnin

	What can be said about Annie that has not been said a thousand times before?  It was the 1977 musical that won seven Tony Awards.  The work has been translated in different languages and has played in one form or another on just about every continent on the planet.  A new touring revival of the original stage production of Annie takes over the hardwoods of the Winspear Opera House as part of the AT&T Performing Arts Center from June 23 – July 5.

	The story takes place during the Great Depression.  Annie (Issie Swickle) is an eleven year-old girl who lives in an orphanage.  The play starts with “Maybe” and “It’s the Hard Knock Life”.  Young Issie Swickle just lets her voice fly with the first number and works with the ensemble with the second.  Both are charming and the second number is a show-stopping dance spectacle.  The little girls who sing and dance are adorable and talented beyond belief. 

	One of the true highlights of the entire work is with “Tomorrow” the biggest number of the play.  Issie Swickle just steps back and lets the song launch into the stratosphere.  This kid has the kind of chops that will set her on the path to the upper levels of Broadway.   The set is just a girl and a dog with the backdrop of the Big Apple.  The simple setting gives a classic feel to the moment.

	“Little Girls” is yet another magical moment.  Lynn Andrews takes the role and gives it an over the top spin.  She prances and schemes in the best of a villainous Cruella De Vil but still manages to work with her young orphans.  They all dance and sing with manic glee.

	The first act is where we meet Oliver Warbucks (Gilgamesh Taggett) our war-mongering mogul.  He opens his house to one orphan during Christmas and this time it is Annie.  That sets into motion all of the elements of the play.  It is a slight story but still a classic one.  The idea of going to the movies opens up an idea of the promise that is NYC.

	There is not a weak member in the cast.  Even in the smallest roles, there is a powerful voice and a strong thespian.  There are so many great actors on stage; one begins to wonder if there is anyone left on Broadway to work?  Ashley Edler as Grace, the assistant does a solid job with an unsung singing role.  She brings wit and charm to the proceedings.

	The Second Act is just as strong as the first.  Opening with “You are Never Fully Dressed without a Smile” we get an old-fashioned radio show where it is announced that there is a $50,000 reward for finding Annie’s parents. 

	It sets up the second half of the work and the eventual adoption of Annie by Warbucks.  It is also a showcase for Gilgamesh Taggett.  The seasoned actor takes the role through the paces with such a stoic grace.  He is such a charming presence on stage and his voice blends well with Issie Swickle in both singing and acting. 

	The sets are a combination of traditional backdrops and computerized backdrop generation system.  In one scene we see the snow falling through the windows of the mansion.  There is an eye for detail that brings a high degree of believability to the play.  Also, the costumes have the feel of the 1930s while still sparkling. 

	To put it bluntly, Annie is the must-see theatrical event of the summer.  It has wonderful songs, an amazing cast and technical aspects that should not be missed.   It is family entertainment on a grand scale and a wonderful night of entertainment.

#### Annie – Review
https://www.youtube.com/watch?v=GCgXivUGZQI

	Original lyricist Martin Charnin directs this new production of the classic, Annie.  The production is at ATTPAC's Winspear through July 5th.  Click through for TC's review of Annie.

	

	 

	Hard Knocks In The Arts District:

	 

	

	 

	The latest rendition of the musical Annie at the AT&T Performing Arts Center is like watching a group of migratory birds flying in a V shaped pattern above the overflowing Trinity River-beautiful and captivating at times and disjointed and off balance at others.  Gilgamesh Taggett nearly steals the show playing the role of Oliver Warbucks.  His voice is mesmerizing during “N.Y.C.” and is just as powerful during a heartfelt “You Won’t Be an Orphan for Long”

	 

	

	 

	The noticeable difference between this version of Annie and other versions this reviewer has seen was the casting of Miss Hannigan. Instead of being a sexy, slender woman, director Martin Charnin and casting director Joy Dewing opted to give the role of Miss Hannigan to a buxom woman, played by Lynn Andrews.  Her bouncing bosoms do add to the comedy in several scenes.

	 

	

	 

	One of the more disappointing performances came from Garrett Deagon, who played Rooster Hannigan. He seemed to be holding back and not playing the character to its full comedic potential. The secondary antagonist was not believable at all and missed a key moment when dressing up as Annie’s Dad.  The other poor performance didn’t come from a human actor; rather it was the dog Sandy that lacked energy.  William Berloni, a known animal trainer on Broadway, did not have this theatrical animal up to par.

	 

	Technical merits need to be given to Beowulf Boritt, who did a terrific job with the scenic design.  It was one of the better sets from touring productions of Annie that I’ve seen.  The sound was way too quiet at times, and the lighting had a major miscue.  When Annie was singing the reprise of “Maybe” the spotlight failed to follow her.  Lighting designer Ken Billington needs to get his crew in gear.

	 

	https://www.youtube.com/watch?t=12&v=2gD_Gq8chFU

	 

	One exciting twist to this production of Annie is that tomorrow’s performance will be entirely in Spanish. Esto es infernal indeed!

	 

	ANNIE is the first show to participate in BROADWAY EN ESPAÑOL.  Additional Broadway shows to be featured in the program will be announced in the coming months.Ticket buyers wishing to listen to ANNIE in Spanish, available at the June 28, 7:30 p.m. performance only, are able to check out listening devices in the lobby of the Winspear Opera House prior to the performance.  There is no charge to borrow the devices and no reservation is necessary.

	 

	For more information on the show please go, here.

	 

	And for a little flashback fun!!

	 

#### ANNIE at Bass Hall – Interview with Gilgamesh Taggett
ANNIE opens at Bass Hall in Fort Worth this Tuesday the 17th and has a short run through the weekend.  Don't miss the classic musical from Director and Lyricist Martin Charnin.  Oliver "Daddy" Warbucks, Gilgamesh Taggett, is returning once again to our cow-town and he took sometime to chat with us.  Click through for our chat with Daddy Warbucks!!

	

	Leapin’ Lizards!

	The world’s best-loved musical returns in time-honored form. Directed by original lyricist and director Martin Charnin and choreographed by Liza Gennaro, this production of ANNIE will be a brand new incarnation of the iconic original.

	Featuring book and score by Tony Award®-winners Thomas Meehan, Charles Strouse and Martin Charnin, ANNIE includes such unforgettable songs as “It’s the Hard Knock Life,” “Easy Street,” “I Don’t Need Anything But You,” plus the eternal anthem of optimism, “Tomorrow.”     From Bass Hall website.

	INTERVIEW with GILGAMESH TAGGETT aka "Daddy" Warbucks.

	 

https://seligfilmnews.com/wp-content/uploads/2017/01/Gilgamesh-ANNIE.mp3

	 

#### ANOMALISA – A Review By Gary Murray
 

	ANOMALISA

	Review By: Gary Murray

	Starring the voice talents of Jennifer Jason Leigh, David Thewlis and Tom Noonan

	Written by: Charlie Kaufman

	Directed by: Duke Johnson & Charlie Kaufman

	Running time: 90 min

	MPAA Rating R

	Selig Film Rating: Forget it!

	 

	2015 was a stellar year for animated films.  It seemed like every month, a different hand or computer crafted work took over the big screen.  They amazed both kids and those adults who were kids at heart.  But since Heavy Metal in the 1980s, there has been a push to make more adult animations that would go past the midnight movie crowds (Fritz the Cat, Wizards).  Another entry in that thought process is Anomalisa, one of the strangest films of this young year.

	The story is told with stop-motion animation also know as puppet animation.  Two different examples of this style are the Gumby and Pokey films and The Lego Movie.  It is a painstakingly slow process of moving a 3D miniature just a fraction, taking a single picture-frame them moving it again.  This gives the effect of movement by non-movable objects.  The 1933 King Kong is a stellar example of how this process can be pulled off to an amazing effect.

	In Anomalisa, the story is of a corporate superstar lecturer Michael Stone (voiced by David Thewlis) who is going to Cincinnati to give a talk based on his book that is used by call center personnel.   From a single phone call, we are given the information that his marriage has hit a rough patch.  He is an LA guy and does not want to be in fly-over country.  There is an unspoken distain for anything that is not from either coast.

	On the cab ride over, he asks the cab driver if there is a toy shop near the hotel so he can get his young son a gift.  The cab driver misunderstands his request and assumes that Michael is looking for a sex toy shop.  The cab driver sends him to a store near the hotel.

	At the hotel, Michael checks into the room.  The man behind the counter both looks and sounds exactly like the cab driver.  So does the bellboy.  The more the film unfolds, the more that everyone looks exactly like the cab driver.  That is both men and women.  The suggestion is that either something is going awry or that Michael is going crazy. 

	Eventually Michael meets two women who are to attend his speech the next morning.  Lisa (voiced by Jennifer Jason Leigh) is a bit of a scatterbrain but is the only person who does not look like everyone else.  Michael is drawn to this mousy girl who keeps the right side of her face hidden by her hair. 

	Eventually, Michael asks Lisa back to his room for a nightcap.  Alone at last, Michael pushes the shy woman to become more intimate.  Eventually, the two get naked.  Yes, there is stop-motion full frontal nudity and sex.  Then the film gets really weird.

	This is the worst film in this young year and will probably make my worst film list.  There are so few redeeming bits and at 90 minutes, it is about 89 minutes too long.  At times it is perverse and most of the time it is just boring.  Team America had a more realistic sex scene.

	There are hundreds of talented people who brought this work to life and it feels as if they have wasted years of their professional careers.  The way they animate the mouths by changing the faces with each spoken syllable is innovative but a similar effect is done on Robot Chicken and it is done much better. 

	While a few shots are artistic, most is just a muddy brown.  Directors Duke Johnson and Charlie Kaufman have to take the bulk of the blame for wasting 11/2 hours of the audience’s life with this navel gazing tripe.  But, the biggest blame has to be hoisted on the shoulders of Charlie Kaufman.  Not only did he co=direct this but he also wrote it.  It is his baby from the very first draft.

	The only true positive is Jennifer Jason Leigh.  She breaths her character to life in a way her male co-stars fail.  One believes her Lisa is a real person and is not being played for a single instance of plot twist.

	Now, some big city critics are going to fawn all over every frame of this work calling it ground breaking and innovative.  It is way too self-reflexive and not as cleaver as it thinks it is.  See Anomalisa if you must or it becomes a dare.

	 

	 

#### ANONYMOUS
ANONYMOUS
 
By Gary Murray 
 
Starring Rhys Ifans, Vanessa Redgrave, Sebastian Armesto and Rafe Spall
 
Written by John Orloff
 
Directed by Roland Emmerich
 
Running time 130 min 
 
MPAA Rating PG-13
 
Selig Film Rating Matinee
 
Arguably, William Shakespeare is the greatest writer of all time.  His 37 plays and many sonnets are considered some of the most brilliant expressions of humanity that have ever been put on paper.  He was not an educated man but an actor of low stature.  This has always brought the question of authorship.  Did Shakespeare actually write those works or were they done by another?  The new film Anonymous takes on a fictional answer to that question.
 
The film opens with an actor rushing to get to a stage on time.  The play he is doing is Anonymous.  As he begins to revel in telling the tale, the audience is transported back into the days of the Bard.  A playwright Ben Jonson (Sebastian Armesto) is running away from palace guards.  He hides a series of manuscripts in the bottom of a theater space as the guards alight the building.  Taken back for interrogation, he tells the powers that be that all of the writings are gone in the fire.
 
The film jumps from different points of time.  We see Edward De Vere, the future Earl of Oxford as a child, writing his own works such as A Midsummer Night’s Dream for the delight of the Queen, Elizabeth I.  The man is obsessed with the theater, a pursuit of the commoners not for the ruling class.  But, the fire burns long and bright in this little body.
 
There are scenes of Edward as a strapping young buck full of ardor and wanting.  As he has changed from a talented young boy to an impassioned young man, he stirs something inside his queen.  Attending the theater as an even older man, he noticed that the spoken word can bring the audience to both tears and terror.   Edward proposed to Jonson to take authorship of his play but Jonson refuses.  A bit player in the troop William Shakespeare jumps on stage when the audience clamors ‘Author’.  Thus begins the deception. 
 
The movie Anonymous is not so much about the controversy of the authorship of the works of The Bard as it is about the passions that drive the creative.  We experience how the creative process drives a man, forsaking everything else.  The film plays against the backdrop of the feud between Mary and Elizabeth for both the monarchy and the religious nature of the country.  This also takes into the mix Essex Rebellion against the Crown.  Also thrown into this is a major twist of a personal nature. 
 
At times the film is confusing.  With all the jumping in time, it almost seems purposefully mystifying.  One does not have to be a student of Tudor History to understand all the details of the ‘who and the what’, but it certainly would help in the understanding. 
 
The costumes and sets are some of the most impressive seen in 2011.  The experience of Anonymous is breathtaking in scope with a richness one seldom sees on the screen.  Sweeping vistas of London fill just about every inch of the frame.   This is a beautiful film to take in.  
 
Of all the leads, I found Vanessa Redgrave the most lacking as Queen Elizabeth I.  This role has been done by so many famous actresses in so many different interpretations; I found this version of the portrayal lacking.  The House of Tudor is full of larger than life characters and Redgrave just didn’t fit the bill. 
 
Very much on the plus side was Rafe Spall as young William Shakespeare.  His flippant attitude is a winning combination of whimsy and clueless ness.  There is this sparkle in his eye that just begs one to be a part of his existence.  
 
Different actors play Edward in different parts of his life.  They look so dissimilar that one loses the suspension of belief as these different people play the same man.  Rhys Ifans plays the bulk of the role, showing Edward as the tortured man who cannot control the demons that haunt his mind, giving life to characters.  He is a man of conviction and vanity, both of which do him in at the finish.  
 
The film is a fiction, as all films are.  It is an interesting idea with some major license of fantasy over fact.  But, it is also an entertaining diversion.  Anonymous may be a cock and bull tale or the facts of history, one will never truly know.  It makes an interesting supposition.  
 
 
 
 
 

#### Another Earth
ANOTHER EARTH
 
By Gary Murray 
 
Starring Brit Marling and William Mapother
Written by Mike Cahill and Brit Marling
 
Directed by Mike Cahill
 
Running time 92 min 
 
MPAA Rating PG-13
 
Selig Film Rating Cable
 
Science fiction films fall into many different forms.  There are the space operas of Buck Rogers and Star Wars, monster films like The Thing and Alien along with comedies such as Galaxy Quest and Space Balls.  Seldom are there art-house fair that dabble in the realm.  There are films like Moon and Dark Star but they don’t happen that much.  The latest to take on the avant-garde is the melodramatic Another Earth.  
Written and directed by John Michael (with writing help by Brit Marling), the story starts in the near future.  Rhoda (Brit Marling) is a brilliant teen with an open future in science, wanting to be an astrophysicist.  On the night that a second Earth is discovered coming to this planet, she has a drunk-driving accident.  There are deaths. 
We fast forward a few years later and Rhoda is now a legal adult and done with the legal system of juvenile incarceration.  Freed, she finds that finding employment is extremely difficult.  She takes a job as a janitor in her old high school.  She has no future but realizes she must confront her past.  At the same time, scientists are getting ready to try and make contact with the other planet, called Earth 2.  Over everyone on the planet, this second world hangs over their collective shoulder. 
Rhoda finds John Burroughs (William Mapother) a composer who has had his entire existence shattered by Rhoda’s drunk-driving.  Not able to cope with the loss, he hides himself at the bottom of a bottle.  She goes to his house to apologize and ends up offering her services cleaning.  The fact is that she cannot bear to tell him her secret that involves them both.  
Eventually, the two begin an awkward relationship while the world waits to find out if Earth 2 is a mirror reflection of the original Earth or a chance to start over.
William Mapother is one of these actors one sees mostly on television, playing crazed characters with major quirks.  Here he gets to be a more normal person which stretches his range. Carrying heartbreak with each sigh, Mapother delivers a touching reading that truly moves the heartstrings.  
Brit Marling finds the right beat for her downtrodden character.  Rhoda is a devastated individual looking for salvation.  Wearing the weight of the world on her slight shoulders, she is hoping for a second chance in a world without second chances.  
The problem with the film is that it has not enough story and way too much pathos.  The film just drags along giving the audience morose bits to chew on while waiting to dump an entire load of hurt upon everyone involved.   It sits in the stagnation of its premise and never finds any joy in any frame of the work.  
Another Earth was a break out hit from the Sundance Film Festival but I found the film just a bit too cold.  I was expecting something along the lines of Journey to the Far Side of the Sun, a 1960 sci-fi exploration of a planet discovered on the far side of the sun.  The final version of Another Earth is much more of an allegory of second chances than a science fiction film.  Earth 2 is not just another planet, but another opportunity where events could have happened differently.   I get the symbolism; I just didn’t enjoy the movie.  
 

#### ANOTHER YEAR – A Review by Gary Murray
ANOTHER YEAR
By Gary Murray
Starring Jim Broadbent, Lesley Manville, Ruth Sheen and Peter Wight
Written and Directed by Mike Leigh
Running time 129 min
MPAA Rating PG-13
Selig Film Rating Matinee
Another Year is one of those slice of life flicks, showing snippets of certain days to give a grand picture of life. We get each season as a window into characters and their lives.
First up is Spring. Tom (Jim Broadbent) and Gerri (Ruth Sheen) are a happily married couple living an upper middle-class existence in London. Though it is becoming the autumn of their lives, the two are very much in love and content with the world they have chiseled out. Tom is a geologist working on environmental impacts of construction projects. Gerri is a counselor working for the public health. Gerri’s best bud at work is Mary (Lesley Manville) a very lonely, twice-divorced middle-aged woman looking for love and finding solace at the bottom of a wine bottle. Joe (Peter Wight) is Tom and Gerri’s son, who is 30 and lamenting the fact that all his friends are getting married while he still hasn’t found the right woman.
We cut to Summer and a backyard barbecue. Ken is a family friend who comes to town. He’s a giant of a man, struggling with weight and alcohol. He has a thing for Mary while Mary spurns his advances. Mary gets drunk and makes a clumsy pass at Joe which is equal parts sad and funny. In Autumn, Joe comes home with his new girlfriend Katie. When Mary comes over, she is upset that Joe never called her. She becomes even more upset when she sees that Joe has found another. Winter begins with a tragic death and the realization by Mary that her life is not what she thinks it is and that her pettiness may have cost her more than just friendship.
Another Year is another art house film that will have little appeal outside that audience. Though it feels like an ‘important piece of cinema’ the end result is weaker than expected. Michael Leigh made one of my favorite films Happy-Go-Lucky. The man has been getting awards for years but this time out he just does not deliver the emotional punch needed.
The biggest find of Another Year is Lesley Manville. She is just brilliant playing a character who is wounded and bitter yet hopeful. She has some major problems but has the stubbornness not to confront them. The final realization by her is heartbreaking without saying a word. Just an amazing bit of acting.
Though Jim Broadbent is the star, he doesn’t give much of a star turn here. His character never changes, never has a snippy moment. He is almost a simpleton with a goofy smile. One just wants more from the character.
Another Year is a tale of joyful sadness, filled with equal parts companionship and loneliness. As it runs the gamut of emotions, while never over staying its welcome. While not a great film, it is a strong diversion.

#### ANT MAN
ANT MAN

	By Gary Murray

	Starring Paul Rudd, Evangeline Lily and Michael Douglas

	Written by Edgar Wright & Joe Cornish and Adam McKay & Paul Rudd

	Directed by Peyton Reed

	Running time 117 min

	MPAA Rating PG-13

	Selig Film News Rating Matinee

	 

	The Marvel Universe is expanding again.  The company has gone from single films to one of the biggest moneymakers on the planet with The Avengers.  The Marvel logo at the beginning of the film almost always guarantees millions at the box office.  The latest film in the series is Ant Man

	This is yet another origin story. Scott Lang (Paul Ruud) is a thief who when we first see him is in a prison fight.  We also find out that his theft was a Robin Hood style caper where he stole from the rich and gave to the poor.  He’s a good guy burglar with a high sense of right and wrong.  He also has an ex-wife and child on the outside.

	Scott has been watched by Dr. Hank Pym (Michael Douglas).  Lang is coaxed into stealing a suit, the Ant Man suit, a device that shrinks humans down to ant size.  But small has stealth capacities, giving the wearer decided dangerous set of skills.  He can use the suit to summon different breeds of ants to do his bidding.  All in all, it is a super cool device to have around.

	On the other side of the story, Darren Cross has spent decades working on the same technology which he calls Yellow-jacket.  As Darren comes closer and closer, he is being watched by Hope (Evangeline Lily).  Hope is Dr Hank Pym’s daughter and still works at the company.  Pym wants Scott to break into his old company and steal the device using the Ant Man suit.  Basically the film is a giant heist feature set in a Fantastic Voyage type of set, just a bit bigger.

	Michael Douglas is the scientist who designed the suit and Evangeline Lily is his daughter.  There is a nice retort between the two although it does feel a bit forced at times.  The scenes between them needed a little more sizzle but Michael handles the performances with his basic flair.

	Paul Ruud takes a flippant attitude to the role of Ant Man as if he’s too cool for the material.   One feels as if he just wants to put on the Iron Man suit and fly around the screen.  There is such a rogue detachment that becomes endearing at times.  To be blunt, he’s smug

	His charm wins but he has little chemistry with Evangeline Lily.  The one big romantic tussle is much more tussle than romance.  One never feels the spark between them.  The romance is one of the weaker elements to the story. 

	There is this giant training montage and planning montage that takes up a good third of the film.  Finally we get t6 the meat of the film.  That is the battle between Ant Man and Yellow-jacket.  It takes place in both regular and miniature worlds, where a Thomas the Train becomes a giant locomotive.  It is silly but still within the realm of the parameters lay out by the screenplay.

	The special effects of Ant Man are on the level of The Avengers flawless computer generated images.  I really do not think that it is worth the extra investment of seeing it in 3D.  Yes some of the miniatures are impressive, just not worth the added expense.

	Ant Man is a good film but not a great film.  It is much more a ‘watch it on a rainy day’ type of flick than a ‘rush out and see it ASAP’ flick.  It fits into the Marvel Universe and sets up yet another Ant Man adventure and the Marvel Civil Wars Adventure.  These films are beginning to become a male version of a soap opera. 

#### ANT MAN AND THE WASP – A Review by Hollywood Hernandez
 

	ANT MAN AND THE WASP – A Review by Hollywood Hernandez

	 

	The latest Marvel Comics Universe film is Ant Man and The Wasp.  Without the graphic scenes and language of Deadpool 2, this is the funniest (and fun-est) Marvel super hero movie yet.  Comic actor Paul Rudd as Ant Man gets most of the credit for that, but T.I. Harris and Michael Pena also add a lot of laughs to the movie.

	 

	In Ant Man and The Wasp, Scott (Ant Man) is under house arrest and learning how to get reacquainted with his young daughter after spending his time in prison.  Meanwhile Hope/The Wasp, played by Evangeline Lilly, has learned how to use her father's suit to become The Wasp.  Her father, played by Michael Douglas, has figured out that his wife may be trapped in a parallel universe and devises an invention involving quantum physics to get her back home after all these years. 

	 

	Their adversary in the movie is a character called Ghost (Hannah John Kamen).  She's the adopted daughter of Dr. Bill Foster ( Laurence Fishburne) who's a former college of Dr. Pym (Douglas).  Ghost is stuck between two universes and she wants Dr. Pym's invention for herself to try and fix her abnormal condition.

	 

	The real fun of the movie are the special effects and the action scenes.  The crew carries a case of Hot Wheel cars with them to use when they become miniature sized and common household items, like a salt shaker, become weapons when they get enlarged to giant sized.  It's a real fun movie to watch. 

	 

	With all of the action, comedy and special effects Ant Man and The Wasp is a very entertaining movie.  It has a run time of just under 2 hours and is rated PG-13.  This is a real 'popcorn chomper' for sure.  On my "Hollywood Popcorn Scale" I rate this movie a JUMBO.  

#### Ant-Man – Review
Many folks have thought that Ant-Man might be the first Marvel Entertainment movie to not live up to the hype of the previous films.  So is Ant-Man big enough to be apart of the Marvel Universe?  Click through for my review.

	

	https://www.youtube.com/watch?v=ds5lcnVdnkY

	As the DC world is becoming darker and crossing the line from what makes a hero, the Marvel world is becoming more humorous and funny.  Ant-Man amps up the jokes and allows for the audience to enjoy the ride rather then be scared into a new environment.  Overall this sense of humor reality works well and Ant-Man honestly impressed me with how much I enjoyed it.  The character got a lot of rumblings when it was first revealed, even with Writer/Director Edgar Wright attached.  When Wright left the project or however "that" all happened, a lot of folks (me included) felt doom and gloom for the franchise's Avengers II follow-up.  Joss Whedon's battle royale was actually a bit more of a let down and ironically Ant-Man seems to really hit the nail on the head.  Director Peyton Reed does a great job with this movie.  The humor of Wright is perfectly molded with writers Adam McKay and Joe Cornish to create a wonderful dynamic, especially between Rudd and Douglas.

	The special effects are quite amazing and the issue of the depth of showcasing such a tiny hero was not a problem at all.  The more the film went on the more I enjoyed the technological choices made.  Now the science of Ant-Man may be suspect in real life, but in the Marvel Universe it fits in perfectly.  Hank Pym (Michael Douglas) is intelligent, cocky and holds all the secrets.  The special effects and CGI for the ants are done really well.  Their actually believable looking and the constant small to large jumps that we see are seamlessly done.  This featurette really helps showcase the fluid nature of tiny Ant-Man in a big world.

	https://www.youtube.com/watch?v=sfsoi-iQtRY&feature=youtu.be

	Now there are some issues with the film.  Is Paul Rudd believable as a prison inmate?  Do any of the actors phone their roles in?  Is the villain not "big" enough for the Marvel world? Well Paul Rudd isn't believable, but honestly that section is short enough you move on quickly.  The actors certainly do bring their a-game.  I really liked Michael Pena's quirky role and Michael Douglas honestly steals every scene he is in.  The villain is a bit weak, but this movie is more about the technology and science of Ant-Man and building this hero up from nothing.  Overall the yellow jacket serves his purpose you realize as Corey Stoll is quite one dimensional, but the quality actor gives it enough power to make him seem capable of defeating our hero Scott Lang (Paul Rudd).  The Yellow Jacket is just a small blip on a bigger idea.  We came to see Ant-Man and possible see if there is a Wasp in our future?  With that said, sit back and enjoy the funny style of Michael Pena and T.I. who easily steal the majority of scenes they are in.

	https://www.youtube.com/watch?v=3lrG0SOLIlg&feature=youtu.be

	Guardians of The Galaxy allowed the Marvel world to jump out of its Avengers only phase and introduce humorous real characters that really can touch an audiences emotions.  Granted Ant-Man isn't Guardians level of entertainment (what is?), but it showcases that Marvel can continue to keep it's sense of humor.  The Stan Lee appearances in all the films are a major sign that the Marvel world isn't trying to make it's famous comic-book subjects dangerous and hip.  Rather it allows the evil villains to do the heavy lifting like' Ultron, Loki and the much anticipated Thanos.  Now if you want gritty and dark go to Netflix and enjoy the hell out of Daredevil and all the quality from the Defenders folks.  Who isn't excited for Punisher in Daredevil's second season?  Marvel has it's darker more serious material.  Ant-Man is suppose to be lighthearted and quirky.  And Peyton Reed fully accomplishes that level of humor.  Now the flip side, DC universe has continued to go after the more adult and dark material.  And sadly hasn't really delivered since Heath Ledger was the Joker.  That may all change next year with Ben's Batty and that group of evil bad folks the Suicide Squad.  But honestly Marvel still has my heart and mind.  I enjoy the quirky nature of the characters and really enjoy laughing my ass off during a crazy CGI IMAX experience.  Ant-Man isn't reinventing the wheel but it surely is more impressive than I assumed.  The witty banter and the constant tongue-in-cheek nature fits perfectly with the likes of Iron-Man fighting with Captain America or the entire Guardians group always hating on each other.  Overall this is a really enjoyable summer time film.  It won't break the box office, but it is worth your time.  In the end you'll want more Michael Pena!

	For more information including fun videos, games and just cool stuff about Ant-Man go, here.

	A few more shout outs.  Bobby Canavale is always quality and actually fits in nicely as the cop step-dad and husband to Scott Lang's ex Judy Greer and the movie's smallest scene-stealer, Abby Ryder Fortson as the adorable daughter Cassie. 

	Otherwise you know go basically to any theater and watch it.  You'll love seeing it and hey the greatness of Anthony Mackie!

#### ANT-MAN AND THE WASP – A Blu-ray and Digital HD Review by John Strange
 

	ANT-MAN AND THE WASP – A Blu-ray and Digital HD Review by John Strange

	 

	Fans of the MCU and Ant-Man have a treat with this film.  Paul Rudd is back as Scott Lang.  He has almost completed the house-arrest mandated for his part in breaking the Sokovia Accords (in Captain America: Civil War).  Soon he will be able to see his daughter, Cassie (Abby Ryder Fortson), someplace outside his home.  Until then his imagination is evident in his choices on ways to keep him and his daughter amused.  I was truly amazed at the lengths he is willing to go (within his budget, of course).

	 

	And then, while taking a bath, he is back in the Quantum Realm.  When he comes back to this side of the veil, he cracks out the hidden burner phone and calls Hank Pym (Michael Douglas) to tell him about his vision.  This starts a chain of events that reunites Scott with Hank and his daughter Janet van Dyne (Evangeline Lilly) in a wild adventure that is filled with greedy criminals determined to steal Hank Pym's discoveries (Walton Goggins as Sonny Burch), a damaged woman determined to heal the injury she blames on Pym (Hannah John-Kamen as Ava Starr / Ghost), and (of course) the gang from Ant-Man now known as X-Con Security (Michael Peña as Luis, Tip "T.I." Harris as Dave, and David Dastmalchian as Kurt).

	 

	The story flows well with plots layered one upon the next like a good novel.  The team who made this film used every trick in their tool kits.  They used CGI, studio stages, real locations, and every combination of these imaginable to allow us to see people shrinking, growing, and diving into the Quantum Realm. 

	 

	To me, the central theme of this film is recovery and healing.  Recovering from house arrest (Scott), recovering/healing  from damage due to a failed scientific experiment (Ghost), and recovery from the Quantum Realm (Janet van Dyne – Michelle Pfeiffer).  But like all of the MCU films, this one (the 20th in the series) is filled with wild fights, unbelievable special effects, and humor.  They have perfected the formula for these films, all as different as the various directors and writers could make them, and yet similar in scope and feel.  The characters who inhabit the Marvel Cinematic Universe (MCU) have a LOT of stories left to show us.  I look forward to seeing them all.

	 

	Now the fun part of these reviews, the EXTRAS!  Marvel and Disney pack these offerings with a lot of great featurettes ranging from deleted scenes to gag reels to shorts where various aspects of what happens behind the scenes and how they are accomplished.  Bust best of all, I love it when we get a good Director's Commentary track.  Watching the film and listening to the director tell us the how's and why's as the action happens.

	 

	For Ant-Man and the Wasp, the extras are excellent.  The Gag Reel is good but Stan Lee, the Man Himself, overshadows those laughs with a series of out-takes for his short cameo from early in the film (the extra tells us this was the first scene shot).  These lines are hilarious!

	 

	The deleted scenes were interesting.  However they would have changed the feel of the film without adding to the overall story significantly.  And one of the hidden jokes spoken about in the commentary track of the deleted scenes would have probably caused a ruckus that would not have advanced either the film or the MCU.

	 

	Every section of the extras starring director Peyton Reed is chock-full of interesting information for film-buffs and comics-aficionados.  I watched a couple of them twice!  And the commentary track is one of the best I have watched in a while.  Peyton Reed loved what he made and it shows in his commentaries.  All-in-all, a well made film, well worth the cost of the disk or digital download (or both).

	 

	 

	Directed By:

	 

			Peyton Reed
		

	 

	Cast:

	 

			Paul Rudd, Evangeline Lilly, Michael Peña, Walton Goggins, Bobby Cannavale, Judy Greer, Tip “T.I.” Harris, David Dastmalchian, Hannah John-Kamen, Abby Ryder Fortson, Randall Park, Michelle Pfeiffer, Laurence Fishburne, Michael Douglas
		

	 

	Extras:

	 

			Blu-ray & Digital:
		

					Director’s Intro by Peyton Reed – The talented creator behind some of Marvel Studios’ funniest and most charming films will invite home audiences deeper into the world of “Ant-Man and The Wasp.”
				

					Making-of Featurettes:
				

							Back in the Ant Suit: Scott Lang – Hero and all-star dad Scott Lang keeps the laughs coming for the audience, cast and crew.
						

							A Suit of Her Own: The Wasp – Highly trained Hope Van Dyne is now the Wasp. See how some of her craziest stunts and action-packed scenes were brought to life.
						

							Subatomic Super Heroes: Hank & Janet – Hank Pym’s wife Janet was lost in the Quantum Realm. Trace the legacy of these characters and the iconic actors who portray them.
						

							Quantum Perspective: The VFX and Production Design of “Ant-Man and The Wasp” – Explore the movie’s visual effects and production design from a whole new viewpoint, in which every micro and macro detail counts.
						

					Gag Reel and Outtakes – Audiences are treated to the hilarious quips that did not make the film as well as exclusive outtakes from Stan Lee and Tim Heidecker.
				

							Gag Reel – Join in the fun with these outtakes from the set.
						

							Stan Lee Outtakes – Stan Lee tries out a series of hilarious one-liners for the scene in which his car shrinks.
						

							Tim Heidecker Outtakes – Check out Whale Boat Captain Daniel Goobler and his improvised whale-watching riffs.
						

					Deleted Scenes (with commentary by Director Peyton Reed)
				

							Worlds Upon Worlds – As Janet leads Hank through the surreal landscape of the Quantum Realm, they encounter an intelligent life form.
						

							Sonny’s on the Trail – On the hunt for Hank Pym and his lab, Sonny Burch and his henchmen check the security camera of a neighborhood bookstore.
						

			Digital Exclusives:
		

					10 Years of Marvel Studios: The Art of the Marvel Cinematic Universe – See what it takes to bring the MCU to life, and the role concept artists play in bringing Super Heroes from comic book to screen.
				

					Online Close-Up Magic University – This commercial will inspire you to expand your mind and maximize your full potential!
				

	 

	Specifications:

	 

	Runtime:

	 

			118 Minutes
		

	 

	Studio:

	 

			Buena Vista Home Entertainment, Inc.
		

	 

	Release Date:

	 

			10/16/2018
		

	 

	Region:

	 

			A/1 (U.S. and Canada only)
		

	 

	Website:

	 

			https://www.marvel.com/antman
		

	 

	MPAA Rating:

	 

			PG-13 (for some sci-fi action violence)
		

	 

	Selig Rating:

	 

			BRAND NEW
		

	 

	Selig Rating Scale:

	 

	BRAND NEW: Should add to your DVD collection at any cost

	SALE ITEM: Worth owning, but try to catch it a sale

	SECOND HAND: Plan to get it, but wait to buy it used

	RENTAL: Worth taking a look at, but not owning

	COASTER: Pick it up at a garage sale and use it for drinks

	PULL!: Makes a great Trap Shooting target

#### ANT-MAN AND THE WASP – A Review by John Strange
 

	ANT-MAN AND THE WASP – A Review by John Strange

	 

	Following last April's Avengers: Infinity War, Marvel fans had a lot of questions.  One of those questions was, "Where's Ant-Man?"  The powers-that-be decided that Scott Lang/Ant-Man (Paul Rudd ) would be sitting the war out.  In truth, he was under house arrest and doing his best to be a good boy so that he could be free to spend more time with his daughter, Cassie (Abby Ryder Fortson).

	 

	While the Avengers were off fighting Thanos, Scott was finding imaginative ways to entertain a young girl when her mom (Judy Greer) and step-dad (Bobby Cannavale) dropped her off at his house.  He was also working with his "gang", led by Luis (Michael Peña), as they built a security business.  He was the brains and they did the legwork including meeting with clients (now THAT is scary).

	 

	The Pym/Van Dyne's are off doing their thing in the shadows since the government wants them for breaking the Secovia Accords.  This does not slow them down much though it does make getting their hands on certain types of items more difficult.  Their mission, to rescue Janet Van Dyne (Michelle Pfeiffer) from the Quantum Realm. 

	 

	Hank Pym (Michael Douglas) and his daughter, Hope Van Dyne (Evangeline Lilly) are working with shady dealers to acquire some of the tech equipment they need for their work.  One of those shady types, Sonny Burch (Walton Goggins) sells devices to them but his main line of business is steal tech and selling it to the top bidder.  He becomes a pain in their "side" when he decides he wants their work to sell to his clients.

	 

	From here it gets what I am beginning the call "Marvel" as the good guys are forced to use their powers to protect the world and the FBI and the bad guys do everything they can to stop them.  As the action goes into high gear we have another player drop into the game, Ghost (Hannah John-Kamen).  Who is this being who can phase through pretty much anything but can still land the occasional  solid punch or kick?  Is she a good guy?  It doesn't look much like it!

	 

	Then Scott receives a vision of Janet Van Dyne.  His call to Hank, painful as it is, brings the team back together and really starts the action ball rolling!  So we have Hank, Scott, and Hope (now active as The Wasp) doing their best to foil the bad guys and succeed at finding and recovering Hope's mom.  The leads us to some good chase scenes, a few wild rides, and a giant flying Pez dispenser on the streets of what looks like San Francisco.

	 

	I love the way Hank moves his lab from place to place and hides his cars and trucks.  Only Hank Pym would even consider the idea a good one.  I can't see even Tony Stark using this method (if he could figure out how to create the Pym Molecules.

	 

	I love the look of this film. The CGI needed for the ants alone is amazing, but then you add in the shrinking and growing processes, the Quantum Realm, and Ghost for a totally mind blowing visual experience.

	 

	The only kicker to this film is that while it officially introduces Hope as The Wasp (spectacular as she is) and gives us Michelle Pfeiffer as Janet, the film has the feel of one of the "filler" or bridge films series like this often require to give you what is needed for the future films.  It's one of the best of these I have seen but it is what it is.

	 

	One note, this film ends with a cliff-hanger.  Do NOT leave until after the credits.  (In the immortal words of Stan Lee, 'nuff said!')

	 

	 

	Directed by: Peyton Reed

	 

	Cast: Evangeline Lilly, Hannah John-Kamen, Walton Goggins, Judy Greer, Paul Rudd, Michelle Pfeiffer, Michael Douglas, Michael Peña, Laurence Fishburne, Abby Ryder Fortson, David Dastmalchian, Bobby Cannavale

	 

	 

	MPAA Rating: PG-13 (for sci-fi action violence and brief suggestive material.)

	 

	Selig Rating: A

	 

	Runtime: 125 Min.

	 

	Movie Site: marvel.com/movies/movie/245/ant-man_and_the_wasp

	 

	 

	The Selig Rating Scale:

	 

	A – Excellent movie, well worth the price.

	B – Good movie

	C – OK movie

	D – No need to rush. Save it for a rainy day.

	F – Good that I saw it on the big screen but wish I hadn't paid for it.

#### ANT-MAN AND THE WASP: QUANTUMANIA – A Review by Cynthia Flores
ANT-MAN AND THE WASP: QUANTUMANIA. © 2023 MARVEL.
ANT-MAN AND THE WASP: QUANTUMANIA – A Review by Cynthia Flores
I have lost count of all the Marvel universe films that are out now. So I won’t try to out-geek you by referencing all the subplots or characters from other storylines. Does M.O.D.O.K. (Corey Stoll) ring a bell?  
I feel like my hands are tied since I can’t do spoilers about the plot or the Very Famous actors that pop up in this film. I can, however, give you the Marvel-approved overview-
“Scott Lang (Paul Rudd) and Hope Van Dyne (Evangeline Lilly), along with Dr. Hank Pym (Michael Douglas) and Janet Van Dyne (Michelle Pfeiffer), explore the Quantum Realm, where they interact with strange creatures and embark on an adventure that goes beyond the limits of what they thought was possible.”
Peyton Reed directs this film. He also directed the other two Ant-man films. Ant-Man, Ant-Man and the Wasp. So he knows this character and its universe. And with the technology we have today, if you can imagine it, you can create it for the whole world to see. But sometimes, just because you can does not mean that you should. 
It may be a case of too much of a good thing going sour. There are essential scenes in this film in bars and especially in major battle elements that are so full of extras, flash, and trash that the core characters often get lost in the spectacle of it all. It was hard when I watched this on an I.M.A.X. screen to keep up with who was where, which pulled me out of the storyline. Don’t get me wrong, I love good battling evil in epic wars, but it helps when the action does not drown out the sentiment or the people we are cheering for.
Other than that, this is your typical Marvel tale of good guys fighting against evil villains. Add your bucket of popcorn and some fun, snarky lines from Paul Rudd as Ant-man, and you have yourself a movie. It is not as fresh or exciting as the first two Ant-Man films, but it is passable for a good time at the movies.
I give Ant-Man and The Wasp: Quantumania only 3.75 stars. It’s, of course, going to start a new branch of the Marvel storyline that is braided into all the others. So I am sure there will be a sequel or two or three. And yes, there is an extra scene in the middle of the credits and another at the end.
 
Directed by: Peyton Reed
Written by: Jack Kirby, Jeff Loveness
Rated: PG-13
Selig Rating: 3.75 Stars
Running Time: 2hr 5min
Action / Adventure / Comedy
Wide Theatrical Release: February 17th
Starring: Paul Rudd, Evangeline Lilly, Jonathan Majors, Kathryn Newton, Michelle Pfeiffer, Michael Douglas
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### ANTEBELLUM – A Review by Hollywood Hernandez
ANTEBELLUM – A Review by Hollywood Hernandez
Antebellum, now showing on Amazon Prime Video is a little bit uneven and works a little too hard at keeping the movie viewer off balance. Is it a Thriller/Horror film or a movie that shines the spotlight on social injustice by showing us the horrific images that happened on a slave plantation? The movie is kind of a cross between Get Out and 12 Years A Slave.
The first act of the movie shows Janelle Monáe working on a slave plantation and then about thirty minutes into the film the phone rings and Janelle Monae’s character Veronica, wakes up from a nightmare and we realize the slavery scenes were all just a dream.
In her first starring role, Janelle Monáe plays Dr. Veronica Henley and does an excellent job of portraying a successful author and advocate for social justice. Gabourey Sidibe is one of her best girlfriends and her part, while a small one, gives a really fun break in this harsh and violent movie about slavery. The best part of the film is how it opens a dialogue on white supremacy and racism. The scenes on the plantation make us think about what the United States would be like today if the South had won the Civil War?
Current day systematic racism and police brutality are all thrown into the mix in this thought-provoking movie. It is most definitely a timely tale about what is happening today in this country.
Veronica is kidnapped and taken to an alternate world where we realize what’s going on as the movie unfolds. Again, what we think happened is totally different than what the story tells us to believe. That kind of ticked me off. However, there were enough good things in the movie that made me like it.
Antebellum is rated R for violence, cruelty, and sexual situations. It has a runtime of 1 hour and 45 minutes. On my “Hollywood Popcorn Scale” I rate this movie a LARGE.

#### ANTIDOTE – Interview with Filmmaker James Jones
The 2024 Tribeca Festival has kicked off and our Gadi Elkon was able to chat with a few filmmakers about their world premieres.  Here is our interview with filmmaker James Jones about his feature documentary, ANTIDOTE.

Whistleblowers and activists risk their lives exposing Vladimir Putin’s authoritarian regime, facing grave consequences for their courageous efforts to uncover the truth.
Filmmaker James Jones talked with our Gadi Elkon about the secrecy and seclusion of making his feature documentary, ANTIDOTE.  They discuss the small intimate team that made the film, the animation elements utilized in the movie, and so much more.
Here is our Interview with Filmmaker James Jones:

This Friday the feature documentary has its world premiere at Tribeca.
For more info, ANTIDOTE.
For more info on James Jones.

#### ANTLERS – A Review by Hollywood Hernandez
ANTLERS – A Review by Hollywood Hernandez
In the movie Antlers, now showing exclusively in theaters, a second-grade teacher played by Keri Russell, suspects something is wrong with one of her students. He’s withdrawn and is constantly drawing demonic images in his notebook. When the teacher follows young Lucas home, she discovers some really strange behavior by the second-grader who takes care of his younger brother who is homeschooled.
The younger brother is locked up in the attic with his crazy father who is strung out on crystal meth. The movie is produced by Guillermo Del Toro who won four Oscars for The Shape of Water in 2007. Antlers is set in a small town in Oregon with a big Native American population who believe in ancient tales that have been told over decades that most locals consider myths; but not this one. 
The man in the attic is a flesh-eating monster who changes his form to become a creature with antlers, and he ain’t no reindeer. Young Lucas is caught in the middle of it all and his teacher, who lives with her brother the sheriff, takes him in to try and protect her young student. 
Antlers is by far the most graphic and bloody movie of this Halloween season. If you’re taking a date to this movie looking for a few yucks, forget it. This is non-stop graphic violence like you’ve never seen before on the big screen.  
Antlers is rated R with a run time of 1 hour and 39 minutes. The movie is not for the faint of heart. It is hardcore. On my “Hollywood Popcorn Scale” Antlers rates a LARGE.        

#### ANTLERS – Review by Gadi Elkon
Does a top notch director, stellar cast and the creature blessing of producer Guillermo Del Toro make Antlers into a October hit?  Here is my full review of the film.

From the visionary world of acclaimed director Scott Cooper (CRAZY HEART, HOSTILES) and horror maestro Guillermo del Toro (THE SHAPE OF WATER) comes ANTLERS. In an isolated Oregon town, a middle-school teacher (Keri Russell) and her sheriff brother (Jesse Plemons) become embroiled with her enigmatic student (Jeremy T. Thomas) whose dark secrets lead to terrifying encounters with a legendary ancestral creature who came before them. Based on the short story The Quiet Boy by Nick Antosca, screenplay by C. Henry Chaisson & Nick Antosca and Scott Cooper. Produced by Guillermo del Toro, David S. Goyer, and J. Miles Dale.
Antlers captures the lore of the Wendigo myth but the plot seems rushed with a simple ending.  Director Scott Cooper certainly took a leap into the horror genre and he does do the short story justice visually.  The film will live off the stellar casting choices.  Keri Russell’s tortured performance is a nice contrast off the always fun and aloof nature of Jesse Plemons to the nice cameo parts from Amy Madigan, Graham Greene and Rory Cochrane the movie has a great ensemble.  But the film truly hangs on the two young actors Sawyer Jones and Jeremy T. Thomas who play the Weaver boys who are immersed in the dark plot.  Jeremy really shines in every scene and embodies the scared lost child look.  The Guillermo Del Toro touch is obvious in the creature design elements by Guy Davis and his team.  Also Del Toro’s composer Javier Navarrette has his tremendous talents dripping all over the film.  The haunting quality of Del Toro’s usual suspects mixes well with Director of Photography Florian Hoffmeister’s rich night-filled cinematic work.  The opening and a tremendous drone shot at night near the end of the film really give the scope of the Oregon landscape.  Lastly, Scott Cooper’s teaming with Editor Dylan Tichenor again is a real highlight as the pacing is perfectly handled in the Oscar nominee’s keen eye.
My only real issues revolve around the simple story element.  Granted they were working off a short story, but the subtle hints at meth addiction, childhood trauma and town violence were not explored enough.  I really had hoped Scott Cooper’s ability to deliver a film that packs a punch would have elevated this horror trope.  Instead we are just given a decent dark tale that isn’t to in depth.  A nice Halloween treat with a tremendous cast, but honestly Antlers seems like a film meant to be forgotten as the clock strikes midnight.
Nonetheless if you are a fan of myth tales, especially the Wendigo, this will at least satisfy your hunger.
ANTLERS
Directed by: Scott Cooper
Screenplay by: C. Henry Chaisson & Nick Antosca and Scott Cooper, based upon the short story THE QUIET BOY by Nick Antosca
Rated: R
Selig Rating: 3 Stars
Running Time: 1 hr 39 min
Horror
Theatrical Release: In Theaters October 29th.
Starring: Keri Russell, Jesse Plemons, Jeremy T. Thomas, Graham Greene, Scott Haze, Rory Cochrane, Amy Madigan
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.
 
(From L-R): Jesse Plemons, Jeremy T. Thomas and Keri Russell in the film ANTLERS. Photo by Kimberley French. © 2021 20th Century Studios All Rights Reserved
 

#### ANYTHING – A Review by Cynthia Flores
 

	ANYTHING – A Review by Cynthia Flores

	 

	Loving takes courage especially after a great loss.  This new film Anything is the feature debut of writer/director Timothy McNeil.  It’s a tender study of grief and love.  

	 

	Following the sudden death of his childhood sweetheart and wife of twenty-six years, Early Landry (John Carroll Lynch) attempts suicide.  His sister Laurette (Maura Tierney) forces him to move from his peaceful small town in Mississippi to the loud and faced-paced Los Angeles.  After a few months of living with his sister and her family, Early decides it’s best to get some distance between him and his overprotective sister.  So, he rents a small place in Hollywood – the building is more of a gathering of bungalows, two stories high and once very fashionable but now home to a lot of sad people that are just getting by in the mean city of angels.  Early is intrigued by it all but sticks out like a sore thumb, a middle aged man in his long sleeve shirts and thick southern accent among the hipsters, hustlers, and musicians that call this place home.

	 

	Soon, he meets his prostitute neighbor Freda (Matt Bomer), a beautiful transgender woman who finds Early every bit as exotic as he finds her.  The two lonely hearts begin a friendship that turns into something else.

	 

	Anything is not a perfect film.  There are a few scenes that just didn’t work for me, but the film itself does.  Matt Bomer is a cisgender actor playing a part that some people believe should have been done by an actual transgender actress.  I don’t know why they cast it this way but it still works.  Speaking of casting, John Carroll Lynch who plays Early is just wonderful.  He really shines in this part of the broken hearted quintessential southern gentleman who is gracious, genteel, and loquacious.  The film is worth seeing for his performance alone.  I give this movie a solid B+ rating and hope you will take a moment to seek it out and enjoy a lovely story of love in all its different forms.

	 

	Directed by Timothy McNeil

	Written By Timothy McNeil

	Rated R

	Selig Rating B+

	Running Time 93 min

	Drama

	Limited Release May 18th AMC Grapevine Mills

	Starring John Carroll Lynch, Matt Bomer, Maura Tierney 

	 

	 

	The Selig Rating Scale:

	 

	A – Excellent movie, well worth the price.

	B – Good movie

	C – OK movie

	D – No need to rush. Save it for a rainy day.

	F – Good that I saw it on the big screen but wish I hadn't paid for it.

#### ANYTHING GOES
ANYTHING GOES

	 

	By Gary Murray

	Starring Rachael York and Fred Applegate

	Music and lyrics by Cole Porter

	Original Book by P.G. Woodhouse & Guy Bolton and Howard Lindsay & Russel Crouse

	New Book by Timothy Crouse and John Weidman

	Directed and Choreographed by Kathleen Marshall

	 

	Cole Porter is one of the greatest lyricists of the Great White Way.  His music has influenced a generation of songwriters, both classic and modern.  The songs in his catalogue have become a part of the lexicon that is America.  Perhaps his greatest achievement is the musical Anything Goes.  The Roundabout Theater Company has re-imaged this classic work and brings it to the Winspear Opera House as a part of the Lexus Broadway Series at the AT&T Performing Arts Center.

	Gone is the introduction of the cast from some of the community versions of the show and a more intimate start begins the production.  A smoky Manhattan bar is the local and Reno Sweeney belts out one of the most famous tunes “I Get a Kick out of You.”  The standard was made popular by Frank Sinatra.  The number puts in perspective the relationship between Reno and Billy.  It also shows off the massive singing voice of Rachael York.  She is easily the biggest, brightest star to appear at this venue.  Where Sinatra delivers the song with smooth, subtle vibrato, Rachael puts a decided pep into the tune.

	The set of an ocean liner is where almost all of the action takes place.  We are soon introduced to the rest of the cast.  The plot is almost mostly a trite farce.  Billy loves Hope and Hope is engaged to Lord Evelyn.  On board is a gangster and Billy is mistaken for public enemy #1.  It is one of those plots that become secondary to the music and dancing.

	Scene 3 is one of the highlights of the show.  Reno and Billy sing “You’re the Top.”  This is another song from the show that has become a standard.  As a duet, the two voices blend together in a tight harmony.  It is a charming and warming scene.

	Gangster Moonface and Reno give yet another classic reading to a classic tune “Friendship.”  The number is very much of the vaudeville traditions with nice choreography and a smooth glide across the hardwoods. 

	As much as the entire production feels like a showcase for Rachael York, one of the standards in the Cole Porter catalogue is “It’s De-Lovely”  Billy and Hope give the audience the customary boy-girl number but do it with such a freshness that one would almost believe that it had never been done before.  They are believable as a torn couple in love.  The song wraps around the audience like the warmest of blankets.  It is a charmer.

	Easily the biggest number of the entire show is the last one of Act 1.  “Anything Goes” has always been a big number but this cast turns it into a tap dancing feast.  These young actors hit the stage with such glee.  But it is the manic energy of the tap that brings the number to a boil.  Almost the entire cast dons those steel-heeled shoes and brings a percussive melee to the stage.  It is the kind of number that makes Broadway the Mecca of live entertainment.

	The second act starts with Billy being honored in the ship’s nightclub.  “Blow, Gabriel, Blow” becomes the show-stopping number of the night as almost every member of the cast takes a spiritual bend to this old chestnut of song and dance.  It is a rousing number that gets the audience on its feet.  The play flies to the end where every little bit of plot becomes unfurled and every couple that should be together gets together.  The play ends with “Buddie, Beware” and a finale that had the audience cheering for one last encore.

	Rachael York as Reno proves that she one of the greatest talents to be on a stage, touring or not.  She has a winning presence in a role that requires massive amounts of talent in the singing and dancing departments.  She is the consummate triple threat and the main reason to see this show.  It is an amazing performance that she makes look as effortless as breathing. 

	There is a certain charm that Erich Bergen brings to the role of Billy.  His voice is strong and he comes across as the type of character prevalent in musicals of that day, the nice guy who eventually wins the girl.  The shows of that era were not complete without this character and Erich handles the role with a solid grace.

	Anything Goes is a classic musical told with a modern feel.  It is as perfect as a Broadway production, with everything just right.     This production won 9 Tony Awards and 10 Drama Desk Awards.  It is deserving of all the accolades it received.  This is a great show.  If one has the ability to go to only one show this season, make it Anything Goes.  It is definitely worth the price of admission.

	 

#### APOLLO 11 – A Review by Cynthia Flores
 
APOLLO 11 – A Review by Cynthia Flores
It’s tough to make a documentary about something we know the beginning middle and end of and this film does a hell of a job keeping us in suspense.  Taking us step by step, even minute by minute at times, this film reveals a whole other side to this historic event.  What I really loved about this film is that even though we all know that the Apollo 11 moon landing was a success, there are parts of the movie where you’re holding your breath right along with the technicians from Houston and the rest of the world that was watching it happen at the time.  All of us waiting to see if the men were going to make it past that first push to the moon.  That’s the mark of an excellent film let alone a documentary.
Apollo 11 highlights all the hard work and planning that it took to turn President JFK’s dream of putting a man on the moon into reality.  There were so many seemingly impossible maneuvers that had to be done during that whole trip.  This film allows us to see the actual footage that only NASA has seen, which gives us even more appreciation of how difficult the whole thing was.  We watch as it was done by hand and not by a computer or autopilot like they do today.  Some of those maneuvers seem insane when seen on the big screen.
There are no voice-overs or grand narration from a deep-voiced actor in this film.  Instead, director Todd Douglas Miller chose to let the actual audio from the film archival footage shot in 70mm film that was previously unreleased to the public tell the story.  He also decided to use “split-screen” sections during parts of the movie to great effect.  Usually, it’s a gimmick that’s distracting when a filmmaker puts up split-screen action, but it works here.  The technique only enhances the tension in the room.  There are also lower third graphics giving us up-to-date stats on the mission.  Giving us just enough of the technical velocities and stats over captivating images and a fantastic score by Matt Morton.  Matt orchestrated, performed, and mixed all of the original music for the film using instruments and effects that existed at the time of the mission to add that extra bit of authenticity to it.
Apollo 11 is one of the best documentaries about landing on the moon that I’ve ever seen.  It’s heart-pounding storytelling of the behind the scenes effort it took to be the first mission to land on the moon with its now three infamous astronauts named Buzz, Neil, and Michael is just magnificent and a joy to watch.  Seeing the event, the way it’s presented here makes it fresh and new even fifty years after the fact.  Remember, it will be in IMAX for only one week before it’s released in standard 2D screenings.  If you want to really feel the roar of the rockets and get an idea of how grand a mission this was, then go see it in IMAX first.  Then see it again (I know you will) in 2D to see what you may have missed the first time around.  I give Apollo 11 an A+ rating.
 
Directed by Todd Douglas Miller
Rated G
Selig Rating A+
Running Time 1hr 33min
Documentary
Limited Release in Imax March 1st AMC NorthPark 15, Cinemark 17 and Imax Theatre, AMC Grapevine Mills 30 Then wide release March 8th
Starring: Buzz Aldin, Neil Armstrong, Michael Collins, NASA ground team
 
The Selig Rating Scale:
A – Excellent movie, well worth the price.
B – Good movie
C – OK movie
D – No need to rush. Save it for a rainy day.
F – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### APORIA – A Review by John Strange
APORIA – A Review by John Strange
How do you deal with the paradoxes and pitfalls of changing the past?  How do you deal with the feelings resulting from what it takes to regain one dear to you?  This is what the movie Aporia is asking of us, and the characters in the film.
When her husband, Mal (Edi Gathegi), was run over and killed, Sophie (Judy Greer) and their daughter (Faithe Herman) was left in a pit of despair and misery.  Barely able to move forward, she discovers that there might be a way to reverse the action that took away her husband.  In her misery, does she stop to consider the results of taking this action?  Or is her need to regain her beloved Mal just too much to allow her to think straight?
This is a very dark film filled with characters dealing with the results of their decisions and actions.  It is intense and thought-provoking in a way I have not experienced in a film in decades, if ever.  Don’t watch this on a date unless the two of you have a VERY solid relationship.  It might result in conversations that, perhaps, are best left in the movie theater.
 
Director: Jared Moshé
Cast: Edi Gathegi, Judy Greer, Payman Maadi, Faithe Herman
MPAA Rating: R (for some language)
Selig Rating: 4 Stars
Runtime: 104 Min.
Release Date: 08/11/2023
Language: English
Movie Site: APORIA Official Site
Trailer: APORIA Trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### AQUAMAN – A Review by Cynthia Flores
 
AQUAMAN – A Review by Cynthia Flores
Not since the great Marilyn Monroe has anyone looked so good coyly glancing over their shoulder to the audience and then slowly turning around and giving us “that look” to make the audience gasp at their raw sex appeal.  In Aquaman, that person is Arthur (Jason Momoa), and he knows how to play to the camera.
This new film from director James Wan brings another DC Comics hero to the big screen.  This time it’s Aquaman in his origin pic, so it’s a little long but with so much action and backstory packed into the film, the time goes by quickly.  We meet Arthur Curry / Aquaman, the half human, half-Atlantean, when he is grown and must go on the journey of his lifetime with Mera (Amber Heard), princess from Atlantis.  This odyssey will not only force him to face who he really is but to discover if he is worthy to be the king he was born to be.
I don’t want to give every plot point away because I want you to go to the theaters and watch this on a big Imax screen to enjoy the stunning visuals they have created for these kingdoms of the sea.  Just know that you’ll find out how Aquaman, son of human Tom Curry (Temuera Morrison), who was a lighthouse keeper and Atlanna (Nicole Kidman), the daughter of a king from Atlantis, was raised and trained by his mother’s trusted advisor Vulko (Willem Dafoe) to one day be king.  Now, because Arthur’s half-brother (but full-blooded Atlantian) King Orm (Patrick Wilson) wants to join all the underwater kingdoms together under him to attack the humans that are polluting and killing the sea.  Because Arthur is human as well, he’s pulled into action below the water and with the help of Mera and Vulko he goes on the quest to find and claim the Trident of King Atlan which is said to hold all the power of Atlantis and can only be used by a true king.
Side note here, Nicole Kidman and Willem Dafoe are no spring chickens however the computer work that was done on them to play their much, MUCH younger parts is a little creepy at times.  I swear that you can’t take your eyes off their faces when they are on screen because you expect them to fall off at any moment.  They almost have the technology to let any actor play any age they want, but it’s not 100% there yet.
I’m surprised that they chose to release Aquaman now instead of in the summer, but I’m so glad they made this feast for the eyes superhero flick.  It has all the traits of most superhero movies, there are lots of bloodless violent scenes, blood oath vendettas, potential love blooming, and snarky one-liners.  What Aquaman has that no one else does is Jason Momoa, one of the hottest looking, long-haired heroes in dripping wet muscle defining outfits giving you “That Look” totally worth the price of admission just for that.  I give this film a B+ rating.
Directed by James Wan
Written By David Leslie Johnson – McGoldrick, Will Beall, Geoff Johns, James Wan,Mort Weisinger, Paul Norris
Rated PG-13
Selig Rating B+
Running Time min
Action / Fantasy
Wide Release Dec 21st
Starring: Jason Momoa, Amber Heard, Willem Dafoe, Patrick Wilson, Nicole Kidman, Temuera Morrison
The Selig Rating Scale:
A – Excellent movie, well worth the price.
B – Good movie
C – OK movie
D – No need to rush. Save it for a rainy day.
F – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### AQUAMAN – A Review by Hollywood Hernandez
 
AQUAMAN – A Review by Hollywood Hernandez
Aquaman is the best of the D.C. comics’ movies since Wonder Woman.  It’s a great story, but what is amazing about this movie are its special effects.  It has the most epic special effects that I have ever seen.  It puts previous sci-fi movies to shame with its incredibly advanced effects.  It’s been the top moneymaker at the box office for two straight weeks and has already brought in over $750 in worldwide box office receipts.
In Aquaman, Arthur (Jason Momoa) learns he is the bastard son of the Queen of Atlantis, played by Nicole Kidman.  She flees Arthur’s father on land when she is ordered to return to Atlantis to be with her Atlantian King.  Once back with the king in a prearranged marriage, she gives birth to another son, Orm (played by Patrick Wilson).  He plays the evil nemesis in the film, hating surface dwellers because of the way they have polluted the world’s oceans.
When Orm discovers that he has a step-brother, the two go to war using sea creatures to fight their battles.  The two brothers riding whales and commanding them as a part their armies is an amazing sight on the big screen.
There is also a love story involving Arthur falling in love with Mera (a beautiful redhead played by Amber Heard).  You’ve never seen anything like this movie.
The movie has a run time of 2 hours and 23 minutes, which goes by really fast, and its rated PG-13 for some fantasy violence.  On my “Hollywood Popcorn Scale” this movie rates a JUMBO with extra butter, my highest rating.

#### Arbitrage
 

	ARBITRAGE

	By Gary Murray

	Starring Richard Gere, Susan Sarandon, Brit Marling, Nate Parker and Laetitia Casta

	Written and directed by Nicholas Jarecki

	Running time 100 min

	MPAA Rating R

	Selig Film Rating Cable

	 

	Richard Gere is one of the most successful leading men in Hollywood.  Some of his greatest cinematic hits have been the movies Pretty Woman, An Officer and a Gentleman, Breathless, American Gigolo and Chicago.  His latest to try and win an Oscar is Arbitrage.

	The tale of the film takes place in the world of the 1%.  Hedge-fund tycoon Robert Miller (Richard Gere) is working on the deal of his lifetime as he approaches his 60th birthday.  He is the symbol of success, with million dollar banquets thrown in his honor.  His wife Ellen (Susan Sarandon) is more worried about her standing in the elite community than the world of business. 

	Daughter Brooke (Brit Marling) helps to run the company. She takes after her father in being ruthless in business.  Unknown to her, the corporation is steps away from becoming insolvent.  Robert had done a deal and leveraged his position to a degree that he has lost millions.  Dad does his best to hide it from his daughter to the point of having two sets of books.  This is the first big secret of Arbitrage.

	The second big secret in Robert’s life is that he has a mistress in French artist Julie Cote (Laetitia Casta).  He keeps her in a high rent apartment and attends her shows, buying very expensive works of her art. In Robert’s state of mid-life crisis, he wants to make the company solvent by acquisition, leave his wife and be with his mistress. 

	One night, Robert and Julie get into a major car accident, killing the woman.  Robert, in a panic, calls Jimmy Grant (Nate Parker) the son of his former driver.  The two men have a past and Jimmy comes to the aide of his benefactor, giving him a ride.  Jimmy has had some run-ins with the law but is trying to get his life straight.

	The police begin to investigate the death and NYPD detective Michael Bryer (Tim Roth) believes that there is something more than meets the eye.  He connects Jimmy and Richard but cannot prove anything, yet.  It is his investigation and the unwinding of different plot threads that propel the story of Arbitrage.

	The film is structured like a Shakespearian tragedy but without the tragic all-encompassing outcome.  Our major character doesn’t have the total fall from grace, the final collapse of his world.  In this world, the 1% just loses money, not everything.

	In the basic plot ideas that define tragedy, the lead is to have a total fall from grace and everyone is to suffer because of the flaws of the central figure.  Basically everyone in Hamlet and Macbeth die.  That does not happen in Arbitrage.  It does not follow the most basic rule of literature.  Writer/director Nicholas Jarecki sets up his grand tragic story but never delivers the true death punch to the proceedings.  In his backing off he makes the entire film a weak exercise in tragedy.

	If one is to see this film, it is for the cast.  Richard Gere and Susan Sarandon both are journeymen performers who are at the top of their game in Arbitrage.  The banter between these two makes the rest of the work palatable.  As an old married couple, the two make a believable pair.  There should have been more scenes between them and less with the secondary stories.

	Brit Marling has had some art-house successes in the last year but seems lost in this role.  Her character almost feels as if it is an afterthought, a secondary thread in the process.  She is never proactive in her situation, more of a victim of circumstance than a controller of destiny.  The part is ill conceived and poorly executed.    

	And how many times can Tim Roth play the same cop role?

	I find Arbitrage to be a very long shot for any post year awards.  The end product feels hollow and never rings true in terms of style and substance.  It thinks that it is grand tragedy but comes across as milquetoast drama. 

	 

#### ArcLight Cinemas and Slamdance Announce Los Angeles and Chicago 2017 Slamdance Cinema Club Film Lineup
 

	ArcLight Cinemas and Slamdance announce today the 2017 lineup of the Slamdance Cinema Club. Now in its third year, Slamdance Cinema Club is designed to bring independent films from the festival circuit to mass audiences at ArcLight theaters in cities that are closely connected to the filmmaking industry. Beginning in March, ArcLight Hollywood and ArcLight Chicago will show two films each month from the 2017 Slamdance Film Festival that took place January 20-26 in Park City, UT. Each Hollywood screening and select Chicago screenings will be followed by a filmmaker Q&A that dives into the background and thematic elements of each film.

	Started in 2015 as a partnership between ArcLight and Slamdance, the Slamdance Cinema Club film series offers diverse viewing experiences and provides moviegoers with the opportunity to see acclaimed narrative and documentary features that were recently premiered at the Slamdance Film Festival.

	"ArcLight is dedicated to giving each moviegoer a unique theater experience, and this film series is the perfect way to provide our viewers with a comprehensive look at the diversity and craftsmanship of independent filmmaking," said ArcLight Cinemas Executive Vice President, Cinema Programming Gretchen McCourt.

	The 2017 Slamdance Cinema Club series was launched on January 31st at ArcLight Hollywood with a screening of "What Lies Upstream," a documentary exposé on the failed regulatory framework that creates an unprecedented loss of clean water for over 300,000 Americans. The films being shown beginning March 12th include "Strad Style," "Kate Can't Swim," "On The Sly: In Search of the Family Stone," "Cortez," "You Never Had It: An Evening with Bukowski," "After Adderall," "Automatic at Sea," and "Neighborhood Food Drive."

	Kicking off the first Q&As at ArcLight Hollywood will be a discussion with "Strad Style" Director Stefan Avalos and Daniel Houck on March 12th, and a conversation with "Kate Can't Swim" Director Josh Helman and Producer/Writer Jennifer Allcott on March 13th. The first Q&A in Chicago will be on March 29th after the screening of "Strad Style," with actor Daniel Houck, moderated by Bryan Wendorf, Programmer & Artistic Director, Chicago Underground Film Festival.

	"We're thrilled to continue to share the incredible work of the film festival's independent filmmakers with larger audiences in both Los Angeles and Chicago," said Slamdance President & Co-Founder, Peter Baxter.

	To reserve seats and learn more about each film, visit: www.arclightcinemas.com/news/ArcLight-Presents-Slamdance-Cinema-Club. Also check the website for updates on a schedule of Chicago Q&A discussions with the filmmakers and special guests.

	Upcoming dates for ArcLight Presents Slamdance Cinema Club at ArcLight Hollywood and Chicago are as follows:

	Strad Style
	March 12: ArcLight Hollywood
	March 29: ArcLight Chicago
	Synopsis: A rural Ohio eccentric with an obsession for 'Stradivari' convinces a famous European concert violinist that he can make a copy of one of the most famous and valuable violins in the world. Fighting time, poverty, and most of all – himself – Danny Houck puts everything on the line for one shot at glory. Directed by Stefan Avalos, starring Daniel Houck, Razvan Stoica, David Campbell, Rodger Stearns, and Mary Houck.

	Kate Can't Swim
	March 13: ArcLight Hollywood
	March 30: ArcLight Chicago
	Synopsis:
	Kate (Celeste Arias) is almost thirty, almost engaged, almost settled in her career as a writer—but is deeply dissatisfied. When Kate's best friend Em (Jennifer Allcott) returns from Paris with a surprising new lover in tow (Josh Helman), Kate and her boyfriend Pete (Grayson DeJesus) spend a weekend in upstate New York with the new couple. As Kate struggles with her suspicions about Em's new lover, dormant feelings about her own life arise, forcing her to decide whether to stay on her current life path or to burn it down and forge a new one. Co-directed by Josh Helman and Evan Jonigkeit, starring Celeste Arias, Jennifer Allcott, Grayson DeJesus, and Josh Helman.

	On The Sly: In Search of the Family Stone
	April 9: ArcLight Hollywood
	April 19:  ArcLight Chicago
	Synopsis:  Michael Rubenstone, a first-time filmmaker and a Sly and the Family Stone super- fan, sets out to find the band's leader, the reclusive funk legend, Sly Stone. In doing so, he manages to make one of the most comprehensive documentaries on the band to date, while also bringing Sly out of hiding for the first time since his Rock and Roll Hall of Fame induction in 1993. Part road movie, part rock doc, ON THE SLY: IN SEARCH OF THE FAMILY STONE follows Michael Over the course of 12 years as he travels across the country, meets an eclectic cast of characters, unearths the true story of the band and chronicles how a musical icon fell from grace. Through detailed interviews with friends, family, former band members, managers and music industry titans we learn about the complexity of Sly Stone. Directed by Michael Rubenstone, starring Michael Rubenstone, Cornel West, Bobby Womack, Clive Davis, Dick Cavett, Paul Shaffer, David Kapralik, and Freddy Stone.

	Cortez
	April 10: ArcLight Hollywood
	April 20: ArcLight Chicago
	Synopsis: After a canceled tour, flailing musician Jesse Lirette seeks out an old flame in a small town in Northern New Mexico. When an arrogant attempt at inserting himself into her family fails, he must confront the mistakes of his past on his own. Directed by Cheryl Nichols, starring Arron Shiver, Cheryl Nichols, Drago Sumonja, Jackson Shiver, and Judith Ivey.

	You Never Had It: An Evening with Bukowski
	May 15: ArcLight Hollywood
	May 24: ArcLight Chicago
	Synopsis: A night of drinking and talking about sex, literature, childhood and humanity with the irreverent writer poet Charles Bukowski in his California house in 1981. A story of tapes lost, found and brought back to life. Directed by Matteo Borgardt, starring Charles Bukowski, Linda Lee Beighle, and Silvia Bizio.

	After Adderall
	May 16: ArcLight Hollywood
	May 25: ArcLight Chicago
	Synopsis: In 2010 James Franco optioned the rights to Stephan Elliot's memoir, The Adderall Diaries. In 2015 The Adderall Diaries starring James Franco and Ed Harris premiered at the TriBeca Film Festival. This is a movie about James Franco making a movie about Stephan Elliot. Directed by Stephen Elliott, starring Stephen Elliott, Mickaela Tombrock, Bill Heck, Michael C. Hall, Lili Taylor, and James Urbaniak.

	Automatic at Sea
	June 11: ArcLight Hollywood
	June 21: ArcLight Chicago
	Synopsis: Eve, a young Swedish traveler, finds herself stranded on a private island with Peter, a wealthy heir whom she hardly knows. While waiting for other guests to arrive, Eve becomes trapped in an unstable reality punctuated by feverish visions, dimensional shifting and secret pizza. How can she escape if she's not even sure she's there? Directed by Matthew Lessner, starring David Henry Gerson, Livia Hiselius, and Breeda Wool.

	
	Neighborhood Food Drive
	June 12: ArcLight Hollywood
	June 22: ArcLight Chicago
	Synopsis: Convinced that hosting a lavish charity fundraiser will improve the public image of their unpopular restaurant, two women hire an intern to help them plan and execute a neighborhood food drive. Despite their somewhat good intentions, the team quickly succumbs to petulance and laziness. They make repeat attempts—trying to maintain positive attitudes—but cosmic maladies cripple their efforts and they soon find themselves doomed. Directed by Jerzy Rose, starring Lyra Hill, Bruce Bundy, Ruby McCollister, Marcos Barnes, and Ted Tremper.

#### ARE WE GOOD? A Marc Maron Documentary – Interview with Writer Producer Julie Seabaugh
This Friday October 3rd ARE WE GOOD? A MARC MARON DOCUMENTARY will open in NY/LA before a nationwide release.  Writer/Producer Julie Seabaugh talked with our Gadi Elkon about Marc, Marc’s devotion to continuing Lynn Shelton’s legacy, and so much more!

Comic and podcast pioneer Marc Maron reflects on loss and growth after the death of his partner, Lynn Shelton. As he processes grief and crafts comedy, he revisits his career, family struggles, and the evolving comedy world at 60.
Julie and Gadi dived into her connections to the comedy world, her decades worth of writing and coverage of comedy, and everything about creating ARE WE GOOD? A Marc Maron Documentary.
Here is our Interview with Writer/Producer Julie Seabaugh.

In NY/LA Theaters Only Oct 3rd. Nationwide Oct 5th and 8th.
For more info about Julie Seabaugh.
For more info about Utopia Distribution.
Follow Are We Good? on Instagram.
  
 

#### ARE YOU HERE
ARE YOU HERE

	By Gary Murray

	Starring Owen Wilson, Amy Poehler and Zach Galifianakis  

	Written and directed by Matthew Weiner

	Running time 112 min

	MPAA Rating R

	Selig Film Rating Cable

	 

	Late August is a dumping ground for cinema.  With the kids getting ready for school and the last hurrah of Labor Day around the corner, no one seems to want to go to the movies.  Studios release films that they have little confidence in and just want to clear the shelves.  Are You Here is just that kind of flick.

	Named after everyone’s favorite lawyer in Bloom County, Steve Dallas (Owen Wilson) is a weatherman at a local New England station.  He is the type of guy who barely makes it to his work gig, getting high whenever he can.  Steve is more obsessed with the ladies than with his job and never realizes how pointless his life has become.

	His best buddy and drug dealer is Ben Baker (Zach Galifianakis).  Ben believes himself to be a writer and is always scribbling things in his notebook.  The screenplay takes off with the death of Ben’s father.  The two men have to go to Amish farm country for the funeral.

	At the funeral, the rest of the cast is introduced.  Terri (Amy Poehler) is Ben’s sister.  She is a go-getter who has major plans for both the family farm and grocery store.  Wanting to turn the little store into a giant supermarket, she has only one obstacle—Ben. 

	The other major cast member is Angela (Laura Ramsey) the much younger wife of the deceased dad.  She is one of those free spirit women, much more in line with the 1960s hippie movement than the 21st century.  She is also ‘take your breath away’ beautiful.

	At the reading of the will, we find that dad left everything to Ben, instantly making him a millionaire.  Since Ben is a fragile person, this sends him over the edge.  The film is of how Ben handles his wealth and his tragic loss.  It is also about mental health and chemical sedation.  There is also a forced love story between Steve Dallas and Angela.

	This film is truly a mess almost from the first frame.  None of the characters feel genuine and the situations are forced.  Mental health is a serious issue and Are You Here seems to take a flippant attitude toward the disease.  The film goes from forced comedy to forced emotions without any real feelings.

	But, perhaps the biggest problem with Are You Here is the shorthand grieving process.  Angela is supposed to be the brokenhearted widow but is almost jumping in the sack with another man.  If she truly did love her husband, then there would be some sort or mourning.  The screenplay is disingenuous to the process of losing a loved one.  

	Of the three leads, all have done better performances.  Amy Poehler is especially weak in a role that is not that well thought out.  Her character has almost no redeeming values and the cameraman caught her in a horrible light.  It is a waste of her talents.

	Zach Galifianakis has played crazy before in It’s Kind of a Funny Story, The Hangover series and just about every other role he’s done.  It is getting a bit old for him to keep repeating this crazy shtick over and over again.   Toward the end of the film, he shaves off his beard and he looks strange clean shaven.

	Owen Wilson has played the lothario on many occasions but this time out he comes off as a major creep.  In one scene, he watches a woman undress much in the vein of Rear Window but without the tension.  It comes across as sad and woeful.

	There is only one reason to see Are You Here and that reason is Laura Ramsey.  She plays this free spirit woman that we have seen 100 times before but does it as if for the first time.   There is a genuine sadness in her performance that becomes endearing.

	The film is written and directed by Matthew Weiner so the blame must go directly in his lap.  He doesn’t give the audience any single person to truly care about.  It is all characters who are forced together by circumstance rather than drawn by common feelings.

	Are You Here is another late August film that will be forgotten by mid-September, a very long long-shot for end of year awards.  It is the kind of film that thinks is making some grand statement but delivers a mere whimper.

#### ARE YOU HERE – A Review by John Strange
 

	ARE YOU HERE

	 

	By: John ’Doc’ Strange

	 

	Directed by: Matthew Weiner

	 

	Cast: Owen Wilson, Zach Galifianakis, Amy Poehler

	 

	MPAA Rating: R (for language, drug use and some sexual content/nudity)

	 

	Selig Rating: FORGET IT!

	 

	Runtime: 112 Min.

	 

	 

	Take two talented comedic actors, add in a side of wonderful comedic actress and sometimes the recipe gives us an amazing 90 minutes of laughter and joy.  The other side of the equation is a movie like Are You Here. 

	 

	The film follows Steve Dallas (Owen Wilson), a local television weatherman.  He is a talking head, giving the forecast determined by his “assistant” (and a real meteorologist), Delia Shepard (Lauren Lapkus).  Truthfully, he keeps his job because he looks good.  He is no better than the blond bimbos so many films put in the job.  He blows through his money on booze and women never really caring for anything.

	 

	Steve’s best friend and boyhood companion, Ben Baker (Zach Galifianakis) is a pot growing stoner who is trying to write the definitive novel.  He is the next thing to a shut-in as he hides from the world and muddles through his days and nights scribbling notes from his rambling thoughts.

	 

	Ben’s father dies leaving him the family’s farm and the store in town in his will.  His sister, Terri Coulter (Amy Poehler) is aghast at the bequests from the will.  Her no-account brother is getting nearly everything!  All she and her husband are to receive come to about $220,000 versus the several million dollars Ben is to receive.

	 

	The story is further complicated by the sibling’s stepmother, the gorgeous 25-year-old widow Angela Baker (Laura Ramsey).  She gets nothing from the will but doesn’t seem to mind.  She is allowed to remain in the farm house with Ben until she decides where she will go.

	 

	The story leaves you shaking your head with the actions of the characters.  Their actions are not particularly cute or entertaining.  You leave the theater wishing you had the time back.  It’s been a while since I had to say this about a film but when it comes to Are You Here I have to throw in the rating of FORGET IT!

	 

	 

	The Selig Rating Scale:

	 

	FULL PRICE – Excellent movie, well worth the price

	MATINEE – Good movie

	DOLLAR – OK movie

	CABLE – No need to rush. Save it for a rainy day.

	FREEBIE – Good that I saw it on the big screen but wish I hadn't paid for it.

	COMMERCIAL TV – Commercials and cutting to the allotted time will not hurt this one.

	FORGET IT! – Bad. If you see this one, do yourself a favor and keep it to yourself.

	GET YOUR TORCHES – BAD! – Burn the script, the writer, the director and maybe even the actors!

#### ARE YOU THERE GOD?  IT’S ME, MARGARET – A Review by Jenn Rohm
ARE YOU THERE GOD?  IT’S ME, MARGARET – A Review by Jenn Rohm
Kelly Fremon Craig has directed and written the screen version of Are You There God?  It’s Me, Margaret, based on the book of the same name by Judy Blume.  Since its first printing in 1970, this book has been in continuous production.  With the themes covered, the book has been banned from schools and libraries.  It is also on lists of the best books for adults and kids to read.   
Craig takes the audience back to 1970 with Margaret (Abby Ryder Fortson) at the age of 11 turning 12.  Coming home from camp, Margaret learns she and her parents are moving from New York to New Jersey.  Margaret is leaving behind the life she has always known and her beloved paternal Grandmother, Sylvia (Kathy Bates).  Adding to her insecurity are the changes girls her age go through.  When will they happen to her?  What will she look like?  What does it feel like?  Why her and not me?  Margaret reaches out to God starting her prayers with “Are you there God?  It’s me, Margaret.” 
Her Mother, Barbara (Rachel McAdams) was raised Christian and her Father, Herb (Benny Safdie) raised Jewish.  They made the decision to let Margaret decide on religion for herself.  A school project has Margaret beginning this journey and searching for what works for her. 
This film version allows some insight into what Margaret’s Mother, Barbara, was going through with the move and finding her own happiness.  There is a scene after a home-cooked meal with a family argument about religion.  Margaret is hurt and storms out.  While Herb is working to calm Barbara, she claims it to be her comment that hurt her daughter.  The delivery by Rachel McAdams here was powerful.  Watching the love of a mother for her child and wanting to protect them from all pain is something that has been in other movies.  The performance got the desired emotional reaction from the audience.  I admit it made me want to call my mom to thank her and tell her I love her.  (I did wait until the movie was over to make the call.)  
A good job was done in knowing it was 1970/71.  This was not only done with costuming, music, and vehicles.  It included the simplicity of playing in the sprinklers.  Being at a party with all the food including gelatin.  Furniture shopping and finding egg chairs.  Cooking a TV dinner in a toaster oven and placed on a lap TV tray as opposed to at a table.  A glance through a catalog when collecting the mail brought back memories of my childhood and yes, this brought me joy.
I believe this is a movie for Mothers and Daughters to see together if they can.  It is also a good choice for a group of friends to see together and remember what that time in life was like.  This is not to say that only females will enjoy this movie, just that the material presents the experience of puberty from a female perspective.
 
Director: Kelly Fremon Craig
Written By:  Kelly Fremon Craig, Judy Blume
Cast: Rachel McAdams, Kathy Bates, Abby Ryder Fortson
MPAA Rating: PG- 13:  for thematic material involving sexual education and some suggestive material.
Genres: Comedy, Drama
Selig Rating: 5 stars
Runtime: 1h 45 m
Release Date: April 28, 2023
Movie Site: Are You There God? It’s Me, Margaret Official Site
Trailer: Are You There God? It’s Me, Margaret Official Trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well there was nothing else …
1 Star – Total waste of time.

#### ARGO
 

	ARGO

	 

	By Gary Murray

	Starring Ben Affleck, Bryan Cranston and Alan Arkin

	Written by Chris Terrio

	Directed by Ben Affleck

	Running time 120 min

	MPAA Rating R

	Selig Film Rating FULL PRICE

	 

	Ben Affleck is a writer/direc/tor/actor who for a few years was known for the A-list company he kept than anything he ever did on the screen.  The co-writer of Good Will Hunting was more the arm candy of Jennifer Lopez than praised for his acting skills.  Armageddon and Pearl Harbor didn’t do much to gain respect. 

	Then he made Hollywoodland, a film about the former Superman that showed a more mature grasp on material.  Ben then turned toward directing, making Gone Baby Gone and The Town both films that were well received by both critics and audiences.  His latest on both sides of the camera is Argo.

	Set in 1979, the story is of Tony Mendez (Ben Affleck).  He is a CIA agent called in to make recommendations on a covert operation.  The embassy in Iran has been taken over and dozens of Americans are being held hostage.  Fortunately, six escaped when the building was breached and are hiding out in the Canadian Ambassadors house.    

	The government, headed by Jack O’Donnell (Bryan Cranston), is tasked with getting them out.  Tony believes that the best way to get the six out is to have a ‘Moses’—a guy who goes in and sets the people free.  Our CIA man comes up with a brilliant disguise.   Tony decides to fake a major motion picture with shooting in the Middle East.  On the location shoot, the Moses will sneak out the Americans who will pretend they are Canadian film makers.

	He gets special effects make-up man John Chambers (John Goodman) to help build his cover-up plot.  First they need a producer and find Lester Siegel (Alan Arkin).  Once he comes on board, the old producer insists that the film must be a hit.  They find the script, a Star Wars style rip-off called Argo.  They use Hollywood to build their cover.

	Once Tony gets in Iran, he discovers that things are not as he exactly expected.  Some of the hidden guests do not trust the plan and Tony.  Some think that the best thing to do is stay put.  Tony lets the guests know that once the Iranians discover that they do not have all the hostages, capture and execution become a real possibility.  The film plays somewhere between an action/adventure yarn and a political espionage tale.   It is a story that is so bizarre because it is true. 

	The most impressive display by the cast is Alan Arkin as the movie producer Lester Siegel.  This is a smart and snippy bit of acting that just may be recognized by the Academy come January.  As Lester Siegel, he is a no BS kind of man who has an ego and a patriotic streak.  It is another strong role in a very long career.

	The film basically showcases the acting and directing skills that Ben Affleck has amassed over the last few years.  He has gone from stiff leading man to solid character actor, finding solace in hiding behind a beard and scruffy 1970s style haircut. 

	It is as a director where Ben truly shows his talents.  This is a complex story with different elements and he handles them with a certain deft touch.  The scenes where the Americans have to get though the levels of airport security are as tense as anything Hitchcock could have put on the screen.  Even though the audience knows the outcome of the event, it is still a thrilling ride.

	Argo will probably make many critics best of lists come the end of 2012.  It is an impressive feat of cinema that should have enough for the masses who just want to go to a movie.  It tells a story that few have heard and shows that even in a time of great difficulty, some Americans can come together for the greater good, 

#### Arkansas Cinema Society Announces Filmland: Arkansas selections for August Fest
The Arkansas Cinema Society announced its official selections for next month’s Filmland: Arkansas 2026 program (August 12-16). Three features lead the list showcasing the top films by Arkansas filmmakers including Princeton James’ basketball drama Hoop Street, E. Vincent Martinez’ documentary Iron Pearls, and Ben Harrison’s comic thriller The Robbery. ACS will follow with an announcement of its Curated Program: the festival’s presentation of top films screening at film festivals this year.
The Filmland: Arkansas lineup also puts the spotlight on 20 short film selections, including 19 narrative shorts, and 1 documentary short . All screenings are in partnership with the Arkansas Museum of Fine Arts and will take place in the Performing Arts Theater.
Panavision returns to Filmland: Arkansas, with the winners of the Professional Shorts and Feature Film Audience Awards each receiving a Panavision New Filmmaker Program Equipment Grant – $60,000 for the feature film Audience Award winner, and $15,000 for the short film Audience Award winner. The feature winners the past two years have each gone on to make films in Arkansas, with the help of the Panavision equipment grant. Also new this year, Audience Award winners in the Student Shorts category will receive a $500 cash prize.
This year has seen another increase in film submissions by the ever-growing community of talented filmmakers in Arkansas. ACS Executive Director Kathryn Tucker, said, “Each year we have been thrilled to see this groundswell of filmmaking talent come out of our state. And equally exciting is the level of artistry that we see. Films that make us laugh, dramas that touch us deeply, thrillers that give us scares, and documentaries that illustrate the human condition – all being created and so skillfully realized by our local filmmakers, is beyond inspiring. Supporting that growth has always been central to the ACS mission—when our film community is connected and unified, everyone benefits. We’re proud that Filmland: Arkansas can help create opportunities for filmmakers to share their work and build relationships in the beautiful, state-of-the-art cinema at AMFA.”
The three Filmland: Arkansas feature films include Princeton James’ high-tension drama Hoop Street about a hot-headed Memphis street baller who must battle his inner demons as he desperately pushes himself to earn a spot on a summer league team. Getting on that team and showing what he can do just might be his last shot at getting a college scholarship. Ben Harrison’s thriller The Robbery, developed from Harrison’s successful short, follows a trio of thieves and their videographer as they hide out in an antique store, following a botched robbery attempt. Unfortunately, they aren’t alone, and the demonic spirit they’ve inadvertently awakened is looking for a new body to wreak havoc with. E. Vincent Martinez’ documentary Iron Pearls explores the life and career of acclaimed blacksmith and sculptor Elizabeth Brim. Brim’s signature trademark of wearing a string of pearls while in her iron studio is front and center, as she uses compressed air to inflate steel, and confronts themes of Southern upbringing and gender identity in the film.
Filmland: Arkansas’ short film selections are offered in three themed programs. Professional Shorts: Mosaic shows the different ways in which people exist, celebrating cultures, languages, and perspectives, while also finding beauty in the day to day. Mosaic ultimately refers to the various individual pieces needed to create a piece of art. Among the films in this program are Molly Wheat’s taut drama Anniversary Roulette about an indecisive small-town cop who must fight to save her wife on their wedding anniversary. Anniversary Roulette was the 2025 Filmland Pitch Contest winner. Naronica Shaw’s Cracks & Light: An Open Door centers on a chronic self-sacrificing people-pleasing woman forced to focus on her own healing following a mental breakdown. Raeden Greer’s heartfelt I Love You This Much about a woman thrust into the role of primary caregiver for her disabled father, who must make a life-altering decision to honor his wishes. CJ Mirch’s  Noriko focuses on a Japanese student who finds comfort and connection at a local café after getting news of a tragedy back home.
Phillip Davis’ Last Clinic in Arkansas, is the sole documentary short in the program this year. It follow the staff and volunteers at the Arkansas Abortion Support Network working against the odds and official forces to care for women. Alexander Jeffery’s award-winning Old Man at the Bar Is based on the filmmaker’s world-traveling grandfather. In the film, two waiters at a bar have their closing routine thwarted by a mysterious old man who just stepped in for a late-night drink. Princella Smith’s Will I Dance Again? utilizes animation as it focuses on a woman rebuilding her life following the very personal devastation she suffered from the Oklahoma City Bombing.
Professional Shorts: Not of this World highlights fantasy, sci-fi, and horror elements in terms of genre. Films ranging from the world of Dungeons & Dragons, alien integration in human life, demonic possession, and things that go bump in the night make this program a true cinematic rollercoaster ride. Included in this lineup are Levi Smith’s Critical Hit in which a teen’s younger brother trying the game for the first time amazes everyone with his ability to get natural 20’s every time he rolls the dice. Avrey Tyler Della Rosa’s Eyes in the Dark follows a man burdened by guilt who comes to a crossroads when confronted by a mysterious figure known as Red Eyes. Chris Alan Evans’ Hivemind Deluxe focuses on a disillusioned woman who gets dragged to a cosmic meditation circle on her birthday; where she must resist the promise of belonging… at the cost of her soul.
Nathan Deshawn Bouie’s Intergalactic Ingenue features a man’s unexpected crisis on the night he’s supposed to integrate with his Hive-mind alien girlfriend when he discovers his ex is also dating the same Hivemind. Emmanuel Joel Rodriguez’ Roomer focuses on a quiet child haunted by a malicious entity in her home. Her parents’ constant arguing leaves them unaware of the growing danger to them all. Ally Minor’s Snug as a Bug follows the strange events that begin to unfold when a lady of the night lures a man into her hotel room. Mary McDade’s (OM)EN is about a woman beset by eerie omens as she tries to find peace through meditation. Then everything is shattered by a call from her sister.
Student Shorts: New Voices features films from students ranging from 7th grade to college seniors. The complexities and overall impressiveness of the work in these films makes for a truly eye-opening program. Included are Theodore Richard Herold and Warren Alexander Herold’s Details Matter about an extremely meticulous boy preparing to audition for a play, but missing one key detail. Janie Gentry’s Double Bogey where two co-workers’ friendship is tested when a hot new e-boy comes to play on the mini-golf course where they work. Levi Coppedge’s Finger Guns shows us a young boy who imagines himself as an outlaw in the wild west as he attempts to avoid cleaning his room.
John D. Sullivan’s The Lizard Theory focuses on a young conspiracy obsessed student who believes his science teacher is a lizard. Laura Gasper’s Mãe looks at a young Brazilian mother who dealing with the country’s current threat to immigrants while trying to make the best choice for her daughter, Gaby, a Brazilian American kid. Caleb Ferguson’s My Little Sunrise follows a Japanese father and his young daughter who hide in rural Arkansas after escaping an internment camp during WWII.
After a successful debut last summer, the Filmland: Arkansas Short Film Pitch Contest will return in 2026, offering Arkansas filmmakers a shot at bringing their short film to life. Selected contestants will have two minutes to pitch their short-film concepts to a panel of industry professionals. Winners will receive a generous Lighting and Grip Equipment Grant from Film Gear Rentals to produce their project, and a guaranteed premiere screening at Filmland 2027. Plus, this year’s winner will receive an additional $5,000 Cash Prize to help bring their pitch to life. This dynamic competition is another spotlight on Arkansas’s growing film community that Filmland provides while providing crucial resources to talented local storytellers. Applications are now open. Submissions are due by July 31, 2026.
Tickets for Filmland: Arkansas will go on sale in the coming weeks. Members receive 15% off their ticket to each event and 25% off to each workshop along with advance notice when tickets go on sale for all events. Memberships are $50 and available now on the ACS website.
For more information on Filmland and the Arkansas Cinema Society, please go to: filmland.org.
Filmland is made possible by ACS Headline Presenting Sponsor: the Tyson Family Foundation; Premiere Presenting Sponsor: the Rahman Family Fund; Presenting Sponsor: Saracen Casino Resort; Workshop Sponsor: the Windgate Foundation; Marketing Partner: Little Rock Convention and Visitors Bureau; Industry Partner: Panavision; Media Partner: Variety; and Youth Education Partner: City of Little Rock.
 
2026 Filmland: Arkansas Official Selections
 
Features
Hoop Street
Directed by: Princeton James
Country: United States, Runtime: 1:30:56 min
Barred from his high school basketball team due to his temper, a hot-headed Memphis street baller battles demons from his past and present as he works to earn a spot on a summer league team and his last shot at a college scholarship.
 
Iron Pearls
Directed by: E. Vincent Martinez
Country: United States, Runtime: 55 min
A woman, a forge, and a string of pearls: Elizabeth Brim forges art that challenges tradition and redefines strength.
 
The Robbery
Directed by: Ben Harrison
Country: United States, Runtime: 1:10:55 min
After an armed robbery goes bad, three idiot thieves and their videographer attempt to hide out overnight in an antique store, only to accidentally awaken a demonic spirit that is desperate for a new body to wreak havoc with.
 
 
Professional Shorts: Mosaic 
Anniversary Roulette
Directed by: Molly Wheat
Country: United States, Runtime: 12:10 min
After being betrayed by her partner, an indecisive small-town cop must fight to save her wife on their wedding anniversary.
 
Cracks & Light: An Open Door
Directed by: Naronica Shaw
Country: United States, Runtime: 14:03 min
A woman whose identity has been built around caring for others and people-pleasing is forced to focus on her own healing after a mental breakdown, uncovering generations of self-sacrifice and boundaryless living that nearly destroyed her.
 
I Love You This Much 
Directed by: Raeden Greer
Country: United States, Runtime: 11:08 min
Suddenly thrust into the role of primary caregiver for her disabled father, a woman makes a life-altering decision to honor his wishes.
 
Last Clinic in Arkansas
Directed by: Phillip Davis
Country: United States, Runtime: 20:33 min
The Last Clinic in Arkansas is about more than a building – It’s about the staff and volunteers at the heart of the reproductive rights movement in Arkansas. Three years after Roe v Wade was overturned, the members of the Arkansas Abortion Support Network are undeterred. By offering free contraceptives, STI testing and funding out of state travel, they continue to offer services despite Arkansas’ ban.
 
Noriko
Directed by: CJ Mirch
Country: United States, Runtime: 14:38 min
A Japanese student is comforted by a bartender following news of a tragedy back home.
 
Old Man at the Bar 
Directed by: Alexander Jeffery
Country: United States, Runtime: 11:30 min
Two French waiters closing up for the night have their routine upended by a mysterious old man who may have shown up for more than just a late night drink.
 
Will I Dance Again?
Directed by: Princella Smith
Country: United States, Runtime: 16:23 min
The Oklahoma City Bombing took her mother, her children, and her leg. It couldn’t take her fight.
 
Professional Shorts Block: Not of this World
Critical Hit 
Directed by: Levi Smith
Country: United States, Runtime: 21 min
When a teen brings his younger brother to his first session of D&D, everyone is shocked by the boy’s ability to get natural 20’s every time he rolls the dice.
 
Eyes in the Dark 
Directed by: Avrey Tyler Della Rosa
Country: United States, Runtime: 6:08 min
Burdened by guilt, Edmund is forced to decide his fate when confronted by a mysterious figure known as Red Eyes.
 
Hivemind Deluxe
Directed by: Chris Alan Evans
Country: United States, Runtime: 10:04 min
On her birthday, a disillusioned woman gets dragged to a cosmic meditation circle; where suddenly, she must resist an abductor that promises belonging… at the cost of her soul.
 
Intergalactic Ingenue
Directed by: Nathan Deshawn Bouie
Country: United States, Runtime: 19:33 min
On the night he’s supposed to integrate with his Hive-mind alien girlfriend, James, a man with deep commitment issues, discovers his ex is also dating the same Hivemind.
 
Roomer
Directed by: Emmanuel Joel Rodriguez
Country: United States, Runtime: 16:40 min
In the early 2000s, Jenny, a quiet child, is haunted by a malicious entity in her own home. Her parents’ constant arguing leaves them unaware of the growing danger.
 
Snug as a Bug
Directed by: Ally Minor
Country: United States, Runtime: 8:57 min
A lady of the night lures a man into her hotel room before strange events begin to unfold.
 
(OM)EN
Directed by: Mary McDade
Country: United States, Runtime: 6:17 min
While seeking peace through meditation, a woman is disrupted by eerie omens—only to have her stillness shattered by a call from her sister, confessing to one body of a problem.
 
 
Student Shorts: New Voices
Details Matter
Directed by: Theodore Richard Herold, Warren Alexander Herold
Country: United States, Runtime: 6:53 min
An extremely meticulous boy works hard to audition for a play, but misses one key detail.
 
Double Bogey
Directed by: Janie Gentry
Country: United States, Runtime: 12:55 min
In the fall of 2020, Hayden and Avery’s friendship is tested when a hot new e-boy comes to play on the mini-golf course where they work.
 
Finger Guns
Directed by: Levi Coppedge
Country: United States, Runtime: 8:59 min
After his mother tells him to clean his room, a young boy imagines himself as an outlaw in the wild west as he attempts to avoid his responsibility.
 
The Lizard Theory
Directed by: John D. Sullivan
Country: United States, Runtime: 5:5 min
A young conspiracist believes his science teacher is a lizard and will not rest until he proves it.
 
Mãe
Directed by: Laura Gaspar
Country: United States, Runtime: 16:48 min
When the uncertainty of the current immigration situation in America challenges Bruna, a young Brazilian mother, she struggles with feeling lost while trying to make the best choice for her daughter, Gaby, a Brazilian-American kid.
 
My Little Sunrise
Directed by: Caleb Ferguson
Country: United States, Runtime: 10:46 min
After leaving the Rohwer internment camp, a Japanese father and his young daughter hide in rural Arkansas, where survival depends on every choice that could lead to their freedom… or capture.
 

#### Arkansas Cinema Society announces Films and Events for FILMLAND 2026
The Arkansas Cinema Society announced the highly anticipated film selections and events for Filmland (August 12-16). The Arkansas Filmmaker Spotlight selection is Josh Loeb’s In Spite of Ourselves, Josephine Decker’s coming-of-age drama Chasing Summer is the Closing Night Selection, Joe Swanberg comes to Little Rock with his latest, The Sun Never Sets, and Judge Reinhold will headline a special 40th Anniversary screening of the Zucker brothers’ comedy classic Ruthless People. The Arkansas Cinema Society is proud to partner with the Arkansas Museum of Fine Arts (AMFA), which hosts all screenings, workshops, and panels.
The Tyson Family Foundation returns this year as Filmland’s Headline Presenting Sponsor, reinforcing its continued commitment to supporting the creative economy in Arkansas. “ACS and the Tyson Family Foundation have shared values and missions in the domain of cultivating and advancing the arts in Arkansas,” said John R. Tyson. “ACS is doing an excellent job of nurturing and curating the film industry so our state can bring in more jobs and be a cultural touchstone in the region. We are proud to continue our support of Filmland, one of the preeminent film festivals in the South.”
Previously announced, Matthew McConaughey will receive the Variety Legend & Groundbreaker Award. McConaughey will participate in a Q&A following a Premiere Presentation screening of Andrew Patterson’s The Rivals of Amziah King, as well as “A Conversation with Matthew McConaughey and Jeff Nichols.”
“As a proud partner of the Arkansas Cinema Society and Variety, we’re thrilled to welcome Filmland: Arkansas and Academy Award-winning actor Matthew McConaughey back to Little Rock, as well as introduce many others to our city,” said Little Rock Convention & Visitors Bureau President & CEO Gina Gemberling. “Hosting an event of this caliber each year is always an exciting opportunity to showcase Arkansas’ capital city on a national stage while highlighting the vibrant arts and culture scene that continues to grow here,” she added. “Beyond celebrating great storytelling, Filmland continues to shine a spotlight on Little Rock as a premier film destination and reinforces the significant economic impact the film industry has here by attracting productions, creating jobs, supporting local businesses, and inspiring future investment. Collaborations like this continue to elevate our profile, attract new visitors, and provide a true sense of place.”
Also previously announced, the Filmland: Arkansas lineup will put the spotlight on 3 feature-length films, and 20 short film selections (19 narrative, 1 documentary). All screenings are in partnership with the Arkansas Museum of Fine Arts and will take place in the  Performing Arts Theater. Panavision returns to Filmland: Arkansas, with the winners of the Professional Shorts and Feature Film Audience Awards each receiving a Panavision New Filmmaker Program Equipment Grant – $60,000 for the feature film Audience Award winner, and $15,000 for the short film Audience Award winner. The feature winners the past two years have each gone on to make films in Arkansas, with the help of the Panavision equipment grant. Also new this year, Audience Award winners in the Student Shorts category will receive a $500 cash prize.
There will also be an Arkansas Filmmaker Spotlight screening of Gabe Mayhan’s latest film, Josh Loeb’s romantic comedy In Spite of Ourselves. The film follows a woman who falls into a whirlwind romance with an up-and-coming stand-up comedian who has a habit of avoiding commitment. When life pulls them to different cities, they must find a way to keep their relationship alive despite the distance, lingering doubts, and their own hilariously messy insecurities. Following the screening, composer Jim Fairchild, former lead guitarist of Modest Mouse, will join Loeb and Mayhan for a Q&A. Josephine Decker’s Chasing Summer closes the film festival on Sunday, August 16. The film stars Iliza Shlesinger as a woman who goes bac to her small Texas hometown after the double humiliation of being publicly dumped and losing her job. Once there, her friends and flings from a fateful high school summer turn her life upside down. The film, which debuted at Sundance, also stars Tom Welling, Lola Tung, Garrett Wareing, Cassidy Freeman and Megan Mullally. Judge Reinhold will be the featured guest at a 40th Anniversary screening of the comedy classic Ruthless People. Reinhold will discuss behind-the-scenes stories of the making of the film as well as other beloved films from his career, like Fast Times at Ridgemont High, Beverly Hills Cop, and The Santa Clause.
Another Special Presentation feature film with Arkansas ties, is Mouse, Alex Thompson and Kelly O’Sullivan’s coming-of-age drama set in Little Rock. The film, which will be this year’s Hometown Heroine screening, follows an introverted high school senior named Minnie whose life is upended after her charismatic best friend Callie is suddenly removed from her life, leading Minnie into a complicated bond with Callie’s elegant and attentive mother, starting to distance her from her own working-class mom. The film stars Sophie Okonedo, Katherine Mallen Kupferer, Chloe Coleman, Tara Mallen, Iman Vellani, and David Hyde Pierce. Joe Swanberg’s The Sun Never Sets marks indie-stalwart Swanberg’s return to the director’s chair after six years. The film stars Dakota Fanning as a woman whose relationship with her boyfriend hits a rough patch just as her ex reappears in her life leading to messy entanglements in the Alaskan wilderness. The film debuted at SXSW, and also stars Jake Johnson, and Cory Michael Smith. Swanberg will be in attendance. Michael Russell Gunn’s historical drama The Brink of War stars Jeff Daniels as Ronald Reagan and Jared Harris as Mikhail Gorbachev as it dramatizes the chess match negotiations between the two leaders. Reagan worked to salvage a deal with Gorbachev which would dismantle nuclear arsenals, or if it failed, would potentially invite a war between the two super powers.
Regarding the previously announced Filmland: Arkansas film selections and the film festival’s dynamic lineup of workshops and panels. ACS Executive Director Kathryn Tucker said, “We’re incredibly proud of this year’s Filmland lineup. Once again, we’re bringing together filmmakers whose films have premiered and won awards at festivals like Sundance and SXSW, while also celebrating outstanding Arkansas storytellers through our Filmland: Arkansas feature and short film selections. From special homecoming screenings like Mouse to a new cash prize for the Pitch Contest, continued partnership with Variety, and the return of Peter Debruge alongside Matthew McConaughey and so many other remarkable guests, this year’s festival is especially exciting. Just as important, our workshops, conversations, and legislative panel on expanding film incentives with Arkansas legislators reflect our commitment to growing the film industry here at home. We’re so grateful to our sponsors and partners for making it possible to bring all of this talent, inspiration, and opportunity together for our audience at AMFA.”
The three Filmland: Arkansas feature films include Princeton James’ high-tension drama Hoop Street about a hot-headed Memphis street baller who must battle his inner demons as he desperately pushes himself to earn a spot on a summer league team. Getting on that team and showing what he can do just might be his last shot at getting a college scholarship. Ben Harrison’s thriller The Robbery, developed from Harrison’s successful short, follows a trio of thieves and their videographer as they hide out in an antique store, following a botched robbery attempt. Unfortunately, they aren’t alone, and the demonic spirit they’ve inadvertently awakened is looking for a new body to wreak havoc with. E. Vincent Martinez’ documentary Iron Pearls explores the life and career of acclaimed blacksmith and sculptor Elizabeth Brim. Brim’s signature trademark of wearing a string of pearls while in her iron studio is front and center, as she uses compressed air to inflate steel, and confronts themes of Southern upbringing and gender identity in the film.
Filmland: Arkansas’ short film selections are offered in three themed programs. Professional Shorts: Mosaic shows the different ways in which people exist, celebrating cultures, languages, and perspectives, while also finding beauty in the day to day. Professional Shorts: Not of this World highlights fantasy, sci-fi, and horror elements in terms of genre. Student Shorts: New Voices features films from students ranging from 7th grade to college seniors.
Filmland’s impressive lineup of filmmaker panels and conversations on film include; “Composing for Cinema: A Deep Dive” with Josh Loeb (In Spite of Ourselves) and Jim Fairchild (Modest Mouse), “How to Shape Your Film with Sound Design”  with Beso Kacharava & Tina Babakishvili,  “Film History, Cold War” with Michael Gunn (The Brink of War) & Dr. Christian Ostermann, and “Film Incentive Roundtable”, with Sen. Clarke Tucker, Sen. Jonathan Dismang, & Rep. Tippi McCullough.
After a successful debut last summer, the Filmland: Arkansas Short Film Pitch Contest will return in 2026, offering Arkansas filmmakers a shot at bringing their short film to life. Selected contestants will have two minutes to pitch their short-film concepts to a panel of industry professionals. Winners will receive a generous Lighting and Grip Equipment Grant from Film Gear Rentals to produce their project, and a guaranteed premiere screening at Filmland 2027. Plus, this year’s winner will receive an additional $5,000 Cash Prize to help bring their pitch to life. This dynamic competition is another spotlight on Arkansas’s growing film community that Filmland provides while providing crucial resources to talented local storytellers. Applications are now open. Submissions are due by July 31, 2026.
Tickets for Filmland are on sale now. For more information on Filmland and the Arkansas Cinema Society, please go to: filmland.org.
Filmland is made possible by ACS Headline Presenting Sponsor: the Tyson Family Foundation; Premiere Presenting Sponsor: the Rahman Family Fund; Presenting Sponsor: Saracen Casino Resort; McKibbon Hospitality, Jeff & Tamra Davis, Mary Olive & John Stephens; Workshop Sponsor: the Windgate Foundation; Marketing Partner: Little Rock Convention and Visitors Bureau; Industry Partner: Panavision;  Media Partner: Variety; and Youth Education Partner: City of Little Rock.
 
2026 Filmland Official Selections
 
Arkansas Filmmaker Spotlight
In Spite of Ourselves
Directed by: Josh Loeb
Country: USA, Running Time: 97 min
Love comes easy — relationships don’t. When Hannah, a warm and determined Portland, Oregon baker, crosses paths with Archie, an up-and-coming LA comedian with a habit of dodging commitment, their instant chemistry sparks a whirlwind romance neither expected. But after two blissful weeks together, real life pulls them back to separate cities, forcing them to confront distance, doubts, and their own hilariously messy insecurities. Heartfelt, funny, and deeply relatable, In Spite of Ourselves follows two imperfect people trying to figure out whether they can move past their fears — and give love a real chance.
 
Premiere Presentation
The Rivals of Amziah King
Directed by: Andrew Patterson
Country: USA, Running Time: 131 min
The Rivals of Amziah King follows a charismatic beekeeper in rural Oklahoma who reconnects with his estranged foster daughter, only to face ruthless sabotage and threats within the local honey-making business.
 
Special 40th Anniversary Presentation
Ruthless People (1986)
Directed by: Jim Abrahams, David Zucker, Jerry Zucker
Country: USA, Running Time: 94 min
Sam Stone (Danny DeVito) hates his wife, Barbara (Bette Midler), so much that he wants her dead. He’s ecstatic when she’s taken by a duo of kidnappers who want $500,000 ransom in exchange for her life. Fully intending to ignore every one of the kidnappers’ demands in the hopes that they do him a favor and murder her for him, the two confused kidnappers (Judge Reinhold, Helen Slater) have to figure out how they’re going to get their money, and what they’re going to do with the overbearing Barbara.
 
Hometown Heroine Special Presentation
Mouse
Directed by: Alex Thompson, Kelly O’Sullivan
Country: USA, Running Time: 120 min
Set in 2002, Mouse follows an introverted high school senior named Minnie who navigates life, loss, and identity after her dynamic best friend Callie is suddenly removed from her life, leading Minnie into a complicated bond with Callie’s mother.
 
Closing Night Selection
Chasing Summer
Directed by: Josephine Decker
Country: USA, Running Time: 91 min
In Chasing Summer, a 40-something disaster relief worker named Jamie (Iliza Shlesinger) retreats to her small Texas hometown after being publicly dumped and losing her job. Staying with her parents, she is forced to confront unresolved high school trauma and past rumors while sparking an unexpected fling with a younger local man.
 
 
Additional Curated Screenings
 
The Brink of War
Directed by: Michael Russell Gunn
Country: USA, Running Time: 117 min
President Reagan races against time to salvage a deal with Soviet leader Mikhail Gorbachev that could dismantle nuclear arsenals – or ignite disaster. With pressure mounting on all sides, every word spoken brings the world closer to peace or destruction.
 
The Sun Never Sets
Directed by: Joe Swanberg
Country: USA, Running Time: 102 min
The Sun Never Sets follows Wendy (Dakota Fanning), an Alaskan construction manager whose stable relationship with her older, divorced boyfriend Jack (Jake Johnson) is upended when Jack suddenly asks for a break so she can evaluate what she wants. During this separation, Wendy unexpectedly reconnects with her volatile ex Chuck (Cory Michael Smith), triggering a messy and confusing romantic triangle that forces all three to confront hard truths about timing, commitment, and personal growth.
 
 
Filmland: Arkansas Selections
Features
Hoop Street
Directed by: Princeton James
Country: United States, Runtime: 1:30:56 min
Barred from his high school basketball team due to his temper, a hot-headed Memphis street baller battles demons from his past and present as he works to earn a spot on a summer league team and his last shot at a college scholarship.
 
Iron Pearls
Directed by: E. Vincent Martinez
Country: United States, Runtime: 55 min
A woman, a forge, and a string of pearls: Elizabeth Brim forges art that challenges tradition and redefines strength.
 
The Robbery
Directed by: Ben Harrison
Country: United States, Runtime: 1:10:55 min
After an armed robbery goes bad, three idiot thieves and their videographer attempt to hide out overnight in an antique store, only to accidentally awaken a demonic spirit that is desperate for a new body to wreak havoc with.
 
 
Professional Shorts: Mosaic
Anniversary Roulette
Directed by: Molly Wheat
Country: United States, Runtime: 12:10 min
After being betrayed by her partner, an indecisive small-town cop must fight to save her wife on their wedding anniversary.
 
Cracks & Light: An Open Door
Directed by: Naronica Shaw
Country: United States, Runtime: 14:03 min
A woman whose identity has been built around caring for others and people-pleasing is forced to focus on her own healing after a mental breakdown, uncovering generations of self-sacrifice and boundaryless living that nearly destroyed her.
 
I Love You This Much 
Directed by: Raeden Greer
Country: United States, Runtime: 11:08 min
Suddenly thrust into the role of primary caregiver for her disabled father, a woman makes a life-altering decision to honor his wishes.
 
Last Clinic in Arkansas
Directed by: Phillip Davis
Country: United States, Runtime: 20:33 min
The Last Clinic in Arkansas is about more than a building – It’s about the staff and volunteers at the heart of the reproductive rights movement in Arkansas. Three years after Roe v Wade was overturned, the members of the Arkansas Abortion Support Network are undeterred. By offering free contraceptives, STI testing and funding out of state travel, they continue to offer services despite Arkansas’ ban.
 
Noriko
Directed by: CJ Mirch
Country: United States, Runtime: 14:38 min
A Japanese student is comforted by a bartender following news of a tragedy back home.
 
Old Man at the Bar 
Directed by: Alexander Jeffery
Country: United States, Runtime: 11:30 min
Two French waiters closing up for the night have their routine upended by a mysterious old man who may have shown up for more than just a late night drink.
 
Will I Dance Again?
Directed by: Princella Smith
Country: United States, Runtime: 16:23 min
The Oklahoma City Bombing took her mother, her children, and her leg. It couldn’t take her fight.
 
Professional Shorts Block: Not of this World
Critical Hit 
Directed by: Levi Smith
Country: United States, Runtime: 21 min
When a teen brings his younger brother to his first session of D&D, everyone is shocked by the boy’s ability to get natural 20’s every time he rolls the dice.
 
Eyes in the Dark 
Directed by: Avrey Tyler Della Rosa
Country: United States, Runtime: 6:08 min
Burdened by guilt, Edmund is forced to decide his fate when confronted by a mysterious figure known as Red Eyes.
 
Hivemind Deluxe
Directed by: Chris Alan Evans
Country: United States, Runtime: 10:04 min
On her birthday, a disillusioned woman gets dragged to a cosmic meditation circle; where suddenly, she must resist an abductor that promises belonging… at the cost of her soul.
 
Intergalactic Ingenue
Directed by: Nathan Deshawn Bouie
Country: United States, Runtime: 19:33 min
On the night he’s supposed to integrate with his Hive-mind alien girlfriend, James, a man with deep commitment issues, discovers his ex is also dating the same Hivemind.
 
Roomer
Directed by: Emmanuel Joel Rodriguez
Country: United States, Runtime: 16:40 min
In the early 2000s, Jenny, a quiet child, is haunted by a malicious entity in her own home. Her parents’ constant arguing leaves them unaware of the growing danger.
 
Snug as a Bug
Directed by: Ally Minor
Country: United States, Runtime: 8:57 min
A lady of the night lures a man into her hotel room before strange events begin to unfold.
 
(OM)EN
Directed by: Mary McDade
Country: United States, Runtime: 6:17 min
While seeking peace through meditation, a woman is disrupted by eerie omens—only to have her stillness shattered by a call from her sister, confessing to one body of a problem.
 
 
Student Shorts: New Voices
Details Matter
Directed by: Theodore Richard Herold, Warren Alexander Herold
Country: United States, Runtime: 6:53 min
An extremely meticulous boy works hard to audition for a play, but misses one key detail.
 
Double Bogey
Directed by: Janie Gentry
Country: United States, Runtime: 12:55 min
In the fall of 2020, Hayden and Avery’s friendship is tested when a hot new e-boy comes to play on the mini-golf course where they work.
 
Finger Guns
Directed by: Levi Coppedge
Country: United States, Runtime: 8:59 min
After his mother tells him to clean his room, a young boy imagines himself as an outlaw in the wild west as he attempts to avoid his responsibility.
 
The Lizard Theory
Directed by: John D. Sullivan
Country: United States, Runtime: 5:5 min
A young conspiracist believes his science teacher is a lizard and will not rest until he proves it.
 
Mãe
Directed by: Laura Gaspar
Country: United States, Runtime: 16:48 min
When the uncertainty of the current immigration situation in America challenges Bruna, a young Brazilian mother, she struggles with feeling lost while trying to make the best choice for her daughter, Gaby, a Brazilian-American kid.
 
My Little Sunrise
Directed by: Caleb Ferguson
Country: United States, Runtime: 10:46 min
After leaving the Rohwer internment camp, a Japanese father and his young daughter hide in rural Arkansas, where survival depends on every choice that could lead to their freedom… or capture.

#### Arlington To Host Inaugural Frame4Frame Film Festival
A MAN CALLED JON (2016)

	 

	Dedicated to raising cultural awareness and appreciation for the diverse creative population in the Arlington area, the inaugural Frame4Frame Festival is set for Thursday, Sept. 15, through Sunday, Sept. 18. The festival will feature film, art and music at various locations in Arlington.

	Sponsored by the Arlington Cultural Tourism Council (ACTC), the Arlington Film Society and the Arlington Museum of Art, the event is a first for the city. Festivities kick off with a host reception for filmmakers and film buffs at 7 p.m. at J. Gilligan's, 400 E. Abram St. 

	“It’s our way of supporting independent film and the outstanding filmmakers who come out of Arlington,” said James Hawthorne, festival director and organizer. “Arlington has a vibrant film community that includes individuals recognized by their peers as award winners and industry leaders.

	“In addition to celebrating our outstanding film community, participants will be treated to a dozen of live music performances and an award-winning art exhibit. This will be a unique experience for the Arlington.”

	FILMS IN FESTIVAL

	The film portion will be at Studio Movie Grill in Arlington Highlands, 225 Merchants Row. Films kick off at 7 p.m. Friday, Sept. 16, with a collection of short films and the red-carpet film A MAN CALLED JON by M. Legend Brown and featuring Oscar-nominated actress Irma P. Hall.

	“More than 20 films from Arlington filmmakers and others from as far away as Switzerland will be screened,” Hawthorne said.

	 

	Additionally, music and art offerings include:

		Twelve bands performing Music starts at noon on September 15 at South Street Patio, 400 E. South Street. Musical acts will include Jeffrey Austin, a former contestant, on NBC’s “The Voice” and jazz great Adonis Rose.
	

		One art show “Ulterior Motifs” will be on display at Arlington Museum of Art, 201 W. Main St.
	

	 

	Go to www.frame4frame.org for the full festival lineup.

#### ARMAGEDDON TIME – A Review by Cynthia Flores
ARMAGEDDON TIME – A Review by Cynthia Flores
This film was written and directed by James Gray. He did some fantastic films when he was young, like 1994’s Little Odessa and The Yards in 2000. Since then, he has stayed busy with big-budget vast vista pictures like The Lost City of Z and Ad Astra. This film brings him back to where he started—telling a deeply personal story. Armageddon Time is about the strength of family, the complexity of friendship, and the generational pursuit of the American Dream.  
Armageddon Time took place in 1980. It tells the story of the Graff family. There is the stoic and volatile father Irving (Jeremy Strong) and his head of the PTA wife Esther (Anne Hathaway). They have two sons. Ted (Ryan Sell) is in an expensive private school while his younger artistic brother Paul (Banks Repeta) attends public school. In sixth grade, Paul meets and becomes best friends with Johnny (Jaylin Webb). Johnny is an older kid that has been held back and forced to repeat sixth grade. They are both singled out as troublemakers by their hateful teacher Mr. Turkeltaub (Andrew Polk).  
Also part of the Graff family gatherings were the grandparents, Aaron (Anthony Hopkins) and Mickey Rabinowitz (Tovah Feldshuh), Aunt Ruth (Marcia Haufrecht), and Uncle Louis (Teddy Coluca). The loud Jewish family eats together and shares stories of how they grew up and why they left Europe. 
The film revolves around Paul and his coming of age. The relationship between Paul and Grandpa is strong and pivotal to the person Paul wants to become. He can be a handful for his mom, and you don’t want to see how his father sometimes deals with him. But his loving Grandpa is always there to calm him down and impart some of his hard-won wisdom. 
As Paul and Johnny get into more trouble at school, it is decided that he will join his brother at the uber-conservative private school where people like a young Donald Trump were raised. All this while Johnny dodges welfare agents that want to remove him from his ailing grandmother’s home. Their friendship is tested, and both are changed as a result. Ultimately, Paul must decide what he stands for and what he is willing to walk away from.
When asked why he chose to make this film, James Gray is quoted as saying:
“History and myth always begin in the microcosm of the personal. With Armageddon Time, I strove to make the most intimate and clear-eyed movie I possibly could. I wanted to liberate the story from the trappings of genre and to remove any barriers to sincerity. Above all, I wanted to be truthful. I remember that I wrote four words on a piece of cardboard, taped to the camera as my constant reminder; ‘Love. Warmth. Humor. Loss’. And in this film, loss took on many different forms.” 
The cinematography of Darius Khondji is lush and sets the tone for this 80s story. With some powerhouse moments of brilliant acting from Anne Hathaway and Jeremy Strong as the beleaguered parents dealing with their willful and often unlikable son, Paul, Armageddon Time should be a lock for a great film. You expect the best when you have the iconic Sir Anthony Hopkins in the cast. Unfortunately, the film is uneven, and the powerful moments just explode on the screen instead of happening organically. I have to lay the blame on the writer/director. Perhaps this story was too personal for him to see the film’s issues.  
I give Armageddon Time 3-stars. It’s a fantastic cast that has moments of greatness. But, unfortunately, the moments are not held together consistently. Still, it warrants a viewing if you are a fan of any of the stars in this film.
 
Directed by: James Gray
Written by: James Gray
Rated: R
Selig Rating: 3 Stars
Running Time: 1h 55min
Drama
Wide Release: November 4th only in Theaters 
Starring: Anne Hathaway, Jeremy Strong, Banks Repeta, Jaylin Webb, Anthony Hopkins, Tovah Feldshuh
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### ARNOLD AND JOHNNY TAKE ON A LAST STAND IN BIG D
ARNOLD SCWARZENEGGER AND JOHNNY KNOXVILLE

	 

	By Gary Murray

	 

	Dallas Texas became a bright light in the Hollywood sky as two of America’s most exciting actors Arnold Schwarzenegger and Johnny Knoxville traveled the red carpet, promoting their newest feature The Last Stand.

	Directed by Jee-Woon Kim, the film is of a stand-off between a Sheriff (Arnold Schwarzenegger) and a military-armed group of drug dealers who are trying to get their boss from the federal authorities and to the border.  It is an action-packed, in-your-face adventure that feels like a film from the 1980s.

	Johnny Knoxville is one of the crazy stunt-performers from the highly successful series of Jackass films and television shows as well as the movies Walking Tall, The Dukes of Hazzard and The Ringer.  Arnold Schwarzenegger went from being the biggest star in the world to the governor of California.  This his first major film since his retirement from politics.

	Both Johnny and Arnold were thrilled by the thousands of fans who screamed and yelled as the two performers made their way down the press isle.  On making the film rather than doing his Jackass stunts, Johnny said, “I had a ball.  It was the thrill of my life.  I was totally out of character–that was me just having a ball.  It’s more fun doing movies because you can’t accidentally kill anybody.”

	Dallas Sheriff Lupe Valdez was on hand and gave both Arnold and Johnny a Sheriff’s star.  When receiving the badge, Johnny said, “I feel like I can go and start some trouble.”

	Of the award, Arnold commented, “My whole life I’ve always admired tremendously law enforcement.  We play action heroes but there is a difference between movie action heroes and the real action heroes.  The police are the real action heroes.” 

	Arnold had nothing but praises for his co-star, Johnny.  “We were very fortunate to have Johnny in the film to create the comic relief,” he said.  “That is so important in action movies.  You can have all those chase scenes, action scenes and shoot-outs but if you don’t have comic relief, you don’t have anything.   So Johnny provided that and he has done a great job.  He has been a great partner and of course my whole family always idolized him and his great entertainment he has provided us over the years.”

	Johnny was thrilled to be working with one of the biggest stars of all time.  He said, “It was intimidating.  I was so nervous at first because he is such a hero of mine. Just to meet him, let alone do a movie with him, did in my head just a little.  But he’s so nice when you meet him, so genuine with everyone and having so much fun.  You could tell he was thrilled to be on the set and it just calmed me down to where I could just function a little.” 

	Johnny was excited to be in the Lone Star State again.  “I’ve shot movies down here before and had a ball,” he said. “I shot a movie down in Austin.  I love Dallas and any excuse to come to Texas.”

	Director Jee-Woon Kim is from Korea and had a limited grasp of the language.  “He speaks English,” said Johnny, “but he just didn’t feel comfortable speaking it on the set, giving directions.  We had translators and that worked very well.  When he would give you directions, he acts it out anyway.  So you could tell what he wants even before he’s finished talking.  He’s a wonderful director and gave such specific directions.  He’s really gifted.”  Johnny said that he would love to more action movies and there has been talk of a Jackass action movie. 

	When asked which is better being Mr. Universe, being California Governor or being a film star, Arnold was very matter-of-fact.  “I had a great time in all of those things.  I was very fortunate to have all three of those careers.  I know at the same time it is important to give back, to do some non-profit work.  I work in the After School programs and the Special Olympics.  I am fortunate to walk in all of those shoes.” 

	He seemed to be very excited about being back in the spotlight.  “It is great to do action movies and work with the younger generation like Johnny Knoxville.  He is known for doing stunts that always screw-up.  In this movie, he did not screw-up and he’s hilarious.  We had a terrific time.” 

	“My career is something that could only happen in America,” Arnold said of his success.  “This is the best country in the world.” 

	He ended the night by saying his famous line “I’ll be back.”

#### Arrow – Season 2 (Bluray)
I am, and always have been, an unabashed fan of comic books. While not as ‘geeky’ as I used to be insofar as collecting them, I still read with fervor when given the chance.  For some reason I was always also a bigger fan of some of the ‘lesser’ superheroes as opposed to the big stars.  Green Arrow was a huge favorite of mine, in part because of his similarities with Batman, but also because his character was always written as so darn cool – addictions and bad relationships aside.  Oliver Queen was simply awesome.
Over the years I’ve seen versions of Green Arrow, both bad and good. Initially I did not like Justin Hartley’s take on “Smallville”, but grew to enjoy his performance over time. When I heard that the WB was going to create a new series based on the character I was actually looking forward to the seeing Hartley take on the role again… until I learned that this was not the case.  It turned out that “Arrow” was a whole new version of the hero… and I was hesitant.
Settling in to watch the first couple of episodes of the new series, I was both exhilarated and somewhat taken aback. New to the role was actor Stephen Amell, whom physically I thought was not really the Oliver Queen I always imagined, BUT I put that aside to enjoy the flashy action sequences which were well produced. I was satisfied immediately with the version of his origin as it unfolded over the course of the season (thanks to the magic of flashbacks), but it took several episodes for me to finally accept Amell as one of my favorite comic heroes. Once I got past that hump, I began to enjoy the series more and more as the season continued.
This brought me to the point where I was actually excited to see Season Two (which just released on Blu-ray this week). Spoilers kept in check; I will only say that the death of his best friend and the destruction wrought on the poorer sections of Star City at the end of Season One have taken their toll on everyone. Oliver’s self-imposed guilt over the death and disaster is carried on throughout most of this season – which can be a bit tiring – but it does give for some decent drama. More of Green Arrow’s arch enemies begin to pop up this season, as well as a cool introduction of another superhero favorite of mine, just in time for his own WB series.
Season Two also bring with it a new story arc rife with political and corporate bargaining, bringing the Queen family ever closer to public and financial ruin. The season also continues to juxtapose the current events with flashback sequences that give us even more insight into the five years Oliver spent shipwrecked on the island that gave birth to his nighttime identity.  It’s nicely done, and I have to give props to the editors and writers for telling the back story coherently as it plays out in between the events of today.
The Blu-ray release of “Arrow” Season Two is certainly worth owning if you’re at all a fan. We’ve often been able to purchase combo packs that include both Blu-ray and DVD discs of our favorite movies, but only recently have I seen this with TV Series. This is the case here, as consumers get both in one package. It’s a nice touch, whether always necessary or not. 
All Season Two episodes are present here as well as a handful of special features. There is footage of the 2013 Arrow Comic-Con Panel which included stars Amell, Colton Haynes. Katie Cassidy, David Ramsey along with the show’s executive producers.  This is a nice feature for those of us who can’t make it to San Diego to see it in person.  “From Vigilante to Hero” offers the producers and several of the actors to talk about Oliver’s character and how his vigilante persona transforms over the course of the series. In “How Did They Do That?”, visual effects supervisor Mike Kirylo and compositor Andrew Bardesk discuss their work on the series. “Wirework” delves deeper into the stunt coordination gives a little background on what goes into some of the amazing fight sequences. Thankfully, there is a gag reel (always a favorite part pf any release) and 19 deleted scenes). 
In terms of audio and video delivery, I’m hard-pressed to come up with any sets that are better than this one. The sound mix is nearly perfect as it balances the dialogue with ambient sounds and music. There is a clear separation of each, though together they offer a significant immersive experience. Visually, the series is stunning and the Blu-ray discs offer picture rich with color, even in the many scenes that are dark. 
“Arrow” is not a perfect translation of Green Arrow, oftentimes there is a little too much soap opera drama for me. But when this happens, I try to remind myself of how the character in the comics was often hit with some similar moments, especially in his relationship with Dinah Lance/Black Canary. I think this second season is a stronger entry and I look forward to what the third season will bring.
Episodes:
City of Heroes
Identity
Broken Dolls
Crucible
League of Assassins
Keep Your Enemies Closer
State V. Queen
The Scientist
Three Ghosts
Blast Radius
Blind Spot
Tremors
Heir to the Demon
Time of Death
The Promise
Suicide Squad
Birds of Prey
Deathstroke
The Man Under the Hood
Seeing Red
City of Blood
Streets of Fire
Unthinkable
Starring:  Stephen Amell,  Katie Cassidy, David Ramsey, Willa Holland, Susanna Thompson, Paul Blackthorne, Emily Bett Rickards, Colton Haynes, Manu Bennett, John Barrowman
Extras: 2013 Arrow Comic-Con Panel;  From Vigilante to Hero; How Did They Do That?; Wirework; Gag Reel; Deleted Scenes
Video: MPEG-4 AVC; 180p; Aspect Ratio 1.78:1
Audio:  English DTS-HD Master Audio 5.1
Studio: Warner Brothers
Release Date: 9/16/2014
Website: http://www.cwtv.com/shows/arrow

#### ARROW: THE COMPLETE SEVENTH SEASON – A Blu-ray and Digital HD Review by John Strange
 
ARROW: THE COMPLETE SEVENTH SEASON – A Blu-ray and Digital HD Review by John Strange
Warner Bros. Home Entertainment provided me with a free copy of the Blu-raytm I reviewed in this Blog Post.  The opinions I share are my own.
When Arrow first arrived on the TV scene it was like no other comic-related show I had ever seen.  Here was a guy the was dark and troubled and was more anti-hero than hero.  Oliver Queen (Stephen Amell) was born to wealth and power like Bruce Wayne but his life went WAY off track when the family yacht, the Queen’s Gambit, blew up in a remote area.  Killing all but Oliver, his father, and one crewman the trio were all alone in a life raft to try to survive.
Robert Queen (Jamey Sheridan), Oliver’s father, set the initial tone of the series when he shot the crewman and then himself in order to give his son the best possible chance of surviving.  Oliver began as a lone vigilante but his charisma soon begins to draw others into work with him in his fight to bring justice to Starling City/Star City.
Now, in the seventh season of the CW’s hit show, Oliver has agreed to go to prison to protect his family and friends, Team Arrow.  Within the walls of Iron Heights, he joins hundreds of inmates that he and Team Arrow put there.  No danger there, huh?
Meanwhile, the rest of Team Arrow must get on with their lives.  Felicity Smoak (Emily Bett Rickards) is distinctly upset with Oliver for the deal he worked out but that doesn’t stop her from doing what must be done.
This season has some new players coming in.  Some are good guys, some are… not.  And as always, good and bad are simply our current perceptions, things are not always (okay, rarely) what they seem.  We also have a character returning to the fold to add their personality to the chemistry of the show.
Season seven also has a dual timeline going that may confuse you if you don’t stay attentive.  Both timelines are riveting and we are shown the connective tissue between the two as each progresses throughout the season.
Favorite part of the season?  It has to be the “Elseworlds” crossovers between Arrow, Flash, and Supergirl.  I love these yearly melding of the shows.  This year’s crossover features not only an excellent bad-a$$ character from the comic series but we see some great “badies” from their pasts!  The Monitor/Mar Novu (LaMonica Garrett) is an element of the DC Universe that challenges everyone to do their utmost, to be their best, to meet his challenge.
And this Elseworlds crossover is the kick-off of a new DC show coming this fall, Batwoman (aka Kate Kane, Bruce Wayne’s cousin, portrayed by Ruby Rose), showing us yet another character of the DC Universe to open our eyes to the Multiverse.  Her interaction during the Elseworlds crossover gives me a good feeling that I will enjoy this show!  I really like her attitude!
The extras for this season surprised me with a strong array of features.  On each disk (in the Blu-ray edition only) you’ll see the deleted scenes for the episodes displayed on that disk.  I like this idea of placing the deleted scenes on the disks to keep them close to the episodes instead of lumping them all in a separate group.  The expected gag reel resides on Disk 4 is nothing special but fun nonetheless.
There are three longer features that are placed one per disk on the first three disks.  Disk 1 has “The Best of DC TV’s Comic-Con Panel San Diego 2018”, a look at the DC panels from ALL of the DC Universe shows, not just those on the CW network.  If you want a sneak peek at the upcoming season’s for all of the shows, this is the one you want to watch!
The next disk has “Inside the Crossover: Elseworlds” where the showrunners from all of the affected shows discuss how they come up with the ideas for these crossovers and the fun of making them!  After watching this I had to go back and re-watch the crossover episodes (they are ALL on the Blu-ray edition) and watch more closely for all of the great Easter eggs!  Plus, they cut to clips where we see the connections between the comics and the shows which are awesome.  This is a great treat for all fans (like us)!
Disk 3 gives us the darkest of the longer featurettes, “Villains: Modes of Persuasion”.  The villains are discussed in detail by each DC Universe show’s Executive Producer.  They even cut to a Licensed Clinical Psychologist who discusses motivations!
Of the three, I am having a problem deciding which is best.  I have to say that all three are worth watching.  In fact, for possibly the first time ever, I can’t point to one and say this one or that one is better than the others.  The three were not the type of extras I was expecting but they are great!
A couple of notes for those of you who are used to films and TV series from other studios, the extras ONLY exist on the disks.  The digital version does not include the extras.  The Blu-ray edition includes all three Elseworlds episodes but the DVD edition does not.  I did not receive the DVD edition so I can’t talk about it except for the information I list below.
 
Produced By:

Greg Berlanti, Beth Schwartz, Sarah Schechter

Cast:

Stephen Amell, Katie Cassidy, David Ramsey, Emily Bett Rickards, Echo Kellum, Rick Gonzalez, Juliana Harkavy, Colton Haynes, Kirk Acevedo, Sea Shimooka

Extras:
Blu-ray and DVD Features:

Deleted Scenes
The Best of DC TV’s Comic-Con Panel San Diego 2018
Inside the Crossover: Elseworlds
Villains: Modes of Persuasion
Gag Reel

Episodes:
DVD (22 episodes):

Inmate 4587
Longbow Hunters
Crossing Lines
Level Two
The Demon
Due Process
The Slabside Redemption
Unmasked
Elseworlds: Hour Two
My Name is Emiko Queen
Past Sins
Emerald Archer
Star City Slayer
Brothers & Sisters
Training Day
Star City 2040
Inheritance
Lost Canary
Spartan
Confessions
Living Proof
You Have Saved This City

Blu-ray (22 One Hour Episodes + 2 Full Crossover Episodes):

Inmate 4587
Longbow Hunters
Crossing Lines
Level Two
The Demon
Due Process
The Slabside Redemption
Unmasked
Elseworlds: Hour One
Elseworlds: Hour Two
Elseworlds: Hour Three
My Name is Emiko Queen
Past Sins
Emerald Archer
Star City Slayer
Brothers & Sisters
Training Day
Star City 2040
Inheritance
Lost Canary
Spartan
Confessions
Living Proof
You Have Saved This City

Specifications:
Runtime:
Feature:

990 Minutes

Enhanced Content:

115 Minutes

Studio:

Warner Bros. Home Entertainment Inc.

Release Date:

08/20/2019

Region:

A/1 (U.S. and Canada only)

MPAA Rating:

NR

Selig Rating:

BRAND NEW

 
Selig Rating Scale:
BRAND NEW: Should add to your DVD collection at any cost
SALE ITEM: Worth owning, but try to catch it a sale
SECOND HAND: Plan to get it, but wait to buy it used
RENTAL: Worth taking a look at, but not owning
COASTER: Pick it up at a garage sale and use it for drinks
PULL!: Makes a great Trap Shooting target

#### ARROW: THE EIGHTH AND FINAL SEASON – A Blu-ray/DVD and Digital HD Review by John Strange
ARROW: THE EIGHTH AND FINAL SEASON – A Blu-ray/DVD and Digital HD Review by John Strange
Warner Bros. Home Entertainment provided me with access to a copy of Arrow Season 8 on their viewing website that I used for the review in this Blog Post.  The opinions I share are my own.
Sometimes, when you are told the season you are about to review is the final season of the show, you find that the series ending is abrupt and pretty much unsatisfying.  Others are just as abrupt but the ending, usually a cliffhanger is, well, okay because the showrunners and writers are allowed to modify the script to ease us into it a little bit.  But the best endings are, as with Arrow Season 8, well-mapped homages to the entire series and the characters as a whole, much like a love letter from the creators, producers, and writers to the fans.
Arrow, and the entire DC-based Arrow-verse, has been a supremely well-choreographed homage to the characters taken from the DC comics and enhanced for the TV screen.  These talented folks have not been afraid to play with the look of the characters while remaining true to the spirit and heart with which these characters were first brought to life on those carefully written, drawn, and inked pages.
Arrow: The Eighth and Final Season is one of the best of these homage series endings.  The entire creative staff of Arrow (and for the crossover episodes the creatives of ALL of the DC TV-series) planned out how to bring the story of Oliver Queen (Stephen Amell) and Team Arrow (John Diggle / Spartan (David Ramsey), Felicity Smoak / Overwatch (Emily Bett Rickards), Laurel Lance / Black Siren / Black Canary (Katie Cassidy), Thea Queen / Speedy (Willa Holland), Roy Harper / Arsenal (Colton Haynes), Rene Ramirez / Wild Dog (Rick Gonzalez), Curtis Holt / Mr. Terrific (Echo Kellum), and Dinah Drake / Black Canary / Tina Boland (Juliana Harkavy)) to a very satisfying, if a little sad, ending (or is it sad?).
The Monitor (real name Mar Novu, played by LaMonica Garrett) is back and has convinced Oliver that he has seen his death and wants the hero’s help to save the multiverse before he dies.  The season’s action jumps back and forth around the globe, the future, and the multiverse as Oliver is dropped into situations with orders to retrieve someone or something, always with instructions to not interfere in the world he is in.  This is not in Oliver’s makeup.   He will always try to make something right or save the endangered innocent (or friend).
The episodes storylines allow us to see characters once lost to us as they are re-introduced by The Monitor while he prepares for the 9999+final showdown with The Anti-Monitor (also played by LaMonica Garrett) (see the crossover episodes).  During the setup episodes for the grand crossover arc, we also see how The Monitor came to be and what his involvement in the destruction and resurrection of the multiverse means to all of us.
And now to the bonus extras!  “The Best of DC TV’s Comic-Con Panels San Diego 2019” has been added to all of the season offerings for the last several months.  It is a good featurette but if you have purchased any of those season offerings then you have already seen it.  The deleted scenes are good scenes that just didn’t progress their respective episodes and were pulled to keep the shows tight.
The best extra given to us is “Arrow: Hitting the Bullseye (Special)” where we get to hear from the showrunners, writers, and cast of the show as they talk about the show and their feelings about the final season and its many twists and turns.  As happens sometimes, I liked the season a lot but that feeling deepened considerably as I learned the back story.  This cast and the creative team behind it made the season a gift to the fans (and themselves) as they tied up many loose ends and gave so many characters a chance to have the happy endings they deserved.
I came into the binge-watch of the season with trepidation and completed it feeling happy and satisfied.  This show has a great cast and some of the best writing in the business.  This is a 5-star watch in my book!
 
Created By:

Greg Berlanti, Marc Guggenheim, Andrew Kreisberg

Cast:

Stephen Amell, David Ramsey, Rick Gonzalez, Juliana Harkavy, Katherine McNamara, Ben Lewis, Joseph David-Jones, Katie Cassidy, LaMonica Garrett, Emily Bett Rickards, Willa Holland, Colton Haynes, Echo Kellum,

Episodes:

Starling City
Welcome to Hong Kong
Leap of Faith
Present Tense
Prochnost
Reset
Purgatory
Crisis on Infinite Earths: Hour Four
Green Arrow & The Canaries
Fadeout

Extras:
Digital:

The Best of DC TV’s Comic-Con Panels San Diego 2019
Arrow: Hitting the Bullseye (Special)

Blu-ray/DVD:

The Best of DC TV’s Comic-Con Panels San Diego 2019
Arrow: Hitting the Bullseye (Special)
Deleted Scenes

Specifications:
Runtime:
Feature:

420 Minutes

Enhanced Content:

135 Minutes

Studio:

Warner Bros. Home Entertainment Inc.

Release Date:

04/28/2020

Region:

A/1 (U.S. and Canada only)

MPAA Rating:

TV-14

Selig Rating:
Film Rating:

5 Stars

Bonus Features Rating:

5 Stars

Picture Quality Rating:

5 Stars

Audio Quality Rating:

5 Stars

 
Selig Rating Scale:
5 Stars: Should add to your DVD collection at any cost
4 Stars: Worth owning, but try to catch it a sale
3 Stars: Plan to get it, but wait to buy it used
2 Stars: Worth taking a look at, but not owning
1 Star: Pick it up at a garage sale and use it for drinks
0 Stars: Makes a great Trap Shooting target

#### ART BASTARD – Interview w/ Artist Robert Cenedella
ART BASTARD is the mischievous tale of a rebel who never fit into today’s art world… yet has become one of its most provocative, rabble-rousing characters nevertheless. By turns funny and touching, this rollicking portrait of New York painter Robert Cenedella – a contemporary of Andy Warhol who set himself up in the 60s as the anti-Warhol – uncovers a fascinating story of family secrets vs. personal identity, art vs. money, and conventional success vs. creating a life on one’s own defiant terms.  

	From ART BASTARD website.

	Click through for our Interview with Artist Robert Cenedella.

	

	

	 

	 

	 

	 

	CAVU Pictures presents a Concannon Productions film, ART BASTARD, written and directed by Victor Kanefsky and produced by Chris T. Concannon.  The editor is Jim MacDonald and the director of photography is Douglas Meltzer. 

	Interview with Artist Robert Cenedella:

	

	 

	 

	 

	 

	1.  What do you hope audiences will gain from seeing Art Bastard?

	I hope that they will realize that CENSORSHIP exists not just in art but in every aspect of our society. Fifty years of being an outsider is pretty good evidence that censorship works in the case of the ART ESTABLISHMENT. 

	You have to remember that I am the most widely written about unknown artist in America!  I’d like audiences to ask themselves WHY? What is missing in contemporary art is not style but SOUL. 

	Soul can’t be taught and can’t be bought… when art has soul, you feel it.

	2. Do you have a fun story that stands out about selling one of your paintings?

	Back in the late 60s, my own four-letter painting (in response to Robert Indiana’s LOVE) was “SHIT”. Early on, I questioned how a four-letter word could become a painting. I also realized that if you had a four-letter painting called “LOVE”, it was almost impossible to top. However, I did a little research and found out that more people say “SHIT” in any given day than “LOVE”.  I was so ecstatic at knowing that I had more or less topped this popular work of art; but, when I sold a reproduction of it at the Marlborough Bookstore in New York to a woman who mistook it for the LOVE painting, the results were of course somewhat embarrassing and, in the end, they had to give her a refund.

	3.  What has changed most in your art from "Second Avenue" to today?

	2nd Avenue, when I did it, was looked upon as a kind of cynical view of the city and traffic. I was considered somewhat outrageous. That was in 1962. Today the painting is looked at as a kind of uninspired realism (because what I did in 1963 is precisely what traffic looks like every day and it’s only getting worse. This is the case with much of my work.  Southern Dogs also, in 1962, has been removed from exhibitions, not allowed to be printed in magazines over the years, but appears to many to be a commentary on COPS and minorities today.  Some people think I painted it this past year. I can say that my message has not changed but my color palette has.  I’d say it’s a bit more pastel now.

		4.  The film has some amazing choices in music and score (including a little Ludwig!). What music most inspires you?
	

		 In some way all music inspires me…
	

		
	

		 
	

		 
	

		 
	

		 
	

		 
	

		 
	

		5.  I'm a manager at one of the Angelika Theaters in North Texas and so I've got to ask what's it like having the Angelika NY as a the kickoff spot for your documentary?
	

		All I can say is that my association with the Angelika Film Center in NY is the kind of partnership I wish I had with galleries over the decades. Not only did they like the film, but when they saw my work they asked if they could decorate their lobby with 10 of the works that were in the film.  As a result of that, the Laemmle in Santa Monica as well as 3 other theaters are going to have exhibitions of my graphic works while they show Art Bastard, and I have a feeling this might become common practice.  Works of art that are censored by our museums might very well be accepted and shown in the more democratically-run theaters.
	

		6.  Is there a time period or decade you most love or feel was the most enjoyable?
	

		The years between 1959 and 1980. This was before the various mayors (Koch, Bloomberg, Giuliani) sold out the city to the real estate developers. I have no interest in the city as inspiration for art anymore. 
	

		
	

			 
		

			 
		

			 
		

			 
		

			 
		

			 
		

			 
		

			7.  Is it harder or easier to be inspired today painting or making art?  How has the political changes impacted your choices over the decades?
		

			The only inspiration that I see for artists today is making money.  That is all that is talked about.  How much did this or that painting sell for at auction?  If it sold for $5 million it must be great! The only yardstick today is MONEY.  Let me ask this embarrassing question: WHAT ISN’T ART?  Ask a gallery dealer, ask an auction house, ask the head of a museum.  I can guarantee you they will not answer. That’s how low the world of art has sunk. Political changes have not impacted my art one bit.  I always paint what I want, how I want and where I want.
		

			8.  How did the making of this documentary first get started?  Can you talk about the impact of knowing Chris Concannon (the art connection), Victor Kanefsky (bringing everything to the screen), & Jim MacDonald (compiling and editing everything)? 
		

					The making of this documentary probably got started the day Chris Concannon, who had never bought a piece of art in his life, came to an exhibition of mine at Amsterdam’s Grand, another bar/ restaurant that I patronized and which displayed my work. He bought a print of “2001: A Stock Odyssey” because he liked it. I then told him of my idea to sell shares of stock for a single painting.  As a financial printer, the idea intrigued him and the concept was done legally through the SEC.  I guess this would be considered “conceptual art” in today’s art world. For me, it was just a way to bypass the exorbitant commission (now over 50%) that galleries collect with each sale, basically for doing nothing. Chris then educated himself about the art world in general, but was so aghast at seeing what was happening in the so-called contemporary art world that he felt my work deserved to be preserved on film.  He realized that the art world and the establishment could ignore me personally, but history seems to already have proven him correct about the film world and the art world. The film world lets the viewer decide what they like and what they don’t like. Victor Kanefsky and Jim McDonald, who Chris Concannon chose to make the film, were obviously the right choice.  Check out CAVU Pictures or the Art Bastard website to see dozens and dozens of reviews praising their work. 
				

					 
				

					
				

					 
				

					 
				

					 
				

					 
				

					 
				

					 
				

					 
				

					 
				

					 
				

					 
				

					 
				

						9.  What do you think George Grosz would think of the art scene today?  What are the lessons or teachings from George do apply in your work today or in your teaching?
					

						George Grosz did not only have premonitions about the coming of Hitler, and the bombing of civilians, which he portrayed in early watercolors long before the Nazis actually bombed civilians. He told me that, gifted as I was as an artist, I was to “go into Television” – that was in 1959.  In his own mind, he thought “ART WAS DEAD”.  He said that, often, to me knowing I knew what he meant – that it was dead for him.  I carried the torch.  But if you look at his fantastic series of the STICK MAN PAINTINGS you will know he also had premonitions about ART itself.  We are nowhere.  Art has become money… and nothing else. But real artists will somehow continue on their own.  You just won’t see it in Museums.
					

							10.  The movie and your artwork do a lot to showcase NYC.  What do you most love about the city?  What makes it so artistically open to interpretation?  What parts of the boroughs and city do you like the most?  What do you feel about the rebirth of Tribeca today?
						

							I have to respond to the part of the question that says “What do you think of the rebirth of Tribeca today?” When I came to SOHO in the early 70s, Tribeca didn’t really exist.  It was just a name. Tribeca was never REBORN.  It was a REAL ESTATE HYPE and in my opinion Tribeca was destroyed before it had a chance to be even BORN.  So going backwards, Tribeca is little more than a disgusting example of how the real estate Gestapo destroyed part of the city before anyone even knew what it was or could have been.  Tribeca is the lowest common denominator of what real estate barons have done to ruin a once beloved city.  What did I love about NY?  I was lucky enough to know NY when it was energetically diverse, which  means before GENTRIFICATION (how to make more money and drive out those who made the city truly diverse and interesting) came to be the law of the land.  I had a 4 bedroom apartment in 1960, at 30 East 50th St.  A 5 floor walk-up.  But I could afford the rent, which was $42.50 and the landlord was still making money.  And I painted many paintings that reflect that period. My rent then was roughly 1/4th of my income.  Last I looked, that same apartment was going for $3,500 a month.  Don’t tell me that everything else has gone up accordingly.  NO – the city was sold out to the super-rich, the Europeans who are laundering their money buying condos for exaggerated prices (just like paintings).  No regard for those who made the city what it was, a place of diversity and creative energy.
						

								11.  Just the past month Morley Safer passed away.  His "60 Minutes" coverage helped showcase your artwork and introduced you to a new audience. What people have you most enjoyed seeing embrace your artwork and style over the years?  Who has correctly noticed what you've been trying to show and say for decades? 
							

								I met Morley as a result of seeing his 60 Minutes piece on the "Con-Temporary” art scene. I emphasize "CON". Morley became a great supporter of my art and the making of the film, ART BASTARD. Over the years I've developed an underground following, mostly journalists like Murray Kempton, Nora Ephron, Marvin Kitman, Brian Miller, Victor Navasky, etc. But no one from the Art Establishment itself. It’s the journalists that have understood and supported me over the decades. Humor has been what's kept me going and Morley's brand of humor will be truly missed as much as the man himself. It’s a special person who wants what I paint and is willing to pay to get it, and that’s enough for me. To hear that anyone, a known or an unknown buyer, would buy a painting for $57.3 million (and do we ever get to see the check?) I have to say, after seeing that "contemporary" painting, what would mine be worth? What kind of an art world is this? What does it have to do with my entire career? Should I give up painting because I’m so far behind in price? How can I ever catch up?  
							

								The film opens tomorrow in LA at the Laemmle Monica Film Center & in San Diego at the Angelika Film Center Carmel Mountain.  Next month the film will open at the Angelika Dallas!  For more information on the documentary please go to ART BASTARD.
							

								
							

								 
							

								 
							

								 
							

								 
							

								 
							

								 
							

								 
							

								 
							

								 
							

							
						

							 
						

						 
					

					 
				

				 
			

			 

#### Art House Convergence Opened it’s 11th Annual Meeting In Utah
 

	Art House Convergence opened it’s 11th annual gathering of cinema and festival professionals, community leaders, service providers, and suppliers from around the world with a record breaking 630 attendees at the Zermatt and Homestead Resorts in Midway, Utah today.

	Marking the 5th conference in conjunction with the Film Festival Alliance (FFA), the ever-growing event was sold out more than a month in advance of the conference for the first time in its history, and will feature over 130 delegates associated with film festivals across North America, 80 sponsors, including more than 50 film distributors  and over 30 vendors.

	Keynotes at this year’s Art House Convergence will be delivered by the distinguished  trio of University of Michigan Professor and National Council on the Arts Obama Appointee Aaron Dworkin, Firelight Media President and Co-Founder Marcia Smith, and Sony Pictures Classics Co-President and Co-Founder Michael Barker.

	One of those topics on the minds of many will be squarely addressed by this year’s panel, “Harassment and Intimidation Have No Place in the Art House.” Moderated by Seed & Spark’s Emily Best, and spearheaded by experts in the legal  and communication fields; Janet Grumer (Partner in the Employment Law Department at Davis Wright Tremaine LLP), and Jacqueline Strayer (Landmark Theatres and Mann Theatres), the panel will feature a key case study with Alamo Drafthouse Cinema.

	Alamo Drafthouse Cinema’s Founder and CEO Tim League and Director of Family and Community Engagement Amy Averett will join the panel in a candid conversation to share their experience as they have dealt with upsetting revelations over the course of the past year and have worked to address issues of harassment and intimidation within their organization, including their initial mishandling of those issues.

	Aggressively approaching these and similar issues facing the attendees in these times, Art House Convergence will feature multiple panels and organized “deep dive” discussions throughout the four-day conference built around how to send art house and film festival delegates home with actionable items to handle issues of equity, diversity, and harassment in their own communities and organizations.

	 

	Other panel programming highlights include:

		“Building A Future: developing a Love of Cinema Amongst Children”
	

		“Who’s Afraid of the Big Bad Wolf – how festivals manage to screen films available on VOD with runaway sales and success”
	

		“What do Festivals Need For The Future” –featuring the first-ever US focus group with the UK’s Independent Cinema Office.
	

		This will be the first Art House Conference with Film Festival Alliance’s current Board of Directors, including; President Dan Brawley (Cucalorus Film Festival), Vice President Andrew Rodgers (Denver Film Society), Treasurer Anne Chaisson (Hamptons International Film Festival and FFA founding member) and Secretary Judy Laster (Woods Hole Film Festival, FFA founding member),
	

		Members at large include Beth Barrett (SIFF), Clint Bowie (New Orleans Film Society), Mark Fishkin (California Film Institute) and Jon Gann (Founder DC Shorts Film Festival, FFA Conference Programmer and Founding Member). Lela Meadow-Conner (Bentonville Film Festival) serves as the Acting Executive Director.
	

	 

	The largest annual gathering of its kind, Art House Convergence and Film Festival Alliance work to define the field of art house film exhibition and the film festival world, creating a shared vision and vocabulary, and identifying best practices. The goal being to engage art house theaters, film festivals, film societies, museums, and other exhibition-oriented organizations through a variety of topics.

#### Art Imitates Life in “Fair Market Value” Rom-Com Film
 
IndustryWorks Studios has recently acquired the worldwide rights to prolific Writer, Director and Producer Judy San Roman’s, (The Brawler, Rich Boy, Rich Girl) “Fair Market Value”, a romantic comedy lauded at the Bentonville Film Festival for bucking Hollywood norms.
The film stars a legendary, female-driven cast consisting of Julia Duffy (The Bob Newhart Show, Shameless), Debra Jo Rupp (That’s 70s Show), Wendy Makkena (Sister Act, NCIS), Olga Merediz (In the Heights) and Tina Benko (The Avengers), as well as introduces Argentinean sensation, actress and model, Luisana Lopilato (Casado con Hijos, Los Que Aman Odian).
“Inequality is a hot topic in Hollywood for a reason. I’m extremely passionate about promoting women in our industry and that’s why four of the leading ladies in the film are over the age of forty,” said Producer San Roman.  “As a proud member of this troop, I want to make sure we all feel good about wearing our badges! And if you haven’t yet earned the badge, you will want one after watching these fiery females! Comedy quells our propensity for judgement and conquers weighty issues with honesty.”
The film follows three successful women, who come together to sell a mansion all while navigating their terrible relationships. Through the chaos, they build a friendship. Kendall meets Michael, a swarmy real estate agent who is divorced with two kids, who just may be the man of her dreams or a total nightmare.
Meanwhile, Brooke finds herself dating Lucas, a 50-year-old aspiring hip hop manager that still lives at home with his parents. Between splitting her time with Lucas and trying to sell the mansion, it all proves to be troublesome.
“’Fair Market Value’ is loosely based on my unhinged life, but the theme is universal in that romance is timeless,” adds San Roman.  “The movie offers an updated fairy tale based on our current dating culture with its customary elements of wrong relationships and right times. I knew this was a story everyone could relate to at any given time.”
Lopilato shares “We all clowned around so much while making this movie, it didn’t even feel like acting. I play this go-getter real estate agent who swoops into town like a loveable tornado. I was a little nervous at first because it was my first English speaking film, but everyone made me feel immediately at home.”
Julia Duffy shares, “I got such a kick out of watching Wendy, Tina and Luisana work together. So different and all 3 had sharply defined characters from the get-go. Lu was a total pro, I would never have known she was nervous about her English! It was so fun to do scenes with the 3 of them, rather empowering in fact, to do these comedic scenes that had only women in them. It was also a blast from the past to work with Craig Bierko again, who always did his best to crack me up and ruin a take.”
The film also stars Craig Bierko (Cinderella Man, Suits), Rob Morgan (Mudbound, Daredevil), Drew Moerlein (South of Hell, The Wrong Path) and Gene Gabriel (Brittany Runs A Marathon, The Blacklist).
“I loved playing Steven. He’s the kind of fun off-the-wall character that comedy dreams are made of!” adds Gabriel.  “It’s a hilarious, romantic and well-crafted film anchored by the stellar performances of Luisana and brought to perfection by a fantastic cast!”
Moerlein adds, “The joy on set, and the creation of a film that makes you laugh and pulls your heartstrings at the same time has left an indelible memory. Luisana was an inspirational scene partner. She was so willing to take risks”.
“There’s lots of uncertainty in the world and that’s why romantic comedies are making quite the comeback as a film genre,” said San Roman.  “The goal is for audiences from any generation to walk into a theater or online platform, meet our characters and fall in love with this story.”
The film debuts  on UrbanflixTV.com, US and Canada markets with additional platforms coming this year.  It is one of three films created through San Roman’s production company, Reelhouse Productions, LLC.
San Roman discovered a passion for screenwriting and producing.  She soon founded Reelhouse Productions, which has produced award-winning shorts and independent features, including Project Greenlight’s Top 200 short film, “Mommy”, “In Sickness” and “Rich Girl Rich Boy”.  A celebrated Latina actress, producer, and director San Roman has won accolades at the 2016 NoHu Film Festival  and  named  Top 25 Women Changing the World by Conversations Magazine.
Reelhouse Productions is a television and film company based in Long Island, New York.  The organization writes, produces and finances indie shorts and cinematic features, high-quality, image music videos and photography with the production of sitcoms and reality shows in the works.  Its underlying mission is to bring creativity, diversity and change within the industry.  Reelhouse is currently in post-production for its feature The Wrong Path and pre-production for Return To Danger.  For more information, visit http://www.reelhouseproductions.com.
IndustryWorks Studios (“IWS”) is a production, distribution, finance and new media company under the direction of CEO Evan Tylor who has over twenty-five years in the feature film and TV industry. IWS remains of the most active production and distribution companies in Canada and global distributors of content. Titles include ‘Ripper’, licensed to Lionsgate Films, ‘The Operative’, ‘Confessions of a Sociopathic Social Climber’ starring Jennifer Love Hewitt, produced for Bravo’s Oxygen Network, ‘Walk All Over Me’ starring Leelee Sobieski and Tricia Helfer, ‘American Mary’ produced and sold to Universal Pictures, ‘Back to the Sea’ which was one of the first independent animated features to be on Walmart shelves, ‘Wrecker’, ‘Selfie From Hell’ based on the YouTube viral sensation of over 20 million views and ‘AMI’ tech-horror film licensed to Netflix amongst many original and independent films and series. In 2016 with the partnership of Nomadic Pictures, IW executive produced the Netflix Original hit Series ‘Van Helsing’ which is in its 5th season.
For Sales and Distribution information, contact Caterina Scrivano at IndustryWorks Studios by email: caterina@industry-works.com or phone: 604-876-0547; www.industry-works.com; Instagram: @industryworkspictures.

#### ARTHUR NEWMAN
ARTHUR NEWMAN
	

		 
	

		By: John ’Doc’ Strange
	

		 
	

		Directed by: Dante Ariola
	

		 
	

		Starring: Colin Firth, Emily Blunt, Phillip Troy Linger, Lucas Hedges, Anne Heche
	

		 
	

		MPAA Rating: R (for Sexual Content, Language, Brief Drug Use)
	

		 
	

		Selig Rating: MATINEE
	

		 
	

		Runtime: 101 Min.
	

		 
	

		    Summer is normally a time of somewhat brainless fare, films where having a drink before viewing can often enhance the experience.  Arthur Newman is NOT one of those films.  This is a thinking film.
	

		    Arthur Newman is the story of a man, Wallace Avery (Colin Firth), who is desperately unhappy with his life and decides to run away from it.  He picks his new name from a chance encounter on a golf course.  He is offered a job as golf pro in the big city of Terre Haute, Indiana.  All he has to do is get new ID, fake his death, and run away from his life, his girlfriend, and his ex-wife and son.
	

		    Shortly after hitting the road Wallace/Arthur encounters a young woman, Michaela “Mike” Fitzgerald (Emily Blunt), whose view of the world is skewed way off the “normal bubble”; a troubled young woman running away from a troubled family life.  She joins “Arthur” on the road and quickly discovers his true identity.  Instead of turning him in, she joins him in breaking into homes along the way and acting out the lives that they see others living.
	

		    There is a side story as Wallace’s son, Kevin (Lucas Hedges), encounters and gets to know his father’s girlfriend, Mina Crawley (Anne Heche), in his apartment.  We get to know Kevin and watch as he begins to deal with the loss of his father.
	

		    This is a rough film to watch.  The view as Wallace and Mike descend into the depths of the darkness in their lives is tough.  Seeing how low a man can go before he wakes up to the need to get back on track is not fun.  That said, the story is well written and the acting is tight.  This is a morality plan told in modern terms about the need to embrace your life and strive to make it better, not run away from it.
	

		 
	

		 
	

		Movie Site: http://arthur-newman.com/
	

		 
	

		The Selig Rating Scale:
	

		 
	

		FULL PRICE – Excellent movie, well worth the price
	

		MATINEE – Good movie
	

		DOLLAR – OK movie
	

		CABLE – No need to rush. Save it for a rainy day.
	

		FREEBIE – Good that I saw it on the big screen but wish I hadn't paid for it.
	

		COMMERCIAL TV – Commercials and cutting to the allotted time will not hurt this one.
	

		FORGET IT! – Bad. If you see this one, do yourself a favor and keep it to yourself.
	

		GET YOUR TORCHES – BAD! – Burn the script, the writer, the director and maybe even the actors!
	

		 

#### ARTHUR THE KING – A Review by Jenn Rohm
ARTHUR THE KING – A Review by Jenn Rohm
In 2014 while competing in the Adventure Racing World Championship held in Ecuador, Swedish racer Mikael Lindnord and his team were adopted by a stray dog.  In 2016 his book Arthur: The Dog Who Crossed the Jungle to Find a Home was published. This story, with a few changes, is now a motion picture being released in U.S. theaters on March 15, 2024.  The most noticeable changes are that the lead, captain of the team, is now Michael Light from the U.S., and the race is the 2018 event in the Dominican Republic.  Neither of these details affects the impact of the story.  This film is about believing in your dreams, coming together, all being part of the team, and the unequivocal love of an animal.
The official summary of Artur the King is:
Over the course of ten days and 435 miles, an unbreakable bond is forged between pro adventure racer Michael Light (Mark Wahlberg) and a scrappy street dog companion dubbed Arthur. Based on an incredible true story, ARTHUR THE KING follows Light, desperate for one last chance to win, as he convinces a sponsor to back him and a team of athletes (Simu Liu, Nathalie Emmanuel, and Ali Suliman) for the Adventure Racing World Championship in the Dominican Republic. As the team is pushed to their outer limits of endurance in the race, Arthur redefines what victory, loyalty and friendship truly mean.
There are certain expectations I have when I hear Mark Wahlberg’s name tied to a movie.  This is of course based on his work from the late 90’s to early 2020’s.  In the last few years, he has been choosing much more family-friendly, less adult, and gritty roles.  Respect for choosing what works for him and how he wants to represent himself.  This is a “me issue” and I will be adjusting my expectations accordingly.  The film does have a few heart-pausing moments, they are from components of the race and do not involve car chases or explosions. In the role of Michael Light, I did feel the need for something more in life, the love for his wife/family, and connection with Arthur.
Arthur is played by Ukai, “a certifiable good boy.”  There are stories that Wahlberg asked about adopting Ukai.  The unnamed trainer has a strong bond with Ukai and chose not to give him up.
Nathalie Emmanuel as Olivia does what she can within the limitations of the story and parameters of the film to bring an intelligent, tough, female competitor to the role.  From previous work I know when given the freedom to do more, she can bring more.  In this film, she is not one of the two “major” roles, and having not read the book I do not know how much of the true story she influenced.
Ali Suliman is Chik, another teammate who appears to have been added to the story to fill out the team.  I was able to pick up on some of the issues the competitors face with the physical issues of aging and the respect and friendship that is built amongst competitors along the journey.
The final member of the competitive team is Simu Liu showing more of his talents in the role of Leo, than in his 2023 big movie role as one of the “Ken”.  Finding the balance as a social media influencer to the extreme while not going so far past and being overly comical to not fit the film was successful.  We are also able to feel the struggle of waiting for the next shoe to drop based on the history between Michael and Leo and moments where trust is rebuilt.  Liu was successful in adopting Chopa, who was one of the other street dogs in the film.    
Jacques Jouffret and the cinematography team brought some stunning sites to the screen.  They showed realistic views of life in the Dominican Republic and of the races.  There is one sequence while racing on bicycles that was so realistic, that I was fearful that my vertigo was going to kick in.
The film reminded me of the emotional roller coaster that movies with animal leads always take me on.  Wish I had remembered to bring some tissue or a hankey with me.  Mine were not the only wet eyes in the audience.  It is rated PG-13 for some strong language.  I encourage Parent’s to decide if their children will respond well to the film.
To wrap it up, yes, I am glad I saw this movie.  Would I go out of my way to see it again?  Most likely not.  Do I want to meet Ukai and Chopa? YES!!  Having the ability to love on a puppy dog after would have improved the experience for me. 
*Not in the movie spoiler alert, you may skip this paragraph* I am a dog lover and wish I had known that Arthur was with the family until his passing in 2020.  Photos during the credits show a happy and healthy family that includes Arthur on their adventures.
 
Director: Simon Cellan Jones
Written By: Michael Brandt, Mikael Lindnord
Cast: Nathalie Emmanuel, Mark Wahlberg, Simu Liu, Ukai
MPAA Rating: PG-13 for some strong language.
Genres: Adventure
Selig Rating: 3 stars
Runtime: 1h 30 m
Release Date: March 15, 2024
Trailer: Arthur the King official trailer
Website: Arthur the King official website
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well there was nothing else…
1 Star – Total waste of time.

#### ARTHUR THE KING – A Review by John Strange
ARTHUR THE KING – A Review by John Strange
This film is built around a man, Michael Light (Mark Wahlberg), who is determined to not just race in the Adventure Racing World Championship, but to win it.  He is given one last chance by his wife to race in the Dominican Republic.
It is a dream, one that will require a sponsor and then as much more as he can manage.  Despite the challenges thrown in their path, the team gets to the DR with little time to train using the terrain.
The team’s main competition is the Australian team.  The animosity between the teams is a driving motivation for Team Broadrail. 
But you really don’t care about the humans, do you? 
The stray dog who joins the team is a loner who is chased away by everyone, human or dog.  Until the day he happened upon Team Broadrail at their first checkpoint.  Whereupon he was fed by Michael. 
Days later, the team sees him again, miles and miles from where they had met.  And becomes a valued member of the team.  Together they endure the grueling trek towards the finish line.
The terrain the team must cross is as beautiful as it is challenging and dangerous.  There must have been enormous challenges just shooting this film, from zip lines to unexpected dangers in the dark.  I was truly impressed with the cinematographic choices made.
Arthur is the star of the film and Mark Wahlberg and the rest of the cast are his co-stars in my eyes.  This is probably because I am a dog owner/lover.  Arthur does such a good job helping the team, despite a wound on his side that looks so terrible that it broke my heart. 
I won’t add a spoiler, even though I want to do so badly!  Arthur The King is based on a true story and is adapted from the book Arthur: The Dog Who Crossed the Jungle to Find a Home by Mikael Lindnord.  It has a strong cast that made me believe in them.
 
Director: Simon Cellan Jones
Cast: Mark Wahlberg, Simu Liu, Juliet Rylance, Nathalie Emmanuel, Ali Suliman, with Bear Grylls as Himself, and Paul Guilfoyle
MPAA Rating: PG-13 (for some strong language)
Selig Rating: 4 Stars
Runtime: 107 Min.
Release Date: 03/15/2024
Genre: Adventure
Language: English
Movie Site: ARTHUR THE KING Official Site
Trailer: ARTHUR THE KING Official Trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### Artis—Naples Announces CALL FOR ENTRIES for 13th Annual Naples International Film Festival
 
Call for entries is now open for the 2021 Naples International Film Festival (NIFF), which will take place October 21-24. The 13th iteration of the popular regional film festival, a MovieMaker Magazine “Top 25 Coolest Film Festivals in the World” selection in 2019, will likely follow last year’s hybrid in-person and virtual presentations format, with plans for an updated approach which will once again feature independent and international films with a spotlight on diversity. While details regarding the specific formats of those presentations have not been determined, they will be underlined with the signature NIFF “fun-under-the-sun” style that has made the festival a destination for filmmakers, industry vets, influencers and film fans, whether in-person or virtually. The deadline for early-bird submissions is June 11, and the final deadline is July 23, 2021.
In addition to a robust virtual festival, NIFF was one of the few film festivals last year that was able to offer limited in-person screenings thanks to the Artis—Naples Kimberly K. Querrey and Louis A. Simpson Cultural Campus, which allowed for the open-air, under-the-stars presentation of films for a live audience in Norris Garden on a 24-foot outdoor screen. For the 2021 festival, NIFF will once again combine the pragmatic spirit of independent film with the artistic eye and resources of an acclaimed multidisciplinary arts organization.
“In 2020, NIFF faced the same challenges that all film festivals faced,” said Festival Producer Shannon Franklin. “However, we enjoy the great benefit of being a part of Artis—Naples. NIFF is unique in that we not only champion independent film and artists, we emphasize their placement next to – and as part of –the visual and performing arts that Artis—Naples celebrates throughout the year.”
In 2021, filmmakers will be vying for more than $10,000 in cash prizes, including $2,500 each for the two juried competitions for Best Narrative Feature and Best Documentary Feature, and $1,500 for the Focus on the Arts Award, given to a Narrative or Documentary film with an emphasis on one or more of the visual or performing arts.
“The Naples International Film Festival places an emphasis on supporting our filmmakers in every way we can beyond our deep appreciation for the films we select each year,” says David Filner, Artis—Naples Executive Vice President Artistic Operations. “This support for filmmakers has become even more important during the last year, for obvious reasons, and we feel that NIFF can help provide important encouragement for the art of independent film. The prize money we award to our winning filmmakers is a key part of that, but it extends to other factors as well. We also place a premium on connecting filmmakers with each other, whether in-person or virtually, and by exploring different ways to share their films with more people. Last year, by showing films to live audiences in a safe, outdoor environment while also reaching virtual audiences throughout the state of Florida, we demonstrated that even during a pandemic we will be as creative and forward thinking as we can be in finding ways to share great films with our audiences.”
Last year, NIFF’s successful hybrid approach included the presentations of 66 films (13 narrative features, 12 documentary features, 41 short films) from 16 countries. Most virtual screenings were available to film fans throughout the state of Florida, with select films available nationwide. Audiences were also able to see some filmmakers discuss their films in virtual live and pre-recorded TalkBack Q&A sessions, and filmmakers gathered in online “filmmaker lounge” events with several also participating in a virtual press conference.
 
NIFF 2021 Categories/Requirements
Narrative Features: Any original work of fiction 41 minutes or longer. Narrative feature films may be foreign or domestic.
Documentary Features: Any non-fiction feature length film 41 minutes or longer. Documentary feature films may be foreign or domestic.
Short Films: Any Narrative or Documentary film 40 minutes or less. Films may be foreign or domestic. NIFF programs short films in themed packages. We may also screen a short film before a Narrative or Documentary feature.
Florida Films: The Florida Films category is intended to celebrate, encourage, and support Florida filmmakers and the production of films in the state of Florida. Documentary Feature, Narrative Feature, or Short films must either include a filmmaker (director or producer) or cast member (leading actor/actress) from or currently living in Florida and/or have partial or principal photography shot in Florida.
Student Filmmaker Showcase, K-12 Division: Student filmmakers in the United States, currently enrolled in grades K-12 (as of April 1, 2021), are invited to submit a short film with a running time of 10 minutes or less (including credits) completed any time after January 1, 2019. Films of all genres are accepted (documentary, narrative, and animation). There is no premiere requirement for this category. Limit 1 entry per director. Films submitted in the Student Filmmaker Showcase category must be works written, directed, and shot by students. Adult participation is limited to an advisory capacity. APPLICANTS MUST SUBMIT PROOF OF AGE WITH THEIR SUBMISSION. Please indicate the school you are attending and send a photocopy of your current student ID, driver license, or ID card to naplesfilmfest@artisnaples.org.
Student Filmmaker Showcase, College/University Division: College and university students currently studying in the United States (undergraduate or graduate) are invited to submit narrative, documentary, or animated films with a running time of 40 minutes or less (including credits) completed any time after January 1, 2019. Films of all genres are accepted (documentary, narrative, and animation). There is no premiere requirement for this category. Limit 1 entry per director. Films submitted in the Student Filmmaker Showcase category must be works written, directed, and shot by students. Adult participation is limited to an advisory capacity. APPLICANTS MUST SUBMIT PROOF OF AGE WITH THEIR SUBMISSION. Please indicate the school you are attending and send a photocopy of your current student ID, driver license, or ID card to naplesfilmfest@artisnaples.org.
 
AWARD CATEGORIES AND PRIZES
Jury Award for Best Narrative Feature – $2,500
Jury Award for Best Documentary Feature – $2,500
Audience Award for Best Narrative Feature – $1,000
Audience Award for Best Documentary Feature – $1,000
Audience award for Best Short Film – $500
Focus on the Arts Award – $1,500
Programmers’ Choice – $250
Best First Feature – $250
Rising Star Award – $250
Indie Spirit Award – $250
Impact Award – $250
 
SUBMISSION DEADLINES
•     Early Bird: June 11, 2021
•     Regular: July 2, 2021
•     Late: July 23, 2021
 
ARTIS—NAPLES
Home of The Baker Museum and the Naples Philharmonic, Artis—Naples is unique among cultural institutions nationwide, equally dedicated to both the visual and performing arts featuring artists of global distinction.
KIMBERLY K. QUERREY and LOUIS A. SIMPSON CULTURAL CAMPUS
Led by CEO and President Kathleen van Bergen and Sharon and Timothy Ubben Music Director Andrey Boreyko, we typically offer audiences more than 800 paid and free events annually within a variety of venues and settings situated throughout the 8.5-acre Kimberly K. Querrey and Louis A. Simpson Cultural Campus. Artis—Naples welcomes thousands of visitors each year for a broad array of artistic and educational opportunities perfect for audiences of all backgrounds and interests. The Kimberly K. Querrey and Louis A. Simpson Cultural Campus is home to five buildings, including two performance halls (Frances Pew Hayes Hall and Myra J. Daniels Pavilion), The Baker Museum, the Toni Stabile Education Building and the Kohan Administration Building.
In the 2014-15 season, Andrey Boreyko assumed the title of Music Director and serves in this capacity for Artis—Naples. Boreyko is internationally recognized as one of the most exciting and dynamic conductors working today. This appointment, extended through 2022, marks his first American post.
The Wall Street Journal says van Bergen and Boreyko have ushered in “an impressive new phase” for classical music in Southwest Florida.
NAPLES PHILHARMONIC
The Naples Philharmonic has long been recognized as one of the cornerstones of Southwest Florida’s arts community. As part of Artis—Naples, the Naples Philharmonic typically performs more than 140 orchestral and chamber music concerts, as well as opera and ballet, education, community and special event concerts annually between September and June in the 1,477-seat Hayes Hall, the 283-seat Daniels Pavilion and around the Southwest Florida region.
Jack Everly is Principal Pops Conductor and in the 2020-21 season celebrates 11 years in this role, bringing pops performances that celebrate music in its many forms. In 2017, Romanian conductor Radu Paponiu was named Assistant Conductor of the Naples Philharmonic and director of the Naples Philharmonic Youth Orchestra, and in 2019 was promoted to Associate Conductor.
THE BAKER MUSEUM
The Baker Museum is one of the foremost fine art museums in Southwest Florida. The museum hosts several traveling exhibitions annually to complement installations of works from its permanent collection. Comprising more than 4,000 objects, the museum’s broad holdings of 20th and 21st century art reflect the generosity and commitment of area collectors. Of particular strength are The Baker Museum’s collections of American and Mexican modern art and significant gifts from the personal collection of Olga Hirshhorn.
With almost two decades of collecting and exhibiting, the museum is dedicated to stewardship and scholarship from both its growing permanent collection and outside sources. At the same time, The Baker Museum seeks out the best traveling exhibitions from the leading arts institutions in the world—including recently the Crystal Bridges Museum of American Art, Smithsonian Institutions and École des Beaux-Arts, Paris—to enrich the Southwest Florida community.
The Baker Museum exhibitions reopened to the public on December 1, 2019, after being closed for more than two years in the wake of Hurricane Irma. The repair of the museum was paired with a simultaneous expansion of the building to the south, which created new spaces for multidisciplinary exploration and social interaction.
 
EDUCATION AND COMMUNITY
In addition to creating and presenting visual and performing arts, Artis—Naples provides robust education and community activities for students of all ages. Typically, thousands of Collier County Public Schools interact with Artis—Naples education programming each year both on its cultural campus and in classrooms. The Lifelong Learning program provides engaging lectures and study opportunities for adults seeking to engage more deeply with the arts.
The Friends of Artis—Naples, with more than 4,000 households who give more than $75, offers activities, travel experiences and events geared toward creating a deeper relationship between patrons and the arts.
In 2017, Artis—Naples acquired the Naples International Film Festival (NIFF), expanding its film offerings and providing a platform for the festival’s continued excellence and growth. In 2018, NIFF celebrated its tenth year in the community, and in 2019, NIFF was named one of MovieMaker Magazine’s Top 25 Coolest Film Festivals in the World.

#### Artis—Naples Announces Official Selections for the 2022 Naples International Film Festival
 
As Southwest Florida contends with the aftermath of Hurricane Ian, Artis—Naples announced today that the Naples International Film Festival will take place as planned October 27-30, and also announced the film lineup. “Artis—Naples is a reflection of our community – resilient and focused on helping those affected by the storm. We recognize the restorative power of the arts and the role of our mission to help our community recover,” said CEO and President Kathleen van Bergen. “In the upcoming weeks and months, we will continue presenting visual and performing arts programming—including NIFF—that we hope will bring solace, inspiration and even laughter to our community. This year, more than ever, we look forward to bringing film lovers and filmmakers together again to share in four days that promise to deliver the best in independent film across a variety of genres—shorts, Florida films, student films and documentary and narrative features.”
The film festival begins with a red-carpet Opening Night event highlighted by a screening of Bradford Thomason and Brett Whitcomb’s festival favorite documentary Butterfly in the Sky. NIFF will close with a special presentation of Steven Spielberg’s Jurassic Park featuring a live performance of John Williams’ classic score by the Naples Philharmonic, conducted by Principal Pops Conductor Jack Everly.
On Friday and Saturday night, Artis—Naples will present its popular “Screenings Under the Stars” in Norris Garden on the Artis—Naples Kimberly K. Querrey and Louis A. Simpson Cultural Campus. NIFF alumnus Bryan Storkel will return with his and Amy Bandlien Storkel’s The Pez Outlaw on Friday night, and Nate Boyer’s MVP will screen on Saturday night.
The festival will include 64 films (13 narrative features, 9 documentary features and 42 short films) from 17 countries. All screenings will be in-person at Hayes Hall, Norris Garden or Silverspot Cinema.
“Our goal always is to bring films, filmmakers and audiences together in order to provide a rich cinematic experience that highlights the many facets of independent film—all in this uniquely beautiful setting,” said David Filner, executive vice president, artistic operations. “Whether we are screening films that feature art and artists who have graced our exhibition walls and performance stages, or we are simply sharing powerful and though-provoking independent films from filmmakers all over the world, NIFF provides a unique opportunity for filmmakers and our whole cinema-loving community to experience the multidisciplinary approach to the arts that is at the heart of Artis—Naples.”
Festival Producer Shannon Franklin adds that NIFF maintains a great reputation with filmmakers because they know it is an environment where they can share their work, connect and exchange ideas—all while having a great time. “NIFF reaches engaged, enthusiastic audiences who genuinely appreciate the work they are seeing on screen,” Franklin said. “Year after year, festival filmmakers and attendees give rave reviews of the fun-in-the-sun NIFF experience.”
On Thursday, October 27, the Opening Night film at Hayes Hall (5833 Pelican Bay Blvd) will be Bradford Thomason and Brett Whitcomb’s Butterfly in the Sky in its Florida premiere. The film, which premiered at the Tribeca Film Festvial, has charmed audiences across the nation as it looks at the history and influence of the beloved Reading Rainbow series and one of the most adored television hosts of all time, LeVar Burton.
Hayes Hall will also be the location for the special presentation of Spielberg’s original thrilling “rollercoaster ride” through the land of dinosaurs, Jurassic Park (1993) on Closing Night on Sunday, October 30, appropriately on the eve of Halloween. The Naples Philharmonic, led by Principal Pops Conductor Jack Everly, will perform John Williams’ classic score live with the film.
Since 2020, the Naples International Film Festival has included its popular “Screenings Under the Stars” events with films shown on a large outdoor screen in Norris Garden on the Artis─Naples Kimberly K. Querrey and Louis A. Simpson Cultural Campus. This years’ screenings include The Pez Outlaw and Nate Boyer’s MVP. Boyer, a former college football player and United State Army Green Beret, stars and directs this film about veterans and retired football players finding purpose and satisfaction after the uniforms come off.
Films in the Naples International Film Festival’s competition categories will be vying for more than $10,000 in prizes, including the Audience Awards for Best Narrative Feature, Best Documentary Feature and Best Short as well as the Focus on the Arts Award, given to a Narrative or Documentary film with an emphasis on one or more of the visual or performing arts. For the fourth consecutive year, there will also be juried awards in the Narrative and Documentary features categories.
The Narrative Features Juried Competition slate includes the Florida Premiere of Alex Lehman’s Acidman, about a young woman who tracks down her reclusive UFO-obsessed father to share some news with him that may shake him out of his rut. Brett Wagner’s The Big Bend will also make its Florida premiere at NIFF. The film focuses on two families who come together for a highly fraught reunion in the remote West Texas desert and will need to overcome a lot of history and drama in order to survive the experience. Anna Baumgarten’s Disfluency has won several awards on the film festival circuit. The film follows a promising scholar who returns home without graduating as she deals with the PTSD resulting from the incident that sent her spiraling.
Three Florida premieres make up NIFF’s Documentary Features Juried Competition, including Alysa Nahmias’ Art & Krimes by Krimes. The film chronicles the mind-boggling six-year-long process that artist Jesse Krimes secretly went through while incarcerated to create his art, smuggling out mural panels from prison, piece-by-piece, with the help of fellow artists. Husband and wife filmmakers Amy Bandlien Storkel and Bryan Storkel’s The Pez Outlaw offers an entertaining look at a man who spent a decade during the 90s making millions by smuggling Pez dispensers into the country from Eastern Europe—until his archrival decided to destroy him. Allison Otto’s The Thief Collector looks at one of the most infamous art heists on record: the theft of Willem de Kooning’s Woman-Ochre. Stolen in 1985, the trail led to an unlikely place more than 30 years later.
Additional highlights among the festival’s narrative feature selections include Balbinka Korzeniowska’s Playing Through, which tells the story of Ann Gregory. Dubbed the Queen of Negro Golf, Gregory was the first woman of color to enter the USGA Women’s Amateur. Her match with Babs Whatling, a privileged white woman from the South, forever changed both them and the game itself. Johanna Putnam’s Shudderbugs will make its world premiere at NIFF. The film follows a woman’s pursuit of the mysteries that abound in her childhood home after her mother suddenly dies. Laura Lehmus’ Sweet Disaster recently won Best Narrative Film at the Lake Travis Film Festival. This German film follows a woman who, upon getting unexpectedly pregnant, is promptly left by the father of her child as he reunites with his ex. While she deals with serious health problems caused by the late pregnancy, she tries to get him back with the help of absurd, exaggerated and sometimes hilarious methods.
Additional documentary feature highlights include The Long Rider. Directed by another NIFF alumnus, Sean Cisterna, the film follows the near impossible—and at times beyond-harrowing—journey from Canada to South America by a man on horseback. Eric Bendick’s Path of the Panther focuses on a photographer who finds himself on the front lines of the destructive forces that threaten the total collapse of the Florida Everglades. Martin Shore’s Take Me to the River New Orleans celebrates the rich musical history, the heritage, legacy, culture and influence of New Orleans and Louisiana. The film will make its Florida premiere at NIFF.
The Naples International Film Festival’s themes for the curated short film programs include Passion for the Arts,The World Around Us, Lessons Learned, A Sense of Place, Risks and Rewards, Point of View and the Student Filmmaker Showcase. NIFF’s Filmmaker Panels hosted by Elaine Newton will include Florida in Focus: Filmmaking in the Sunshine State (Friday, October 28). In this panel, Newton discuss making movies in the Sunshine State with industry experts and some of our visiting filmmakers. On Saturday, October 29, Newton will host Adventures in Filmmaking in which some of our visiting filmmakers will share their candid and comical behind-the-scenes stories of what it really takes to make a movie.
Tickets for all screenings and activities at Silverspot Cinema and Daniels Pavilion go on sale September 30. Tickets for the Opening Night Film and Party, the Closing Night Awards Ceremony, Film and Wrap Party and Jurassic Park in Concert are currently on sale. For more information, visit artisnaples.org/niff.
We extend our deep gratitude to Festival Presenting Sponsors Dr. Richard Lublin and Christine Stahl Lublin. Generous support is also provided by the Collier County Tourist Development Council.
Sincere thanks to Opening Night Film and Party Sponsors Roger and Kathy Marino, Closing Night Event Sponsors Rick and Gayle Landuyt, Filmmaker Lounge Sponsors Stan and Sarann Kraushaar, and Theater Sponsors Damien M. Drab Sr., Bobbi and David Drobis, Vincent and Debra Maffeo and Entech. We are pleased to partner with Gulfshore Life and Naples Dailey News as our exclusive Media Sponsors.
The 2022 Naples International Film Festival (NIFF) Official Selections:
 
OPENING NIGHT FILM PRESENTATION
Butterfly in the Sky                                                                                       Florida Premiere
Directors: Bradford Thomason, Brett Whitcomb
Country: U.S.; Running Time: 86 minutes
Butterfly in the Sky tells the story of the beloved PBS children’s series Reading Rainbow, its iconic host LeVar Burton, and the challenges its creators faced in cultivating a love of reading through television.
CLOSING NIGHT FILM PRESENTATION
Jurassic Park (1993)
Director: Steven Spielberg
Country: U.S., Running Time: 127 min
A pragmatic paleontologist touring an almost-complete theme park on an island in Central America is tasked with protecting a couple of kids after a power failure allows the park’s cloned dinosaurs to run loose.
NARRATIVE FEATURES
JURIED COMPETITION
Acidman                                                                                                         Florida Premiere
Director: Alex Lehmann
Country: U.S.; Running Time: 90 minutes
Maggie tracks down her estranged and reclusive father, Lloyd (Thomas Haden Church), who lives in the middle of nowhere searching for UFOs—an obsession that has taken over his life. Struggling to accept who her father has become, Maggie searches for a new way to connect with her dad so she can share a life-changing secret of her own with him.
The Big Bend                                                                                                Florida Premiere
Director: Brett Wagner
Country: U.S.; Running Time: 104 minutes
Two families meet for a long overdue reunion in the remote West Texas desert, and events quickly don’t go as planned. Harboring secrets and facing private crises, they explore one of the wildest places in America, testing the boundaries of marriage, friendship, and parenthood—and doing their best to survive the experience.
Disfluency 
Director: Anna Baumgarten
Country: U.S.; Running Time: 93 minutes
After failing her final college class, Jane returns home to her family’s lake house and comes to terms with the confusing drama that derailed her senior year.
ADDITIONAL NARRATIVE FEATURES
Dear Zoe                                                                                                        Florida Premiere
Director: Gren Wells
Country: U.S.; Running Time: 94 minutes
A powerful coming-of-age story of love, loss, grief and resilience in which teenage Tess enlists the support of her biological father—a lovable slacker—and the charming juvenile delinquent next door in the aftermath of the death of her little sister, Zoe.
Food and Romance
Director: Annika Appelin
Country: Sweden; Running Time: 102 minutes
A sudden change forces Karin to reevaluate her life. With the help of friends, food and passion, she refuses to accept that life has an expiration date and takes the second chance she is given.
The Forger                                                                                                     Florida Premiere
Director: Maggie Peren
Country: Germany; Running Time: 116 minutes
Based on a true story of bravery in the face of evil, The Forger stars Louis Hofmann (Netflix’s Dark) as an audacious young man who poses as a marine officer and forges documents to help fellow Jews escape Nazi Germany.
Hard Shell, Soft Shell
Director: Emma Benestan
Countries: France/Algeria; Running Time: 100 minutes
Loved-up oyster farmer Az thinks he’s made it. But when an elaborate proposal goes awry and his girlfriend Jess breaks his heart, Az is forced to confront his understanding of what happiness really looks like—both hers and his own.
iMordecai
Director: Marvin Samel
Country: U.S.; Running Time: 102 minutes
Sean Astin stars as Marvin is an ambitious cigar maker trying to support his own family while still being there for his aging parents, Mordecai (Judd Hirsch) and Fela (Carol Kane). When Mordecai’s ancient flip phone breaks, he starts to take lessons on his new iPhone, opening him up to all kinds of novel experiences and adventures, making him feel like a kid again.
MVP
Director: Nate Boyer
Country: U.S.; Running Time: 112 minutes
Based on a true story of combat veterans and former pro athletes finding purpose and identity after the uniform comes off.
Playing Through
Director: Balbinka Korzeniowska
Country: U.S.; Running Time: 91 minutes
Late in her career, Ann Gregory, dubbed the Queen of Negro Golf, finds the courage to be the first woman of color to enter the USGA Women’s Amateur. She collides with Babs Whatling, a privileged white woman from the South who is searching for her own identity. This highly publicized match forever changes both them and the game.
Róise & Frank                                                                                               Florida Premiere
Directors: Rachael Moriarty, Peter Murphy
Country: Ireland; Running Time: 84 minutes
It has been two years since Róise lost the love of her life: her husband, Frank. She is now isolated in grief, cut off from family and community. The arrival of a mysterious dog, who seems intent on connecting with Róise, heralds huge change… but is it for the better?
Shudderbugs                                                                                                World Premiere
Director: Johanna Putnam
Country: U.S.; Running Time: 106 minutes
Samantha Cole returns to her childhood home when her mother suddenly passes. In place of familiar spaces and memories, Sam finds only uneasiness and confusion. Things are missing, the environment seems unnatural and the neighbor, Noah, who discovered her mom’s body is suspiciously obtuse. Isolated with these mysteries, Sam wrestles with her sanity and certainties.
Sweet Disaster
Director: Laura Lehmus
Country: Germany; Running Time: 92 minutes
Frida unexpectedly falls pregnant, and Felix, the father of her child, breaks up with her to reunite with his ex. Although some serious health problems caused by the late pregnancy force Frida to rest, she still tries to get Felix back, using methods that are absurd, exaggerated and sometimes hilarious.
DOCUMENTARY FEATURES
JURIED COMPETITION 
Art & Krimes by Krimes                                                                               Florida Premiere
Director: Alysa Nahmias
Country: U.S.; Running Time: 84 minutes
While locked up for six years in federal prison, artist Jesse Krimes secretly creates monumental works of art—including an astonishing 30-foot mural made with prison bed sheets, hair gel and newspaper. He smuggles out each panel, piece-by-piece, with the help of fellow artists, only seeing the mural in totality upon coming home.
The Pez Outlaw                                                                                             Florida Premiere
Directors: Amy Bandlien Storkel, Bryan Storkel
Country: U.S./Austria; Running Time: 87 minutes
In the 1990s, Pez dispensers were worth more, gram for gram, than cocaine or even gold. Steve Glew, from rural Michigan, spent 10 years smuggling Pez dispensers into the U.S. from Eastern Europe, making millions of dollars. It was all magical until it wasn’t when his archnemesis, the Pezident, decided to destroy him.
The Thief Collector                                                                                       Florida Premiere
Director: Allison Otto
Country: U.S.; Running Time: 89 minutes
In 1985, Willem de Kooning’s Woman-Ochre, one of the most valuable paintings of the 20th century, was cut from its frame at the University of Arizona Museum of Art. More than 32 years later, the painting is rediscovered in the unlikeliest of places. The Thief Collector unravels the layers of this infamous heist.
ADDITIONAL DOCUMENTARY FEATURES
Lift
Director: David Petersen
Country: U.S.; Running Time: 87 minutes
Lift shines a spotlight on the invisible story of homelessness in America through the eyes of a group of young home-insecure ballet dancers in New York City and the mentor who inspires them.
The Long Rider
Director: Sean Cisterna
Country: Canada; Running Time: 96 minutes
When Filipe Leite leaves his adoptive home of Canada, the aspiring journalist embarks on an epic quest to ride the length of the Americas from north to south—entirely on horseback—to return to home his family in South America.
Path of the Panther
Director: Eric Bendick
Country: U.S.; Running Time: 89 minutes
Drawn in by the haunting specter of the Florida panther, a photographer finds himself on the front lines of an accelerating battle between forces of renewal and destruction that have pushed the Everglades to the brink of ecological collapse.
Still Working 9 to 5                                                                                       Florida Premiere
Directors: Camille Hardman, Gary Lane
Country: U.S.; Running Time: 91 minutes
Still Working 9 to 5 explores what has and hasn’t changed for women over the last 40 years since the release of the hilarious 1980 workplace comedy 9 to 5.
Take Me to the River New Orleans                                                             Florida Premiere
Director: Martin Shore
Country: U.S.; Running Time: 115 minutes
Take Me to the River New Orleans celebrates the rich musical history, the heritage, legacy, culture and influence of New Orleans and Louisiana. A true collaboration and melting pot of influences from around the world.
SHORT FILMS
SHORTS PACKAGE #1:  PASSION FOR THE ARTS
Chihuly: Roll the Dice                                                                                  East Coast Premiere
Director: Peter West
Country: U.S.; Running Time: 27 minutes
World-renowned artist Dale Chihuly pursues an idea that will push glass to its physical limits.
Conducting Life
Director: Diane Moore
Country: U.S.; Running Time: 31 minutes
The remarkable journey of Roderick Cox as he pursues his dream: To secure a top conducting position with a major orchestra.
Identity: The Andrew Nemr Story                                                               Florida Premiere
Director: Jon Cipiti
Country: U.S.; Running Time: 23 minutes
Follow international tap dance artist Andrew Nemr on his unique journey.
SHORTS PACKAGE #2: THE WORLD AROUND US
A Very Fragile Thing                                                                                    Florida Premiere
Directors: Selah Eshetu, Ryan De Franco
Country: Ethiopia/U.S.; Running Time: 14 minutes
A first-person journey into the collapse of democracy and the rise of a civil war that has claimed the lives of half a million Ethiopians since 2020.
The Bathtub
Director: Sergi Marti
Country: Spain; Running Time: 19 minutes
A man is taking a bath when his cell phone suddenly rings. On the other side of the line is Clara, a girl who insistently tries to sell him a life insurance policy that will change his life.
Mamma                                                                                                          Florida Premiere
Director: Aslak Danbold
Country: Norway; Running Time: 15 minutes
On Christmas Eve, a mother searches for her drug-addicted daughter in a desolate cityscape.
Medea
Director: Feifei Zhong
Country: China; Running Time: 14 minutes
A woman struggles between her career and family after finding her unexpected pregnancy.
Rodrigue in Love                                                                                          U.S. Premiere
Director: Johann Dionnet
Country: France; Running Time: 24 minutes
During the Avignon Festival, one of the most important theater festivals in the world, a comedic actor tries to seduce a beautiful dramatic actress by pretending to play Rodrigue in Le Cid.
SHORTS PACKAGE #3: LESSONS LEARNED 
Black Slide
Director: Uri Lotan
Country: Israel/U.K.; Running Time: 11 minutes
A young and timid kid learns a helpful life lesson on the scariest ride at the water park.
Cycle Vérité                                                                                                   Florida Premiere
Director: Adam J. Graves
Country: U.S.; Running Time: 15 minutes
When Don sets out to recover his stolen bicycle, he finds himself drawn into a cycle of truth and deception and is forced to reconsider the meaning of forgiveness.
Frank & Emmett
Director: Carlos F. Puertolas
Country: U.S.; Running Time: 13 minutes
Two lifelong friends finally have a much-needed conversation about the only thing they’ve never talked about: One of them is a puppet.
Make Your Soul Grow                                                                                  Florida Premiere
Director: KC Connolly
Country: Ireland; Running Time: 13 minutes
The true story of Kurt Vonnegut’s final letter of inspiration.
Melons                                                                                                           Florida Premiere
Director: Matt MacDonald
Country: U.S.; Running Time: 15 minutes
A jolly but meek grocery store manager must learn to stand up for himself after a misunderstanding brands him as public enemy No. 1.
The Interview                                                                                                 Florida Premiere
Director: Inga Moren Tapias
Country: U.S.; Running Time: 9 minutes
An interview between two women at opposite ends of their careers turns into a therapy session… but who is interviewing whom?
SHORTS PACKAGE #4: A SENSE OF PLACE 
An Irish Goodbye                                                                                         Florida Premiere
Directors: Tom Berkeley, Ross White
Country: Ireland; Running Time: 23 minutes
In rural Northern Ireland, a pair of estranged brothers reunite following the untimely death of their mother.
The Desert King                                                                                            East Coast Premiere
Director: Lev Mergian
Country: U.S.; Running Time: 16 minutes
A young woman hikes into the quirky kingdom of an eccentric recluse and joins him on his adventures.
Ousmane                                                                                                       Florida Premiere
Director: Jorge Camarotti
Country: Canada; Running Time: 25 minutes
A newly arrived immigrant in Montreal faces a challenging situation when he meets an elderly disoriented lady at the end of his workday.
Out of Tune                                                                                                   Florida Premiere
Director: Portlynn Tagavi
Country: U.S.; Running Time: 15 minutes
Stigmatized since childhood by her love of the rock band Journey, Maya finds her voice in a world where she doesn’t feel “Black enough.”
SHORTS PACKAGE #5: RISKS AND REWARDS
Heart Land                                                                                                     Florida Premiere
Director: Lauren Ciaravalli
Country: U.S.; Running Time: 12 minutes
When a cynical New Yorker gets stuck on a layover in Kansas, she finds a romantic spark where she least expects it—a “red” state.
Progress
Director: Christopher Boulton
Country: U.S.; Running Time: 7 minutes
A builder/designer couple traces the lineage of a mysterious object.
The Right Words                                                                                           Florida Premiere
Director: Adrian Moyse Dullin
Country: France; Running Time: 15 minutes
A sibling rivalry spills over from social media into real life when 15-year-old Kenza pressures her little brother, Madhi, to profess his love to a crush.
Shark                                                                                                              Florida Premiere
Director: Nash Edgerton
Country: Australia; Running Time: 14 minutes
A lifelong prankster may have finally met his match in his latest relationship.
Skim
Director: William Pisciotta
Country: U.S.; Running Time: 18 minutes
A closeted woman cleaning pools in South Florida is met with a risky opportunity to change her lot in life.
Volley                                                                                                             Florida Premiere
Director: Oliver DeFilippo
Country: U.S.; Running Time: 15 minutes
A casual game of tennis between friends becomes an awakening to the relationships and the lives they take for granted.
SHORTS PACKAGE #6: POINT OF VIEW
Babatoura                                                                                                      Florida Premiere
Director: Guillaume Collin
Country: Canada; Running Time: 11 minutes
Comfort food for uncomfortable times.
Bendix: Site Unseen                                                                                     Florida Premiere
Director: Anthony Scalia
Country: U.S.; Running Time: 26 minutes
A documentary about a blind waiter and single father who overcomes his disability in order to provide for his family.
Hamleyed
Director: Pedro Blanco-Uribe
Country: U.S.; Running Time: 8 minutes
To be, or not to be: A young man reflects on his desire to take revenge on the world through a terrorist attack.
Mr. Spam Gets a New Hat                                                                            Florida Premiere
Director: William Joyce
Country: U.K.; Running Time: 14 minutes
When a man with a head full of dreams is beaten down by the foreman in the factory where he works, a woman in a polka-dot dress brings meaning, love and dreams back into his life.
The Status Quo                                                                                             U.S. Premiere
Director: Marie-Pier Diamond
Country: Canada; Running Time: 19 minutes
In the near future, humanity does not challenge the status quo anymore—until a man opposes it and seeks the truth behind an apathetic society.
SHORTS PACKAGE #7: STUDENT FILMMAKER SHOWCASE
Agent Stout (K-12)
Director: Joshua Vennetti
Country: U.S.; Running Time: 10 minutes
Secret agent Stout races to disarm a bombas the clock counts down to annihilation.
Café Drawing (College)
Director: Junrong Zhang
Country: U.S.; Running Time: 2 minutes
A sketch character in a sketchbook tries to save herself from a splash of coffee when the artist leaves for a while.
Funeral Fever (College)                                                                                Florida Premiere
Director: Janicel Diaz
Country: U.S.; Running Time: 4 minutes
A young woman begins planning her perfect funeral after receiving a psychic reading.
Gone (K-12)                                                                                                   Florida Premiere
Director: Kyle Ward
Country: U.S.; Running Time: 4 minutes
As development encroaches on a farming community, they struggle with the loss of their heritage and land.
Hardcore (K-12)                                                                                             East Coast Premiere
Director: Madeleine Case
Country: U.S.; Running Time: 10 minutes
When a young photographer falls in love with a drummer, she finds herself suspended between life, death, and motherhood.
The Letter (K-12)                                                                                           Florida Premiere
Director: Cameran Ford
Country: U.S.; Running Time: 2 minutes
A young woman experiences the perils of waiting until the last minute to pop the prom question.
Life with Coffee (College)
Director: Sohee Jeon
Country: U.S.; Running Time: 5 minutes
A Yemeni refugee sheltering in the U.S. finds his identity as a merchant selling coffee from his homeland.
My Cat Lucy (College)
Director: Kate Vaillant
Country: U.S.; Running Time: 2 minutes
A boy is convinced that his beloved pet cat is possessed by a demon.
Reaper (K-12)                                                                                                Florida Premiere
Director: Eva Ulreich
Country: U.S.; Running Time: 4 minutes
The Grim Reaper attempts to claim a lost soul.
Space Race (College)
Director: Shane Dioneda
Country: U.S.; Running Time: 5 minutes
Two competing astronauts race to claim the moon for themselves.
Swept Away (K-12)                                                                                       Florida Premiere
Director: Braden Webb
Country: U.S.; Running Time: 5 minutes
A man turns into his biggest fear.
The Trip (College)
Director: Alyssa Archard
Country: U.S.; Running Time: 11 minutes
Stuck in a world she can’t escape, Jesse must confront the forces in power or live in an eternal loop under someone else’s control.
Vilomah (College)                                                                                          World Premiere
Director: Tom Ingwersen
Country: U.S.; Running Time: 10 minutes
A mother celebrates her deceased daughter’s birthday… until her husband comes home.

#### ASHER – A Review by Cynthia Flores
 

	ASHER – A Review by Cynthia Flores

	
	If you read the script written by Jay Zaretsky for Asher, you would think this is going to be a clever hitman flick.  Unfortunately, something got lost between the page and what director Michael Caton-Jones did with it.  The pacing to what should have been a thrilling film is languid.  I do not put the blame on the actors because they are all top-notch veterans of their trade.
	 

	The film revolves around Asher (Ron Perlman), a Mossad agent turned gun-for-hire for the New York Jewish mob.  He is near the end of his killing days and breaks the hitman oath when he meets Sophie (Famke Janssen) on a job gone sideways.  She is a dance teacher who is taking care of her mother Dora (Jacqueline Bisset) who is in the final stages of dementia.
	 

	In order to retire and live a real life with this woman before it’s too late, he has to kill the man he was to become, the man he wants to be.  His timing couldn’t be worse because he’s unwittingly caught in a coup to overthrow his longtime boss Avi (Richard Dreyfuss).  Not an easy profession to retire from alive.  There’s lots of bloodshed and attempted hits on him and Sophie that he must navigate.
	 

	Asher should have been a much better film.  If you are a Ron Perlman fan or want to see Jacqueline Bisset chew up the scenery as a hateful old biddy, then this pic is for you.  If not, then I would take a pass on this slow-moving action drama.  I give this film a D rating.

	 

	Directed by Michael Caton-Jones

	Written by Jay Zaretsky

	Rated R

	Selig Rating D

	Running Time 1hr 57min

	Drama

	Limited Release December 7th AMC Stonebriar

	Starring: Ron Perlman, Peter Facinelli, Famke Janssen, Richard Dreyfuss

	 

	 

	The Selig Rating Scale:

	 

	A – Excellent movie, well worth the price.

	B – Good movie

	C – OK movie

	D – No need to rush. Save it for a rainy day.

	F – Good that I saw it on the big screen but wish I hadn't paid for it.

#### ASHES TO ASHES – A Review by John Strange
ASHES TO ASHES – A Review by John Strange
Director Taylor Rees and Dr. Shirley Jackson Whitaker bring us a documentary about black men and women who were lynched during the Jim Crow era, in part by highlighting the story of Winfred Rembert, a man who survived a lynching in Georgia in the 60s.
Winfred is documenting his story using leather as the medium for the images, buried deep in his mind and soul, of the events that took place all those years ago.  Events that still haunt his sleep to this day.  He has completed 8 of the 50 images he feels will be required to tell the whole story.
Dr. Shirley Jackson Whitaker, physician and artist, is dedicated to helping the souls of the many people who were lynched and never allowed to be laid to rest.  Too many of the bodies of those lynched were weighted down and dropped in creeks and lakes or burned to hide the evidence of the murders.
Dr. Whitaker met Mr. Rembert at a show of his work.  In the film, the doctor asks Winfred how much he sleeps.  His answer is hard to bear.  He sleeps 3-4 hours only if he takes medicine, zero if he fails to take it, allowing his mind to revisit those times each night.
This film does more than talk about lynching people, it gives us a face to think about from now on whenever the subject is raised.  The film is dark but allows in the light of truth.  It speaks of truth and the harsh reality that people in the Black community have lived with for the last half-century and more.
This is a brief view of the world that shines a light on actions that have caused so much damage to this country’s soul.  One that I feel is a 5-star effort.  Please take the time to watch this film and above all, think about what it presents and how it makes you feel.
 
Director: Taylor Rees
Cast: Winfred Rembert, Dr. Shirley Jackson Whitaker, Patsy Rembert
MPAA Rating: NR
Selig Rating: 5 Stars
Runtime:25 Min.
Movie Site: https://www.ashestoashesfilm.info/
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### Ashland Independent Film Festival Announces New Leadership Team
 
Richard Herskowitz, who served as Artistic and Executive Director of the Ashland Independent Film Festival after the two jobs were consolidated in early 2017, is handing over the Executive Director position to Erica Thompson, who had been serving as the organization’s Managing Director. Herskowitz will continue as Artistic Director, guiding the festival’s artistic and educational programs.
The transition caps an exciting year of growth for the organization, which under Herskowitz’s direction launched the AIFF Film Center on Ashland’s Main Street and made a successful pivot from the popular April festival to a virtual festival that was recognized nationally for its programming excellence and inclusiveness. The online festival drew viewers from 42 states and broke attendance records.
“I am proud and, frankly, relieved to say that, even in these hard times, the AIFF organization is strong and growing. I look forward to building our year-round educational and exhibition programs both online and in the new AIFF Film Center, and working alongside Erica, whose managerial and leadership skills I greatly admire,” Herskowitz said.
Marty Rosen, a retired newspaper reporter who, in her second career developed strategic plans and fundraising campaigns for theater companies in her native New York and for independent filmmakers and animators, is the newly elected chair of AIFF’s Board of Directors. She follows Ashland entrepreneur Stephen Sloan, who will continue to serve on the board.
“We have an extraordinary opportunity to further develop our online presence through Richard’s dynamic curatorial work, his film education programs, and his ability to engage independent filmmakers in dialogues on pressing issues,” Rosen said. “We are excited to have a rising managerial star in Erica Thompson, who we are confident will continue to embrace the challenges of these difficult times.”
Thompson received her BFA in Film in 2013 at the University of Wisconsin-Milwaukee and worked for three years at Milwaukee Film in various roles, including Filmmaker Services and Education Coordinator. Her initial role at AIFF was managing filmmaker hospitality in 2017, after which she intended to return to Milwaukee. However, Herskowitz invited her to return as Assistant to the Director in late 2017, then Director of Operations in 2018, and Managing Director in 2019.
“I’m inspired by the legacy of this festival and how beloved it is by a passionate and dedicated community of thoughtful viewers,” Thompson said.  “I look forward to continuing to find creative ways to best serve our local community and am grateful for the opportunity to maintain and grow a platform for underrepresented voices and independent artists.”
Herskowitz came to Ashland in late 2015 as Director of Programming, before moving into the Artistic and Executive Director role in 2017. His prior festival positions include directing the Virginia Film Festival in Charlottesville and Cinema Pacific at the University of Oregon and serving as Artistic Director of the Houston Cinema Arts Festival. Herskowitz, who earned an MA in Communication Arts from the University of Wisconsin-Madison, also ran the Cornell Cinema media arts center, where he presented over 500 films annually from 1982 to 1994 and taught film studies at Cornell University, the University of Virginia, and the University of Oregon. He also served as a media arts curator at the Herbert F. Johnson Museum of Art in Ithaca and at the Jordan Schnitzer Museum of Art in Eugene and has co-curated media art installations at the Schneider Museum of Art since 2016.
The AIFF organization is also announcing the promotions of two more staff members. Candace Turtle, formerly AIFF’s Development Manager, has been named Associate Director of Development. Molly Kreuzman, who started as Volunteer Coordinator and moved into the role of Communications Manager for the Virtual Festival, is the festival’s Director of Operations.
The organization is currently pursuing candidates to fill the roles of Systems Manager and Communications Manager.

#### Ashland Independent Film Festival Relaunches as a Three-Week Virtual Festival
 
The Ashland Independent Film Festival announces that its 19th annual edition, originally slated for April 16-20, will be a virtual film festival rescheduled for May 22 – June 14.  AIFF2020 will be hosted online by Film Festival Flix, an innovative digital platform for virtual festivals. It can be accessed on the FilmFestivalFlix.com website or on Film Festival Flix TV and mobile apps (Roku, Amazon Fire TV, iOS and Android).
“Ever since COVID-19 compelled us to postpone the April Ashland Independent Film Festival for the safety of our communities, our team has been working intensively on an alternative plan for presenting this year’s program,” says Richard Herskowitz, AIFF’s Artistic and Executive Director. “We were determined to present the program we had just finalized, which represented the efforts of independent filmmakers who have labored for years on bringing their visions to fruition and festival programmers who reviewed over 900 films to bring an extraordinary selection of works to AIFF audiences.”
“Now AIFF staff is hard at work building a full festival experience for audiences in Ashland and throughout the country that can be experienced from the safety and comfort of their homes. Most feature films will be introduced by their directors, live and recorded Q&A’s will follow screenings, and a virtual opening night party is being planned. On June 14, an awards presentation will be hosted online by Bruce Campbell, the actor (best known as Ash from The Evil Dead) and Southern Oregon resident whose film My Name is Bruce screened at AIFF2007. Campbell will present jury award winners with $10,000 in prize money collected during a successful Kickstarter campaign launched by AIFF last fall.
The full festival program will be announced on April 30 in an online preview presentation by Herskowitz and linked from the festival’s website at www.ashlandfilm.org. Starting April 30, audiences will be able to preview the full program guide at FilmFestivalFlix.com and purchase a Festival Pass and order tickets. Passes will be offered free to all AIFF members, sponsors, and volunteers.
“We are doing all we can to create a rich cinematic and festival-like experience,” says Herskowitz. “We are especially grateful for the support of so many in our community – filmgoers, filmmakers, sponsors, and other supporters – who tell us how much AIFF means to Ashland and to them.  By going virtual, we can respond to that passion and support as well as mitigate the financial loss of not having our regular festival.  We’re asking our film fans to support us, as they are able, by making donations, buying memberships and inviting their friends nationwide to drop in to the festival and watch a film.”
Herskowitz concludes, “We look forward, once the virus passes, to presenting summer events in our new AIFF Film Center as well as Varsity World Film Week in October. In the meantime, we are excited about building a lively virtual film community.”
Details about how to participate in and contribute to the virtual Ashland Independent Film Festival are at www.ashlandfilm.org.

#### Asian Film Fest Announces First Titles For July Film Fest
11th ANNUAL ASIAN FILM FESTIVAL OF DALLAS
	PRESENTED BY MCDONALD’S & WELL GO USA ENTERTAINMENT ANNOUNCES FIRST TITLES WITH SEVERAL EXCLUSIVE NORTH AMERICAN PREMIERES
	THURSDAY, JULY 12TH THROUGH THURSDAY, JULY 19th
	LANDMARK’S MAGNOLIA THEATRE in the WEST VILLAGE 3699 MCKINNEY AVE. SUITE 100, DALLAS, TX 75204
	The Asian Film Festival of Dallas celebrates its 11th year with returning presenting sponsors McDonald’s & Well Go USA Entertainment, from Thursday, July 12 through Thursday, July 19, 2012 at the Landmark’s Magnolia Theatre in the West Village.
	The festival begins with the Texas Premiere of Opening Night Film ACE ATTORNEY, from fabled director Takashi Miike. Adapted from the popular videogame series, the film pits an untested lawyer against his most powerful adversaries while trying to solve a decades-old murder.
	“Filled with mystery, comedy and lots of fantastic hair, ACE ATTORNEY starts the 11th annual Asian Film Festival of Dallas off right…with no objections!”
	– Director of Programming Steve Norwood
	The Southwest Premiere of Centerpiece Film SAYA-ZAMURAI (SCABBARD SAMURAI) comes from the unique mind and talent of Director Hitoshi Matsumoto (BIG MAN JAPAN, SYMBOL) mixes offbeat humor with touching drama. This period tale follows a disgraced samurai who faces death in 30-days unless he can make the grieving son of a clan leader laugh. Matsumoto’s antics are given a delicate treatment as his character dreams up wildly imaginative ways to cheer the young lord. As the days pass, the local citizens soon rally behind him.
	Another Southwest Premiere, the Closing Night Film is the much anticipated South Korean science-fiction anthology DOOMSDAY BOOK, co-directed by Kim Ji-woon (I SAW THE DEVIL) and Yim Pil-sung (HANSEL AND GRETEL, ANTARCTIC JOURNAL). The film has three distinctly different chapters, including: a zombie apocalypse brought about by a single piece of trash; a meditation on being and existence thanks to a robot that has a surprising case of enlightenment; and the end of the world, due largely to a young girl’s internet activity. One of the most sought-after Asian films this year, DOOMSDAY BOOK promises to surprise and even charm you as it shows the Mayans how things really work.
	This year’s non-competition highlights include several of the AFFD’s exclusive North American Premieres: Derek Yee’s THE GREAT MAGICIAN, a period mystery that pits warlords, revolutionaries and a shady businessman against a visiting magician with a secret. The Simon Yam/Nick Cheung thriller NIGHTFALL, presented by Well Go USA Entertainment, offers up a cat-and-mouse game between a seasoned detective and a paroled murderer. LET’S GO! combines gritty crime thriller with wild action and superhero worship makes what could be one of the coolest hybrids in AFFD history. And, the debut feature from Jiayi Du, ONE MILE ABOVE, is the heartwarming and inspiring (true) tale of a young man’s trek to the highest point in Tibet on a bicycle.
	Amidst the primetime screenings, midnights, feature competition categories, short film blocks and a new student short program, the AFFD has not forgotten about the classics and brings a trio of Japanese masterpieces from Janus Films to the big screen. Celebrating their 50th anniversaries are both Akira Kurosawa’s SANJURO and Masaki Kobayashi’s HARA KIRI; but also the 1968 horror/fantasy KURONEKO, brought to the AFFD in a new 35mm print that stunningly highlights the film’s brilliant artistic achievement.
	More titles and full schedule of events and details will follow in the coming weeks. Visit www.asianfilmdallas.com.
About the Asian Film Festival of Dallas Since its creation in 2002, the annual film festival has grown to become the South’s largest showcase of Asian and Asian-American cinema. Over the past 10 years, the festival has provided opportunities for nearly 500 Asian and Asian-American filmmakers and documentarians to share their vision, often providing the only venue for their films to be shown in Dallas.
	The films have also allowed festival goers a chance to experience other lives and cultures without leaving their seats. The Asian Film Festival of Dallas is a 501(c)(3) nonprofit organization dedicated to celebrating and supporting emerging and established Asian and Asian-American filmmakers and sharing the rich diversity of Asian culture through the medium of cinema.
	For more information about AFFD or to purchase tickets, please visit www.asianfilmdallas.com

#### Asian Film Festival of Dallas – Crowdfunding Roundtable
Filmmakers Dave Boyle, Mye Hoang, Tuyen Do, Justin S. Lee and James Y. Shih talk about crowdfunding in filmmaking.

	httpvh://www.youtube.com/watch?v=9jpFM5WPx50

#### Asian Film Festival of Dallas (AFFD) Announces Film Lineup for 2025 Festival
The Asian Film Festival of Dallas (AFFD) announced the film lineup for this year’s 24th edition of the popular film festival. Taking place July 24-27, AFFD’s Opening Night selection is Shinji Araki’s Japanese thriller Penalty Loop, Centerpiece will be Johnny Ma’s comedy-drama The Mother and the Bear, and the Closing Night selection is Yugo Sakamoto’s Japanese action-comedy Baby Assassins: Nice Days. AFFD’s special Saturday Women’s Showcase spotlighting female filmmakers will feature Mye Hoang’s latest feline-inspired documentary 25 Cats From Qatar, and  Dương Diệu Linh’s Vietnamese fantasy/drama Don’t Cry, Butterfly. All screenings will take place at the Angelika Film Center Dallas (5321 E. Mockingbird Lane, #230).
AFFD Programming Director Paul Theiss, said, “This year’s festival is especially exciting as we present our latest Women’s Showcase, celebrating powerful works by female filmmakers from across Asia—South Korea, India, Singapore, and Vietnam—as well as the United States. For the festival as whole, while fans can still count on the high-energy action films we’re known for, a deeper theme emerged as I programmed the lineup: the power of connection. This year’s festival explores the deep human need to reach out, be seen, and never go it alone. And what better place to celebrate that spirit of connection than at a film festival, which brings us together through the shared experience of storytelling.”
Opening night on Thursday, July 24, features Shinji Araki’s Penalty Loop. The best Asian Film winner at the Fantasia Film Festival, which screened in front of a sold out audience there, Araki’s film gives the time-loop movie treatment an action-filled edge. The film follows a man who wakes up one morning and proceeds to exact revenge on the man who murdered his lover. However, when he wakes up it is the same day, and he finds himself forced to kill the man again and again and again. And that man also begins to realize he is caught in the same loop destined to be killed over and over and over again. Thus, a time loop cat-and-mouse between the two men is set into motion.
Johnny Ma’s The Mother and the Bear is a two-time festival award-winner making its way to Dallas and AFFD for the Centerpiece Screening on Friday, July 25. The Chinese Canadian filmmaker tries his hand with a lighter touch after building a critically-acclaimed reputation with dramatic fare with this film about a mother who discovers she doesn’t really know her own daughter after she has an accident and falls into a coma. Along with learning about her life, she starts working on some matchmaking for her daughter to take place post-coma as well as possibly starting a new relationship herself. Johnny Ma will also be in-person at AFFD to participate in the post-screening Q&A.
 
2025 Asian Film Festival of Dallas Film Festival Official Selections
 
OPENING NIGHT
 
Penalty Loop
Director: Shinji Araki
Country: Japan, Running Time: 99 min
Penalty Loop is a time-loop thriller which follows a man trapped in an endless cycle, reliving the same day to avenge the murder of his girlfriend. As he confronts his enemy in this looping world, his quest for revenge gradually turns inward, forcing him to face himself.
 
 
CENTERPIECE SELECTION
 
The Mother and the Bear
Director: Johnny Ma
Countries: Canada/Chili, Running Time: 100 min
Sara, a middle-aged widow from Seoul, travels to Winnipeg after her daughter Sumi suffers a fall that leaves her comatose. While waiting for Sumi to recover, Sara discovers how little she knew about her daughter’s life in Canada. In an attempt to connect, she begins meddling in Sumi’s affairs, including catfishing potential suitors on dating apps. Amidst the chaos, Sara forms an unexpected bond with Sam, a local Korean restaurateur, leading to a journey of self-discovery and cultural reconciliation.
 
 
CLOSING NIGHT
 
Baby Assassins: Nice Days
Director: Yugo Sakamoto
Country: Japan, Running Time: 103 min
Teenage assassins Chisato Sugimoto (Akari Takaishi) and Mahiro Fukagawa (Saori Izawa) take a vacation to Miyazaki, Japan. However, their respite is short-lived as they are assigned a new mission: to eliminate a target at the passport embassy. Upon arrival, they encounter Kaede Fuyumura (Sosuke Ikematsu), a freelance assassin with a staggering body count, who is also after the same target. This unexpected confrontation thrusts them into a deadly game of cat and mouse, challenging their skills and their bond.
 
SATURDAY WOMEN’S FILMMAKER SHOWCASE SELECTIONS
 
25 Cats From Qatar
Director: Mye Hoang
Country: USA, Running Time: 95 min
Qatar is one of the world’s wealthiest nations, and its luxurious surface and rapid growth are powered by migrant workers who make 89% of the population. And they also feel compelled to help its struggling street cats. When an American flight attendant and cat cafe owner becomes aware of the crisis, she hatches a plan to fly 25 cats to Milwaukee, where her cat cafe provides a pipeline for adoption.
 
Blue Sun Palace
Director: Constance Tsang
Countries: China/USA, Running Time: 116 min
Within the confines of a massage parlor in Flushing, Queens, Amy and Didi navigate romance, happiness, and the obligations of family thousands of miles from home. Despite the physical and emotional toll their work extracts, the women who live at the parlor have fortified an impenetrable sisterhood. When tragedy strikes on Lunar New Year, Amy is forced to consider her own destiny for the first time ever. Despite finding solace in the company of Cheung, Amy must leave the city and prioritize her own spirit in order to survive.
 
Don’t Cry, Butterfly
Director: Dương Diệu Linh
Countries: Vietnam/Philippines/Singapore/Indonesia, Running Time: 97 min
Tam, a hardworking wedding venue staffer, learns of her husband’s affair while watching live TV. Instead of confronting him, she turns to a powerful spell master in a desperate bid to reclaim his love. Her daughter, Ha, channels her anger into vibrant fantasies of escaping to a better life abroad. All the while, a mysterious House Spirit—seen only by the women—lingers beneath their crumbling, leaky ceiling, silently bearing witness to their unraveling world.
 
Pierce
Director: Nelicia Low
Countries: Singapore/Taiwan/Poland, Running Time: 109 min
Set in Taipei, Pierce follows Jie, a young fencer who reconnects with his estranged older brother Han, recently released from juvenile prison after serving time for killing an opponent during a fencing match. As Jie trains for the national championships under Han’s guidance, he grapples with the resurfacing of Han’s violent tendencies, leading him to question his brother’s true nature.
 
 
 
ADDITIONAL NARRATIVE FEATURES
 
Boong
Director: Lakshmipriya Devi
Countries: India/France, Running Time: 93 min
In the valley of Manipur, little Boong plans to surprise his mother with a gift. In his innocence, he believes that bringing his absentee father back home would be the most special gift.
 
Bushido
Director: Kazuya Shiraishi
Country: Japan, Running Time: 129 min
Kakunoshin Yanagida, a ronin, is accused of a crime he does not commit and mourns the death of his wife. He is forced to leave his hometown, the Hikone domain, and lives with his daughter, Okinu, in a poor tenement house in Edo (Tokyo). One day, Kakunoshin finds the truth behind a tragic false accusation by an old clan acquaintance and decides to take revenge. However, to support her father, Okinu wants to sacrifice herself.
 
Don’t Cry, Butterfly
Director: Dương Diệu Linh
Country: Vietnam, Running Time: 97 min
Tam, a hardworking wedding venue staffer, learns of her husband’s affair while watching live TV. Instead of confronting him, she turns to a powerful spell master in a desperate bid to reclaim his love. Her daughter, Ha, channels her anger into vibrant fantasies of escaping to a better life abroad. All the while, a mysterious House Spirit—seen only by the women—lingers beneath their crumbling, leaky ceiling, silently bearing witness to their unraveling world.
 
Ghost Killer
Director: Kensuke Sonomura
Country: Japan, Running Time: 105 min
Fumika Matsuoka, a struggling college student, inadvertently becomes possessed by the vengeful spirit of Hideo Kudo, a hitman betrayed and murdered by his own organization. Bound together, Fumika and Kudo embark on a quest for revenge, with Kudo granting Fumika supernatural strength to confront his killers.
 
The Last Woman on Earth
Directors: Lee Jong-min, Yeum Moon-kyoung
Country: South Korea, Running Time: 78 min
Han-ah is a blunt blue-haired woman taking a liberal film art class. No one gives her sincere feedback on her screenplay, which is full of anger toward men. But only one person, Cheol, an aspiring director who wishes to make a feature film, approaches her and says, “Hey, isn’t this screenplay hatred of men?” He believes a sponsored enterprise didn’t select his screenplay because it didn’t receive the ‘extra points from woman’s film.’ He ridiculously suggests that Han-ah team up with him.
 
Method Acting
Director: Lee Ki-hyuk
Country: South Korea, Running Time: 92 min
Lee Dong-hwi, a washed-up comedy actor, aspires to change his image to a serious drama actor. Fortunately, he lands the role of a majestic king in a historical drama, but unexpected challenges begin to unfold for him.
 
My Sunshine
Director: Hiroshi Ouyama
Countries: Japan/France, Running Time: 90 min
On a Japanese island, life revolves around the changing seasons. Winter is time for ice hockey at school, but Takuya isn’t too thrilled about it. His real interest lies in Sakura, a figure skating rising star from Tokyo, for whom he starts to develop a genuine fascination. Coach and former champion Arakawa, spots potential in Takuya, and decides to mentor him to form a duo with Sakura for an upcoming competition.
 
Paper Marriage
Director: Jeff Mann
Country: USA, Running Time: 91 min
Fanny (Effy Han), a Chinese immigrant facing deportation, pins her last hopes on staying in the U.S. by paying Jeff (Jeff Man), an unemployed lost soul, to marry her. During this year-long charade, they tiptoe around each other’s differences. As quiet moments turn into clashes, they navigate through their awkwardness and are forced to learn to work together.
 
The Shrine
Director: Kazuyoshi Kumakiri
Countries: South Korea/Japan, Running Time: 98 min
Yu-mi and her university friends travel to a small Japanese town to prepare for an exhibition on religious artifacts. When one of them, Hee-jung, goes missing after visiting a mysterious shrine depicted in her painting, the group decides to investigate. Their exploration leads to unsettling occurrences, prompting Yu-mi to seek help from her former classmate, Myung-jin—a reluctant shaman capable of communicating with the spirit world. Together with Pastor Han-ju, a local spiritual leader, they confront a malevolent entity threatening the town.
 
Waterdrop
Director: Choi Jong-yong
Country: South Korea, Running Time: 108 min
Thirteen-year-old Su-yeon is left alone after the death of her grandmother, her only guardian. Facing the threat of being placed in foster care, she sets out to secure a new home by ingratiating herself with her best friend’s family—and even online influencers. As she navigates shifting households and uneasy relationships, Waterdrop unfolds into a haunting psychological survival story, exploring identity, trust, and the quiet desperation of a child determined to belong.
 
You Are the Apple of My Eye
Director: Cho Young-myoung
Country: South Korea, Running Time: 101 min
Jin-woo gets caught goofing around during class and as punishment, is forced to sit in front of class president Sun-ah and be monitored by her. Although she is a model student and he is a troublemaker, the two begin to grow close. However, they are bad at expressing their feelings.
 
 
SHORT FILMS
 
The Bathroom Is Empty, The Water Was For Me
Director: Kero Tse
Country: USA, Running Time: 7 min
Chris turns on the bathroom water and retreats to his room to watch adult movies. When his roommate Jason and his girlfriend Lily return, they mistakenly believe that Chris brought a woman home. Chris, feeling awkward, goes along with it. As the days pass, Chris gets more tangled in his own lies, feeling increasingly empty and confused.
 
Forgive Me
Director: Cameron Sun
Country: USA, Running Time: 19 min
Jessica is the only Asian girl in her American suburb. While navigating cultural expectations and casual racism, she is stalked by a menacing shadow with a tragic past.
 
The Gleaner
Director: Dawoon Yang
Country: South Korea, Running Time: 22 min
Gijeong picks up items that hint at suicide. During this process, she is misunderstood and runs away, but also receives comfort from a stranger. With these items, where is Gijeong headed?
 
It Is Now Tomorrow
Director: Mỹ Trinh
Country: USA, Running Time: 25 min
The different ways a single Vietnamese mother loved her three daughters comes to fruition when Junie, the middle child, reunites with her sisters in their childhood home on their mother’s death anniversary.
 
Kumar Kumar
Director: Kiran Koshy
Country: USA, Running Time: 7 min
Kumar Kumar is all alone on his birthday. His social media feed is dead. Maybe he should be too? But then, the computer dings. Despite the odds, he craves a meaningful human connection—like all of us—and clings to the hope of finding one. It’s a satirical critique of our social media age, where—despite our hyper-connectivity—we’re lonelier than ever.
 
The Spaces Between Us
Director: Shane P. Liao
Country: USA, Running Time: 14 min
An Asian American daughter plans a road trip with her mom in hopes of improving their relationship only to argue every step of the way as they figure out what their relationship truly means to each other.
 
Sunflower Girl
Director: Holly Kaplan
Country: USA, Running Time: 13 min
On an afternoon when Rosie is skateboarding, she drops into her mother’s dry-cleaners and is tasked with delivering her 6-year-old sister’s forgotten lunchbox. When Rosie arrives at school to pick up her sister, she runs into two skater boys: her cool crush, and his rambunctious best friend. Trouble ensues when Rosie joins up with the boys, as they welcome her in, Rosie must choose between her family responsibilities or her new skate crew.
 
Wokman
Director: Jeremy Thao
Country: USA, Running Time: 16 min
Wokman shares an immigrant Chinese family’s pursuit of the American Dream from inside of their restaurant, China Wok. Based in 1998 in rural Georgia, the film is a slice-of-life story of the only Chinese family in town, the Lis, as they navigate through their own little corner of America.
 
Yellow Balloon
Director: Summer Luu
Country: USA, Running Time: 14 min
In 1996, a Vietnamese-American child from San Jose is adopted by their paternal immigrant grandparents in Vancouver. On their journey, the child processes their identity, the unspoken rules of complex social dynamics, and discovers the reality of letting go.

#### Asian Film Festival of Dallas Announces 2016 First Titles & Festival Highlights
 

	The Asian Film Festival of Dallas celebrates its 15th year with returning presenting sponsor Well Go USA Entertainment, from Thursday, July 14 through Thursday, July 21, 2016.  

	This festival year boasts its first Iranian film as part of its repertory program.  To commemorate its 15th anniversary, they will be showcasing past film festival favorites from its first, fifth and tenth years (films will be announced in the next coming weeks!)

	Film fans can also expect films from the U.S., Indonesia, Singapore, Thailand, China, Hong Kong, Japan, Korea and Vietnam and from all genres: action, anime, comedy, crime drama, documentary, drama, martial arts, psycho drama, thriller and romantic comedy.   

	AFFD organizers are excited about adding its first Iranian film and announcing its first three of many diverse Asian and Asian-American films:

	The Brick and the Mirror
	Genre: Drama
	Runtime: 131 min
	Released: 1965
	Country: Iran
	Language: Persian w/ English Subtitles
	Director: Ebrahim Golestan
	Starring: Taji Ahmadi, Zackaria Hashemi, Goli Bozorgmehr      
	 

	Hashem is a cab driver who finds an infant child in the back seat of his cab one night after he gives a ride to a young woman. He and his girlfriend, Taji, try to cope with this unwanted child. Hashem insists on getting rid of the child, Taji on keeping him.

	 

	Port of Call
	Premiere status: Southwest premiere
	Genre: Crime
	Runtime: 126 min
	Released: 2015
	Country: Hong Kong
	Language: Cantonese w/ English Subtitles
	Director: Philip Yung
	Starring: Aaron Kwok, Jessie Li, Patrick Tam
	 

	**Port of Call won seven awards at the Hong Kong Film Awards including best actor (Aaron Kwok) and best actress (Jessie Li).

	The film is based on a real murder case where a dismembered corpse of a murdered 16-year-old prostitute girl was found in Hong Kong in 2008. Jiamei Wang has moved to Hong Kong from Dongguan, China. Desperate to become financially independent from her mother and step-father, she ends up becoming a prostitute. Chi-chung Ting, a truck driver who had just been brutally dumped, finds Jiamei online. They communicate with each other via text message and become friends right away. On the day of the murder, Jiamei and Chi-chung finally meet in person. Ching Sir, a quirky police officer in charge of the case, wants to find out the real reason behind the incident, to prove that human nature is not evil, to shine a light onto the darkness.

	Hikawa Maru Monogatari
	Premiere status: International premiere
	Genre: Anime
	Runtime: 90 min
	Released: 2015
	Country: Japan
	Language: Japanese w/ English Subtitles
	Director: Shunji Oga
	 

	**Hikawa Maru Monogatari commemorates the real-life 85th anniversary of the maiden voyage of the Hikawa Maru ocean liner from Kobe to Seattle. The film is based on essayist Genjiro Ito's book of the same name.

	Jirō Hirayamais a boy who lost his mother in the Great Kanto Earthquake, and who runs a soba stall with his father. He decides to join the crew of the famous ocean liner Hikawa Maru, and finds work cooking in the ship's galley. Through his eyes, the film explores the ship's 85-year history.

	Parties and events:

		VIP Reception: Invitation-only
	

		Opening Night Party: Thursday, July 14
	

		Filmmakers Reception/Panel: TBA
	

		Closing Night Party: Thursday, July 21
	

	More titles and full schedule of Q&As, parties, events and details will follow in the coming weeks. Visit www.asianfilmdallas.com

#### Asian Film Festival of Dallas Announces Film Lineup for 2024 Edition
 
The Asian Film Festival of Dallas (AFFD) announced the film lineup for this year’s 23rd edition of the film festival. Taking place July 25-28, AFFD’s Opening Night selection is Ning Hao’s Chinese comedy The Movie Emperor, Centerpiece will be Marc Marriott’s fish-out-of-water tale Tokyo Cowboy, and the Closing Night selection is Soi Cheang’s Hong Kong action-adventure film Twilight of the Warriors: Walled In. A special Saturday Showcase selection following AFFD’s red carpet celebration will be Yeon Je-gwang’s South Korean thriller The Guest. All screenings will take place at the Angelika Film Center Dallas (5321 E. Mockingbird Lane, #230).
AFFD Executive Director Thomas Schubert, said, “The programming for this year’s edition of the film festival goes back to the basics of what AFFD has been delivering to Dallas audiences for more than two decades now: striking dramas, high comedies, action, thrillers, horror, and insightful documentaries for and about Asians and Asian Americans. The Angelika will once again play host to appearances and conversations with our filmmakers and talent, and we will celebrate their work both as we screen their films and through our other special events and parties that truly make the Asian Film Festival of Dallas a can’t miss event for DFW film lovers.”
Opening night on Thursday, July 25, features Ning Hao’s The Movie Emperor. The satire centers on a former Hong Kong film star who takes on a role in a modest indie drama to revive his career. To prepare for his role, he immerses himself in rural life in mainland China, struggling to adapt to the daily way of life most everyone deals with due to his arrogance and detachment from reality. Marc Marriott’s Tokyo Cowboy screens as the Centerpiece selection on Friday, July 26. In the film, a brash efficiency expert arrives in Montana, having convinced his Tokyo bosses he can turn a profitless US cattle ranch into a premiere-performing asset. However, having taken off his suit and dressed like a cowboy in an attempt to fit in, he winds up having a life-changing experience. Director Marc Marriott will be in attendance and will participate in a post-screening Q&A.
Following Red Carpet entrances featuring this year’s attending filmmakers and DFW guest luminaries, the Saturday Showcase selection (July 27) features Yeon Je-gwang’s thriller, The Guest, about two lackeys at a seedy motel doing the dirty work of clean up after the clients and managing the place – as well as taping their sexual activities and selling the videos. That is until they witness – and tape – a murder. Now, they’ve got a life-and-death choice to make. Director Yen je-gwang and star Lee Juseung will be in attendance and will participate in a post-screening Q&A. Soi Cheang’s Twilight of the Warriors: Walled In closes AFFD on Sunday, July 28, with a thriller about a young man who stumbles into the treacherous walled city and soon aligns himself with a legendary and feared underworld figure, joining his effort to protect the walled city from Mr. Big, a crime lord hired by the colonial government to destroy their sanctuary.
Additional highlights include Daniel Driensky and Sarah Reyes’ documentary Art is Love: Nepal. The screening will be the rare occurrence of AFFD spotlighting a film made by local filmmakers and features Texas artist Sean Starr on a journey to Nepal, where he explores and documents traditional and handcrafted arts that are at risk of disappearing. Both the directing duo, Driensky and Reyes, as well as the documentary’s subject will be in attendance and participate in a post-screening Q&A. Karan Tejpal’s Indian drama Stolen delivers a South Asian offering about two brothers who are unexpectedly enlisted to help a panicked woman find her lost child. ​Yamaguchi Yudai’s One-Percent Warriordelivers the samurai-style combat goods in a story about a legendary, aging action film star drawn into the real world of violence when feuding yakuza gangs infiltrate the set of his latest feature.
To purchase badges, tickets and for more information please go to: https://asianfilmdallas.com/.
2024 Asian Film Festival of Dallas Film Festival Official Selections
 
OPENING NIGHT
The Movie Emperor    
Director: Ning Hao
Country: China; Running Time: 126 minutes
The Movie Emperor is a satirical comedy directed by Ning Hao. The film centers on Lau Wai-Chi, a former Hong Kong film star, who takes on a role in a modest indie drama to revive his career. To prepare for his role as a peasant farmer in the 1960s, Lau immerses himself in rural life in mainland China. His journey is marked by a series of comedic mishaps, highlighting his struggle to adapt to the common people and their way of life due to his arrogance and detachment from reality.
CENTERPIECE SELECTION
Tokyo Cowboy          
Director: Marc Marriott
Country: Japan; Running Time: 118 minutes
Brash businessman Hideki arrives in Montana having convinced his Tokyo bosses he can turn a profitless US cattle ranch into a premiere-performing asset. Yet when his Hardee’s-burger-loving Japanese Wagyu-beef expert fails him, Hideki is poised to misfire magnificently unless he identifies a missing element that’s key to the transformation… himself.
CLOSING NIGHT
Twilight of the Warriors: Walled In
Director: Soi Cheang
Country: Hong Kong; Running Time: 125 minutes
Chan Lok-kwun is a troubled youth who accidentally enters the Walled City and discovers a unique sense of order amidst the chaos. As he navigates this treacherous environment, he forms close bonds with other key figures, including Shin and Twelfth Master. Under the leadership of Tornado, a legendary and feared underworld figure, Chan and his allies strive to protect the Walled City from the villain Mr. Big, a crime lord hired by the colonial government to destroy their sanctuary.
SATURDAY SHOWCASE SELECTION
The Guest      
Director: Yeon Je-gwang
Country: South Korea; Running Time: 76 minutes
Someone is watching you behind the screen. Min-cheol, who works at a motel, makes dirty money by filming illegal sex videos of the guests. Although feeling guilty, he has no choice but to continue the job to pay loan shark debts. On one rainy night, he witnesses a guy strangling a drunk woman to death through the hidden camera. Still debating between selling this provocative footage and reporting a crime, Min-cheol now must make a decision.
ADDITIONAL NARRATIVE FEATURES
A Childless Village   
Director: Reza Jamali
Country: Iran; Running Time: 81 minutes
A Childless Village is set in a remote village where, twenty years ago, an old filmmaker named Kazem made a film about the sterility of the women villagers. To protect their dignity, the women stole and burned the footage. Now, it is revealed that the men are infertile, not the women. Kazem, with his assistant, attempts to record interviews with the infertile men to uncover the truth.
A Long Shot  
Director: Gao Peng
Country: China; Running Time: 117 minutes
In the early 1980s, factories declined in Northeast China, and thefts occurred one after another. After the sharpshooter Gu Xuebing retired, he became an ordinary officer in the factory security department. He admires Xiao Jin, a single mother, and accidentally finds that Xiao Jin’s son, Geng Xiaojun, is wandering on the edge of crime. Gu Xuebing is determined to bring him back to the right path.
Moscow Mission       
Director: Herman Yau
Country: China; Running Time: 128 minutes
Tough Chinese detectives go on a mission to Moscow to hunt down ruthless robbers who have been plaguing the trans-Siberian railway with violence and chaos.
Ms. Apocalypse        
Director: Lim Seon-ae
Country: South Korea; Running Time: 116 minutes
Yeong-mi is an accounting manager at a factory and is often ridiculed for her dowdy appearance and nicknamed ‘Ms. Apocalypse’ by her colleagues. The only person who shows her kindness is Do-yeong, a delivery driver, whom she secretly admires. As her feelings for Do-yeong grow, Yeong-mi discovers that he has been embezzling company money. Despite this, she strives to protect him, which leads to her being arrested for aiding his crime. This dramatic turn of events coincides with the societal panic over the impending turn of the millennium. After serving her time in prison, Yeong-mi encounters Do-yeong’s wife, Yoo-jin, who presents her with an unexpected and compelling offer, leading to an unlikely friendship between the two women.
Namesake      
Director: Yung-Chi Chen
Country: Taiwan; Running Time: 79 minutes
Namesake follows the lives of multiple characters sharing the same name, exploring the unique stories and emotional struggles that come with their shared identity. Each character navigates personal challenges, social expectations, and their search for self-identity, all while being linked by their common name. The film delves into themes of identity, connection, and the impact of names on one’s life journey.
Old Fox
Director: Hsiao Ya-Chuan
Country: Taiwan; Running Time: 111 minutes
Old Fox follows a young boy who befriends his landlord, nicknamed Old Fox, and tells the story of Taiwan’s rapidly changing society of the late 1980s.
One-Percent Warrior
Director: Yamaguchi Yudai
Country: Japan; Running Time: 96 minutes
After his devastatingly fast, samurai-style combat approach sets filmmakers against him, a legendary action star (Tak Sakaguchi) films his own movie—on turf claimed by feuding yakuza gangs, including Japan’s deadliest martial arts assassin.
Post Truth      
Director: Chengpeng Dong
Country: China; Running Time: 112 minutes
After being imprisoned for standing up for a friend, middle-aged Wei Ping’an struggles to rebuild his life. Upon his release, he takes a job as a cemetery salesman. In his difficult new role, he is determined to clear the name of his deceased client, Han Lu who was the victim of online slander. Driven by a promise, Wei Ping’an embarks on a challenging journey to uncover the truth behind the rumors. His path is fraught with obstacles, including confrontations with his own sister, Wei Ruyi, and relentless pursuit by the wealthy and powerful Mr. Feng. Through these trials, Wei Ping’an gradually realizes that doing what one believes is right brings the greatest peace of mind.
Rose & Samurai 2: Return of the Pirate Queen    
Director: Hidenori Inoue
Country: Japan; Running Time: 174 minutes
Set in the 17th century on the Iberian Peninsula, Anne de Alwida, a pirate queen, and Goemon Ishikawa, a master thief, navigate various challenges and comedic mishaps while protecting the seas. Their journey highlight’s themes of bravery, loyalty, and the clash between arrogance and humility.
Stolen
Director: Karan Tejpal
Country: India; Running Time: 94 minutes
In the wee morning hours at a remote railway station in rural India, a chance encounter changes the lives of a few young people forever. Gautam Bansal is there to pick up his brother Raman for an extravagant destination wedding. Their already tenuous relationship and the thin veneer of familial love are challenged when they chance upon Jhumpa Mahato. A broken woman with little to her name, Jhumpa is beside herself with panic when she wakes from her slumber to discover her infant daughter missing. A series of unfortunate incidents embroil the two brothers into Jhumpa’s pitiful endeavor to be reunited with her young child. ​Raman, ever on a crusade for justice and righting the world’s wrongs, believes it’s their moral duty to come to the helpless women’s aid. Gautam, believes more in the pleasures of a privileged life, and hardly cares to know more about what does not concern him. ​This perilous journey through the unforgiving hinterlands thrusts the young men out of their sheltered existence, compelling them to confront the harshness of reality.
The Tenants  
Director: Yoon Eun-Kyoung
Country: South Korea; Running Time: 88 minutes
The Tenants is set in a dystopian future Seoul, plagued by severe environmental pollution and exorbitant living costs. The protagonist, Shin-dong, is an office worker who faces eviction by his landlord. Unable to afford a new place, he follows a friend’s advice to rent out part of his current home to complicate the eviction process. He ends up renting his bathroom to a peculiar newlywed couple, leading to a series of bizarre and unsettling events.
DOCUMENTARY FEATURES
Art is Love: Nepal     
Directors: Daniel Driensky, Sarah Reyes
Countries: United States/Nepal; Running Time: 71 minutes
The film features Texas artist Sean Starr on a journey to Nepal, where he explores and documents traditional and handcrafted arts that are at risk of disappearing. The documentary showcases a variety of Nepali artisans, including Thangka painters, woodcarvers, singing bowl manufacturers, paper makers, basket weavers, and traditional musicians and dancers. These artists share their craft and the cultural significance behind their work, which has been passed down through generations. The project aims to highlight the importance of preserving these art forms in a rapidly changing global landscape dominated by technology.
Ashima           
Director: Kenji Tsukamoto
Country: Unites States; Running Time: 86 minutes
Ashima follows elite rock climber Ashima Shiraishi as she travels to South Africa to attempt to become the youngest climber to master one of the world’s most challenging climbs. Accompanying Ashima is her father and coach Poppo, a former avante-garde dancer who brings an eccentric, tough-love approach to Ashima’s training. Examining the sacrifices required to achieve at the highest level and the complex relationship between immigrant parents and their children, this is an intimate coming-of-age story about climbing, family, and pursuing the American Dream.
SHORT FILMS
Benkyodo: The Last Manju Shop in J-Town         
Directors: Akira Boch, Tadashi Nakamura
Country: United States; Running Time: 15 minutes
Ricky and Bobby Okamura wrestle with closing their beloved family-owned manju shop after serving the San Francisco Japantown community for 115 years.
Captured                                            
Director: Tomoaki Kaneko
Country: Japan; Running Time: 12 minutes
Yuki, a devoted mother, finds joy in sharing her only daughter Sara’s photos on social media. Caught in the pursuit of fame and validation, she increasingly risks reality for the perfect “photogenic” shot, becoming deaf to her husband’s warnings. Her obsession for likes and approval leads her down a dangerous path, ending in a tragic transformation: Yuki becomes a lonely old woman, mourning the loss of Sara, a daughter sacrificed to the altar of social media perfection.
Champion                                          
Director: Kim J.Y. Han
Country: United States; Running Time: 13 minutes
It’s 1997, and 9-year-old Jimin just moved to California. Jimin refuses to speak to her father who stayed behind in Korea, but when a major financial crisis devastates their home country, all hopes that he can join them in America dissipates. Now, Jimin must gather the courage to take the next steps alone.
Cuppa Chai                                        
Director: Amit Kaur
Country: United Kingdom; Running Time: 10 minutes
After the death of her Nani Ji, eighteen-year-old Mira arrives back in her hometown and is confronted by the fact that she knows very little about the woman who passed away. She must learn more about her grandmother’s life the only way she knows how, through the perfect cup of tea and halwa.
Floor                                       
Director: Caitlin Boston
Country: United States; Running Time: 11 minutes
Molly is a young Asian woman trying to figure out where her father’s body is after his sudden death by suicide. Due to a challenging relationship with her mother, the location is being withheld from her.
For Roy                                              
Director: Vivian Cheung
Country: Canada; Running Time: 12 minutes
Inspired by true events, an imaginative Asian-Canadian girl attempts to fold a thousand cranes as she learns to lose her father during his final days in the hospice.
Happy Doomsday                                         
Director: Sol O
Country: Republic of Korea; Running Time: 13 minutes
A survival dark suspense comedy, in which the story follows two women who, after being rejected in the same final job interview, chance upon each other in an online community. They make a pact to end their lives together on the rooftop of the company building. However, as the night progresses, they find themselves challenged by unexpected obstacles, leading to an unexpected turn of events.
Midori                                     
Director: Dohyun KIM
Country: Republic of Korea; Running Time: 13 minutes
A young lady with crippled legs gets white shoes as a keepsake left by her deceased mother. Maid Midori wants these beautiful shoes for her own.
Newspapers                                      
Director: Vu Hoang
Country: United States; Running Time: 14 minutes
A young Vietnamese American man revisits treasured memories of helping his mother, and fulfills a childhood promise he made to her, paying the ultimate price.
Viral                                        
Director: Al Chang
Country: United States; Running Time: 11 minutes
In their pursuit of viral fame, a group of young women’s social media recording session turns perilous when they’re stalked by an internet serial killer.
VoiceClub      
Director:   Taeyoung Kim
Country: Republic of Korea; Running Time: 25 minutes
A social media “Voice Club” where they communicate only with their voices leads to outrageous lies.

#### Asian Film Festival of Dallas Announces Full 2016 Lineup & Parties
SAMURAI HUSTLE RETURNS (Opening Night Film) – World Premiere

	 

	The Asian Film Festival of Dallas celebrates its 15th year with returning presenting sponsor Well Go USA Entertainment, from Thursday, July 14 through Thursday, July 21, 2016.

	This festival year boasts its first its first Iranian film as part of its repertory program, 2 world premieres and to commemorate its 15th anniversary, they will be showcasing past film festival favorites from its first, fifth and tenth years.  

	Film fans can also expect films from the U.S., China, Singapore, Japan, South Korea, Hong Kong and Vietnam and from all genres: action, anime, comedy, crime drama, documentary, drama, martial arts, psycho drama, thriller and romantic comedy.   

	AFFD in numbers:

		33 feature film screenings. 6 shorts blocks, including local students’ shorts.  7 countries represented.
	

		2 World premieres.  4 International premieres.  4 North American premieres. 10 Southwest premieres.
	

		6 expected filmmakers in attendance.  
	

	All  screenings will be shown at the Angelika Film Center – Dallas

	 

	To mark the 15th anniversary, the following films from their 1st, 5th & 10th years will be shown:

		1st year – Fallen Angels
	

		5th year – Journey from the Fall
	

		10th year – Bedevilled
	

	 

	FULL FILM & EVENT SCHEDULE

	THURSDAY, JULY 14

		7:00 pm – SAMURAI HUSTLE RETURNS (Opening Night Film) – World Premiere
	

		8 pm-11 pm – OPENING NIGHT PARTY @ TBA
	

	 

	FRIDAY, JULY 15

	Theater 4

		2:45 pm – FALLEN ANGELS (from 1st year)
	

		4:45 pm – THE MAHJONG BOX – World Premiere
	

		6:45 pm – STRAYER'S CHRONICLE – Southwest Premiere
	

		9:30 pm – ATTACK ON TITAN I: THE CRIMSON BOW AND ARROW – North American Premiere
	

		11:45 pm – BEDEVILLED (from 10th year)
	

	 

	Theater 7

		2:00 pm – DRAMA SHORTS 1
	

		4:00 pm – PROPHECY – Southwest Premiere
	

		6:30 pm – JOURNEY FROM THE FALL (from 5th year)
	

		9:15 pm – NESSUN DORMA – International Premiere
	

		11:00 pm – LATE NIGHT SHORTS
	

	 

	SATURDAY, JULY 16

	Theater 4

		12:30 pm – EXPERIMENTAL SHORTS
	

		2:15 pm – RUROUNI KENSHIN II: KYOTO INFERNO
	

		5:00 pm – YOU CALL IT PASSION – Southwest Premiere
	

		7:30 pm – CHONGQING HOT POT – Southwest Premiere
	

		9:30 pm – THE INERASABLE – Southwest Premiere
	

		11:30 pm – IN THE ROOM – Southwest Premiere
	

	 

	Theater 7

		12:00 pm – STUDENT SHORTS
	

		2:00 pm – SAMURAI AND IDIOTS – THE OLYMPUS AFFAIR – North American Premiere
	

		3:45 pm – CINEMA ANGEL – Southwest Premiere
	

		5:45 pm – HIKAWA MARU MONOGATARI – International Premiere
	

		7:45 pm – MISSING YOU – Southwest Premiere
	

		10:00 pm – THE BODYGUARD – Southwest Premiere
	

	
	 

	SUNDAY, JULY 17

	Theater 4

		11:30 am – THE STORY OF THE LAST CHRYSANTHEMUM
	

		2:15 pm – WOLF GIRL & BLACK PRINCE – North American Premiere
	

		4:30 pm – BITCOIN HEIST – Southwest Premiere
	

		7:00 pm – MOUNTAIN CRY (Centerpiece Film) – North American Premiere
	

		Centerpiece Reception @ Angelika Film Center of Dallas (prior to the film)
	

		9:15 pm – ATTACK ON TITAN II: WINGS OF FREEDOM – North American Premiere
	

	 

	Theater 7

		1:00 pm – DRAMA SHORTS 2
	

		3:00 pm – THE BRICK AND THE MIRROR
	

		5:45 pm – CLEARER THAN YOU THINK – International Premiere
	

		7:30 pm – STRAYER'S CHRONICLE (2nd screening) – Southwest Premiere
	

		10:00 pm – LATE NIGHT SHORTS
	

	 

	MONDAY, JULY 18

	Theater 4

		1:30 pm – DOCUMENTARY SHORTS
	

		3:30 pm – THE INERASABLE (2nd screening) – Southwest Premiere
	

		5:45 pm – RUROUNI KENSHIN III: THE LEGEND ENDS
	

		8:15 pm – THE TIGER
	

		11:00 pm – PROPHECY (2nd screening) – Southwest Premiere
	

	 

	TUESDAY, JULY 19

	Theater 4

		1:30 pm – THE BODYGUARD (2nd screening) – Southwest Premiere
	

		3:30 pm – THE SKY-BLUE SYMPHONY – International Premiere
	

		6:00 pm – BITCOIN HEIST (2nd screening) – Southwest Premiere
	

		8:15 pm – MISSING YOU (2nd screening) – Southwest Premiere
	

		10:15 pm – SPA NIGHT
	

	 

	WEDNESDAY, JULY 20

	Theater 4

		1:00 pm – YOU CALL IT PASSION (2nd screening) – Southwest Premiere
	

		3:30 pm – WOLF GIRL & BLACK PRINCE (2nd screening) – North American Premiere
	

		6:00 pm – MOUNTAINS MAY DEPART
	

		8:00 pm – PORT OF CALL
	

		11:00 pm – IN THE ROOM – Southwest Premiere
	

	 

	THURSDAY, JULY 21

	Theater 6

		12:00 pm – MOUNTAIN CRY (2nd screening) – North American Premiere
	

		2:15 pm – SAMURAI HUSTLE RETURNS (2nd screening) – World Premiere
	

		5:00 pm – CHONGQING HOT POT (2nd screening) – Southwest Premiere
	

		7:00 pm – THE WAILING (Closing Night Film)
	

		9 pm-12 am – AFFD Closing Night Party @ TBA
	

	 

	Parties and events

		VIP Reception: Invitation-only
	

		Opening Night Party: Thursday, July 14, 8 pm to 11 pm at TBA
	

		Filmmakers Reception/Panel: TBA
	

		Centerpiece Reception: Sunday, July 19, 6:15 pm at the Angelika Film Center of Dallas (prior to the film)
	

		Closing Night Party: Thursday, July 21, 9 pm to 12 am at TBA
	

	More titles and full schedule of Q&As, parties, events and details will follow in the coming weeks. Visit www.asianfilmdallas.com.

#### Asian Film Festival of Dallas Announces Full Line-Up For 2022 Festival
Jalsaghar (1958)
 
The Asian Film Festival of Dallas (AFFD) announced the film lineup for this year’s 21st edition of the film festival. Taking place July 21-24, AFFD’s Opening Night selection is Wenxiong Xing’s Too Cool to Kill, the Closing Night selection is Roshan Sethi’s 7 Days, Spotlight screenings include Park Hoon-Jung’s The Witch 2: The Other One, and Shô Miyake’s Small, Slow but Steady.
AFFD will screen 16 feature films (12 Narrative, 4 Documentary), and 11 short films as the popular film festival makes a big return to theaters and in-person events after a two-year hiatus aside from a couple special events due to the pandemic, screening at the Angelika Film Center Dallas (5321 E. Mockingbird Lane, #230), and the Texas Theatre (231 Jefferson Blvd.)
This year’s edition of the Asian Film Festival of Dallas also will mark the first with new leadership, including Executive Director Thomas Schubert, and Lead Programmer Paul Theiss. New innovations with this edition of the film festival are led by the inclusion of Special Guest Programmers Justina Walford (Programming Director, Oxford Film Festival and the Billy the Kid Film Festival) and Frank Yan (Co-Director of Programming, CineCina), and include a tighter, more condensed festival schedule, a Saturday evening Red Carpet event for filmmakers and press, a Sunday day-long celebration of female filmmakers, and a reinvigorated outreach to their base audiences throughout the DFW area as the film festival looks to reconnect with physical screenings and events.
New AFFD Executive Director Thomas Schubert, said, “Our board and staff are excited about the prospects of returning to our regular July timeslot and we are taking advantage of this edition of the film festival to look at what we do through a different lens and a fresh approach. AFFD has always been a signature event for Dallas film lovers, introducing exciting films and cinema to DFW, and this year we hope to shake up the event aspect of the film festival in our return, as well.”
New Lead Programmer Paul Theiss added, “We made no assumptions with our programming this year, prioritizing films and filmmakers that would inspire audiences to come back for that big screen experience. To that end, adding a handful of films from our guest programmers will also add surprises and new perspectives to the schedule.”
Opening Night at the Texas Theatre on Thursday, July 21 features Wenxiong Xing’s Chinese action comedy Too Cool to Kill. The Well Go USA release follows an aspiring comedian and actor who receives an invitation from a famous actress to play her leading man. However, the new gig soon lands him directly in the middle of a dangerous conspiracy.
As the film festival heads back to its traditional home location of the Angelika Film Center Dallas, Friday and Saturday’s Spotlight screenings again put forward the kind of films that AFFD has built its crowd-pleasing reputation on. Park Hoon-Jung’s The Witch 2: The Other One, another Well Go USA release, is the highly anticipated sequel to the popular Korean sci-fi action thriller The Witch: Subversion. This time, the story focuses on a mysterious girl who is the sole survivor of a bloody raid on the research facility behind the top-secret Witch Program. She and a pair of civilians try to stay one step ahead of assassins tasked with locating and silencing the girl. Saturday’s Spotlight selection is one of CineCina’s Frank Yan’s contributions to this year’s lineup. Shô Miyake’s Japanese drama Small, Slow but Steady is about a hearing-impaired woman whose dreams of becoming a professional boxer are threatened by the closure of her boxing club. The film has been described as a pandemic movie, a sports movie, and a mediation on the power of community—all rolled into one. The film premiered at the Berlin FF.
Sunday’s screenings will highlight and celebrate female filmmakers, culminating in a screening of Roshan Shethi’s Spirit Award nominee 7 Days. Produced by prolific Dallas filmmaker Liz Cardenas, the relationship comedy/drama looks at Ravi and Rita, who find their pre-arranged date, organized by their traditional Indian parents, turning into a never-ending experience together as they are forced to shelter in place due to the pandemic. The evening will conclude with Justina Walford’s contribution to AFFD’s programming: a late-night screening of Christine Chen’s mermaid revenge thriller, Erzulie. In the film, four besties reconnect at a backwater resort, but can’t shake their troubles until they summon a legendary mermaid goddess who is rumored to rule the local waters. After discovering the bloody aftermath from Erzulie “saving” them, not to mention the mermaid herself, the women race to cover their tracks and distance themselves from the creature they had summoned.
Additional highlights include Tom Huang’s festival favorite dysfunctional family comedy Dealing With Dad about an Alpha mom/corporate manager tasked with going home to deal with her overbearing dad, who is now despondent and won’t leave the house. What she and her siblings discover is that their dad is actually, much more pleasant in his depressed state, so they wrestle with the decision to “fix” him or not. Mye Hoang’s popular documentary Cat Daddies will also make an encore DFW screening at the film festival. The film features portraits of “cat dads” from all over the country, including some who struggle to navigate the unprecedented events of 2020 with their little furry friends. Both filmmakers are expected to come to Dallas to attend their screenings. Sakamoto Yugo’s Japanese action horror thriller Yellow Dragon’s Village focuses on some college students who find themselves stranded in a strange village on the way to a summer camp. After being persuaded to stay overnight, they soon must figure out a way not to fall victim to the brutal killings that start occurring the next morning. Qiu Jiongjiong’s fantasy A New Old Play focuses on a man who was a leading clown-role actor in 20th-century Sichuan opera, as he reluctantly is escorted to the Ghost City. Throughout his trip, earthly scenes from the past creep into the mists of the Netherworld. The film won a Special Jury Prize at Locarno.
2022 Asian Film Festival of Dallas Film Festival Official Selections
 
OPENING NIGHT SELECTION
 
Too Cool to Kill
Director: Wenxiong Xing
Country: China; Running Time: 109 minutes
In order to fully realize his dream of being a comedian, Wei Chenggong (Wei Xiang) accidentally broke into a dangerous scam under the “persuasion” of actress Milan (Li Ma). But Wei Chenggong didn’t know he was already involved in another real and ridiculous plot.
 
 
FRIDAY SPOTLIGHT SCREENING
 
The Witch 2: The Other One
Director: Park Hoon-Jung
Country: South Korea; Running Time: 97 minutes
In this sequel to the popular Korean sci-fi action thriller The Witch: Subversion, the story moves away from a confined secret lab and out into the real world. After a mysterious girl emerges as the sole survivor of a bloody raid on the research facility behind the top-secret Witch Program, she is rescued by a pair of civilians who soon realize the girl is both very powerful and in very grave danger. However, as the assassins tasked with locating and silencing the girl move ever closer, the lives of everyone around her fall under increasingly great peril.
 
 
SATURDAY SPOTLIGHT SCREENING
 
Small, Slow but Steady
Director: Shô Miyake
Country: Japan/France; Running Time: 99 minutes
A hearing-impaired woman with dreams of becoming a professional boxer due to the pandemic is threatened closure of her boxing club and the illness of its aging president, who has been her biggest supporter, pushing her to the limit.
 
 
CLOSING NIGHT SELECTION
 
7 Days
Director: Roshan Shethi
Country: United States; Running Time: 86 minutes
As if their pre-arranged date, organized by their traditional Indian parents, wasn’t uncomfortable enough, Ravi and Rita are forced to shelter in place together as COVID-19’s reach intensifies.
 
 
ADDITIONAL NARRATIVE FEATURES
 
A New Old Play
Director: Qiu Jiongjiong
Country: Hong Kong; Running Time: 179 minutes
The leading clown role in a renowned theatre troupe passes and is welcomed into the Underworld. As he relives his vivid memories one last time before entering the afterlife, 50 years of art, struggle, and love play out against the background of 20th century China’s tumultuous history.
 
Baby Assassins
Director: Yugo Sakamoto
Country: Japan; Running Time: 95 minutes
Chisato and Mahilo are two high school girls who are about to graduate. They also happen to both be highly skilled assassins. When the organization they work for orders them to share a room, the relationship between them turns sour.
 
Dealing With Dad
Director: Tom Huang
Country: United States; Running Time: 106 minutes
Margaret Chang (Ally Maki) reluctantly returns to her hometown along with her hapless brothers (Hayden Szeto, Peter S. Kim) to deal with the sudden depression of their complete-jerk father (Dana Lee). It turns out Dad is nicer depressed than well, and the siblings wonder if they should even get him better as they struggle to find a solution in this comedic drama.
 
Erzulie
Director: Christine W Chen
Country: United States; Running Time: 86 minutes
Four women accidentally summon a water goddess while reconnecting at a camp in south Louisiana, and a local decides to capture the goddess for himself.
 
Jalsaghar (The Music Room)
Director: Satyajit Ray
Country: India; Running Time: 95 minutes
Huzur Biswamghar Roy is a rich landowner who lives in a palace with his wife and son and his many servants. His passion – his wife would call it his addiction – is music and he spends a great deal of his fortune on concerts held for the locals in his magnificent music room. His wealth is in decline, however. His lands are being eroded by the local river and he pays for the concert he arranges for his son’s coming of age party by selling some of the family jewels. When his neighbor Ganguli invites him to a party at his house, Roy decides to one up him and organizes a lavish party for the same day – costing him the last of the jewels. After his wife and son are killed in a storm, Roy becomes something of a recluse, closing the music room. Now, many years later he decides to have one final concert, spending the last of his money to again outdo – and spite – Ganguli.
 
Lonely Glory
Director: Keitaro Sakon
Country: Japan; Running Time: 82 minutes
Haruka, a young recognized female entrepreneur, was forced to retire from her company due to the abuse of her authority. For her pride, she attempts to sell her family home and starts her new business, despite her two brothers and a sister living and running a small restaurant at the house.
 
Preman
Director: Randolph Zaini
Country: Indonesia; Running Time: 92 minutes
A deaf criminal with a traumatic past and his son must fight their way out of their small Indonesian village after witnessing a horrible murder, pitting the gangster against the mob outfit that employed him.
 
Yellow Dragon’s Village
Director: Sakamoto Yugo
Country: Japan; Running Time: 66 minutes
A group of eight college-age kids drives into the countryside for a day of fun and a night of what promises to be erotic frolics as their minivan drives deeper into the mountains. Two guys sitting in the back, Kento and Keisaku — are quieter, as are the weak-seeming Mutsuo and his sister Makoto. Their van gets a flat tire and, when they search online for help, they realize their phones can’t pick up a signal. Crossing a rickety bridge over a deep ravine they see a sign for the village of Tatsukiri — and a creepy scarecrow with a knife in its head. Soon after, they encounter a leathery old man on a horse, who introduces himself as Shinjiro and invites them to his house. There they find a lavish meal already prepared and futons laid out. When Shinjiro, who seems to be a local grandee, invites the group to stay the night, they accept, though something about the setup disturbs them, even the hard-partying quartet. What happened to the previous guests whose jackets are still hanging on the coat rack? Why did Shinjiro and his staff — three strangely robotic women — seem to have anticipated their arrival?
 
 
DOCUMENTARY FEATURES
 
Ascension
Director: Jessica Kingdon
Country: United States; Running Time: 97 minutes
The absorbingly cinematic Ascension explores the pursuit of the “Chinese Dream.” This observational documentary presents a contemporary vision of China that prioritizes productivity and innovation above all.
 
Cat Daddies
Director: Mye Hoang
Country: United States; Running Time: 90 minutes
David Giovanni is living on the streets of New York, determined to stay together with his beloved cat Lucky. When he’s finally granted a spot in a transitional housing facility that accepts cats, the COVID-19 pandemic and a devastating medical diagnosis puts his future together with Lucky in doubt. David’s journey is interspersed with portraits of other “cat dads” from all over the country and some who struggle to navigate the unprecedented events of 2020 with their little furry friends. They include a group of firefighters, a stunt man, a truck driver, a Bay Area tech worker, a schoolteacher whose cat becomes a viral sensation, and an actor/Instagram influencer. These men couldn’t be more different, but they share an unconditional love of their beloved pets.
 
Dark Red Forest
Director: Huaqing Jin
Country: China; Running Time: 85 minutes
A work of visual awe and matter-of-fact spiritual inquiry, Dark Red Forest is a majestic documentary portrait that details the annual retreat of thousands of Tibetan nuns to small wooden houses on the vast Tibetan Plateau. With extraordinary intimacy, the camera nestles in with the women of the Yarchen Monastery, who, during the 100 coldest days of the year, learn about-and in some cases experience-profound matters of life and death, suffering and healing, karma, and consequence. A document of the experiences of a group of increasingly politically embattled people, Jin Huaqing’s film is also a clarifying work of faith and philosophical inquiry, set against a forbidding landscape.
 
Singing In the Wilderness
Director: Dongnan Chen
Country: China; Running Time: 94 minutes
After hiding in the mountains for a century, a Miao Christian choir is discovered by an official and becomes a national sensation. Two young Miaos must reconcile their faith, identity, and love with the real world of China.
 
 
SHORT FILMS
 
An Island Drifts
Director: Vivian Ip
Country: Singapore; Running Time: 18 minutes
Set in Singapore, a young teacher presses for the truth from a maladjusted student, the act leads to devastating results, and they suffer the ignominy of losing everything that matters to them. The story holds a mirror up to society, where a mistake can derail a life in an overly pressurized world.
 
Falafel  
Director: Nikita Hattangady
Country: United States; Running Time: 19 min
Two young professionals having an awful morning suddenly meet at a cafe in London. A day that starts out terrible does not have to end that way. The Internationally award-winning film plays like a mini feature, with action, music, romance, moments of humor, and a touch of Bollywood. Falafel is a story about dreams coming true.
 
Foster Fail
Director: Kate Feldt
Country: United States; Running Time: 8 minutes
A fearful cat in need of a foster home is reluctantly taken in by a busy woman.
 
The Han Flows
Director: Park Seung Chan
Country: Korea; Running Time: 10 minutes
A woman who broke up with her boyfriend, a man who was scammed by a friend. They have gathered in the Han River to end their lives.
 
I want to hear the word on the street
Director: Yuki Takashima
Country: Japan; Running Time: 15 minutes
A director for a television program conducts on-the-street interviews in Shibuya that has lost its liveliness because of the coronavirus. However, the people on the street are not really giving him the “comments he is looking for.” The director in turn gets anxious as he is driven into a corner.
 
The Man of the Terms of Service
Director: Yuki Takashima
Country: Japan; Running Time: 13 minutes
New editor Onoda is summoned by her higher-up to the house of the novelist Hoshi whom she admires. But what he was writing there was not a novel.
 
Misdelivered
Director: Jaehyeok Kwak
Country: Korea; Running Time: 10 minutes
Hee-joo goes out to find the wrong address before moving. Her daily life is cracked.
 
Nai Nai
Directors: Hsiu Hsiu Lin, Minori Uemura
Country: United States; Running Time: 6 minutes
A Chinese grandmother suffers an emotional trauma during her childhood and develops a severe hatred toward the Japanese. One day, her granddaughter introduces her Japanese fiancé.
 
Secret Recipe
Director: Yuan Yang
Country: United States; Running Time: 6 min
A homesick international student learns to find her own sense of home after a last meeting with her grandmother in a dream.
 
Spider
Director: Minami Goto
Country: Japan; Running Time: 8 minutes
A young woman descends onto a household seeking revenge for her sister’s attack and is presented with two possible targets – both protesting their innocence once a battle commences.
 
Veils
Director: Erika Nakayama
Country: Japan; Running Time: 17 minutes
Ayumi Tani, an owner of a small bookstore, and Sayaka Murakami, a call center worker, are a lesbian couple living together. While they feel somewhat stifled by the fact that they are part of the LGBTQ community, they are looking forward to having a wedding-style photo shoot to celebrate their five-year anniversary. Sayaka finds a site for searching photo salons advertising “LGBTQ available” and enthusiastically makes an inquiry, but one photo salon’s disappointing response angers them. Ayumi decides to go confront the photo salon in person, even though Sayaka tries to stop her.

#### Asian Film Festival of Dallas Begins Planning Their 16th Year
AFFD 2016

	 

	On Tuesday, November 01, 2016, the Asian Film Festival of Dallas (AFFD) (www.asianfilmdallas.com) opens the door for submissions of feature and short films for its 16th annual festival week, to be held July 13-20, 2017 at the Angelika Film Center in Dallas.
	The Dallas-based film festival is a 501(c)(3) nonprofit organization dedicated to celebrating and supporting emerging and established Asian and Asian-American filmmakers and sharing the rich diversity of Asian culture through the medium of cinema.
	AFFD celebrates its 16th year of bringing our ever-growing audience films that often cannot be seen on the big screen outside of their countries of origin. For one week each summer at the Angelika Film Center in Dallas, TX, festival-goers and filmmakers escape the Texas heat with a variety of feature films and shorts, from all genres around the globe.
	The AFFD is open to any feature film or video productions by Asian American and Asian International filmmakers, or with subject matter concerning Asian issues from any year, country, state, age, category, and serving any theme.  The AFFD was founded in 2002 and has grown to become the largest showcase of Asian and Asian American films in the southern United States. Because of the unique films we exhibit, AFFD is often the only opportunity for these filmmakers' work to be exhibited in the Dallas/Fort Worth area.
	AFFD also presents advanced screenings of upcoming films, and participates in numerous cultural, community, and member activities throughout the year. 
	Submissions can be processed and details obtained at the AFFD’s Withoutabox or FilmFreeway festival page: 

		https://www.withoutabox.com/login/4793
	

		https://filmfreeway.com/festival/affd
	

	CATEGORIES IN CONSIDERATION

		Best Narrative Short: This category is for a fiction-based film project with a runtime of 60 minutes or less.
	

		Best Documentary Short: This category is for non-fiction based film projects with a runtime of 60 minutes or less.
	

		Best Animated/Experimental Short: This category is for a fiction-based film project with a runtime of 60 minutes or less.
	

		Best Documentary Feature: This category is for a non-fiction based film project with a runtime of greater than 60 minutes.
	

		Best Narrative Feature: This category is for a fiction-based film project with a runtime of greater than 60 minutes.
	

		NEW: Women’s Showcase: The Asian Film Festival of Dallas would like to present a Women’s Showcase, which will provide a platform for Asian and Asian American Women Filmmakers to present their films to the broader public and provide much needed exposure for the filmmakers and their films. This category is for a fiction or non-fiction based film project with any runtime.
	

	
	GENERAL RULES – Festival Submission Guidelines
	Rules and Regulations for the Annual Asian Film Festival of Dallas – Feature/Short Film Competition Program –
	DEADLINES AND ENTRY FEES

		Early Deadline: February 15, 2017 (postmarked)
	

		Early Deadline Entry Fee: $35 (Feature film), $20 (Short film)
	

		Final Deadline: March 31, 2017 (postmarked)
	

		Final Deadline Entry Fee: $40 (Feature film), $25 (Short film)
	

	PAYMENT OPTIONS

	Currently we are accepting payment by Check, Money Order (US Dollar), and Credit Card through WAB and Paypal. Please make checks payable to ASIAN FILM FESTIVAL OF DALLAS.
	Absolutely NO refunds.
	ELIGIBILITY

	Feature film, short film, or video productions by Asian Americans and Asian International filmmakers, or with subject matter concerning Asian issues from any year, country, state, age, category, and serving any theme. No limit on the number of entries per person. Entry fee applies to each project submitted.
	ENTRY FORMATS

	All entries should be on Blu-Ray/DVD. Please label the Blu-Ray/DVD with your project title, WAB or FilmFreeway tracking#, and your name. You may submit a work in progress (no trailer), however, if the project is not finished and turned in by deadline, it will not be eligible to be screened at that year’s festival (films received AFTER deadline will be automatically deferred to the following festival year). Secure online screeners also accepted.
	*Screener copy will be returned ONLY IF a self-addressed and stamped envelope is enclosed at the time of submission.
	EXHIBITION FORMATS

	Entries chosen for the festival may be exhibited in the following formats but is dependent on the venue and screening room of each particular program. In other words, even though we can exhibit 35 mm, doesn’t mean we will – it is dependent on the program your work is selected for. So be prepared to offer an alternative such as Blu-Ray.
	35mm, HDCam (29.97, 25, 24, 23.98 compression), DCP, Digibeta, HDMOV, HDAVI and Blu-Ray are accepted exhibition formats.
	*We are not responsible for lost or damaged entries.
	IF YOUR WORK IS ACCEPTED, PLEASE NOTE:

	• Exhibition film prints and/or tapes must be sent to the Festival pre-paid.
	• Return shipping of the exhibition copy within the United States will be covered by the Festival.
	• AFFD does not pay rental fees for submitted films. Instead, we choose to invest our resources in producing the best possible showcase for your work, and promoting your work as widely as possible.
	ANNOUNCEMENT OF WINNERS

	Winners will be announced through the service (Withoutabox or FilmFreeway) you used for submission. 
	ENTRY SUBMISSION CHECKLIST

	1. Completed and Signed Entry Form (if submitting from AFFD website)
	2. Press Kit (if available) or digital stills from film.
	3. Screener DVD
	4. Entry Fee
	5. One-paragraph description of your film.
	6. Self-addressed stamped envelope for the return of your preview tape (Optional).
	7. Self-addressed stamped postcard for confirmation of received entry materials (Optional).

	SUBMISSION MAILING ADDRESS

	Obtained at the AFFD’s Withoutabox or FilmFreeway festival page.
	All entries selected for the Festival grant AFFD the rights to use footage, stills, titles and information from the film for promotional purposes.
	BE SURE TO KEEP US INFORMED OF ANY CHANGES IN YOUR ADDRESS, PHONE OR EMAIL.
	ANY QUESTIONS REGARDING SUBMISSION SHOULD BE DIRECTED TO mailbag@asianfilmdallas.com.
	 
	TERMS AND CONDITIONS

	By submitting your entry to the Festival, you represent that you have the authority to do so and that you have reviewed all the AFFD submission rules and information. You agree to hold AFFD harmless and without liability for the statements you make, and you assert that there are no assigned rights, agreements, distribution agreements, production deals or any arrangements whatsoever attached to this work that would in any way interfere with the showing or screening of your entry to the public within the terms of AFFD. You further acknowledge and agree that if your entry is selected for the Festival then you grant AFFD the rights to use footage, stills, titles and information from the film for promotional purposes.

#### Asian Pop Up Cinema Partners with Filipino Arts Festival to Present U.S. Premiere of Award-Winning Comedy
 
In celebration of Filipino American History Month, Asian Pop-Up Cinema joins Chicago Asian Network and the Filipino Young Leaders Program (FYLPRO), in co-presenting new Filipino Arts Festival with a U.S Premiere screening of “Akin Ang Korona” starting at 4:30pm at Alliance Française De Chicago, 54 W Chicago Ave, Chicago, IL. Following the screening will be a Filipino Filmmakers Panel, and Comedy Show with Rex Navarette and JR de Guzman.
Directed by Zig Madamba Dulay and starring Nar Cabico, Angel Aquino, Aaron Rivera, Kiray Celis, Kiest Viray and Phi Palmos, the film received 11 nominations and picked up Sinag Award for the Best Actor (Nar Cabico) with the film winning the People’s Choice Award for writer/director Zig Madama Dulay. “Akin Ang Korona” follows Nanong (Nar Cabico) as his life becomes the focus of a tabloid-format TV show in hopes of finding his lost father.
Following the film screening, at 6:30 p.m. CST, a Filipino filmmakers panel including 3-time Tony and Grammy Award-winning entertainment producer and FYLPRO alum Jhett Tolentino who is set to debut his directorial film starring Dante Basco and Toni Gonzaga, Emmy award-winning Filipinx filmmaker Michele Josue of Netflix’s “Happy Jail”, Billy Dec who is a 2-time Emmy Award Winning TV Personality, Actor, Attorney and the Founder/CEO of celebrated businesses like Sunda New Asian Restaurants and The Underground Nightclub and Akin ang Korona’s lead actor Nar Cabico will discuss their experience as Filipino American in the film industry moderated by journalist Cat Sandoval.
“We are extremely excited to celebrate Filipino-American History Month in Chicago by showcasing talented Filipino American artists, comedians and creatives that will benefit youth leadership programs for the Filipino Community” said Lakhi Siap, FYLPRO Board of Director and Co-Chair of FYLPRO Arts Fest 2021.
Lastly, after the panel, a comedy stand-up show with comedians Rex Navarrete and JR de Guzman will kick off at 8:30 p.m. CST. Rex Navarrete has performed alongside headliners such as George Lopez, Russell Peters, Ali Wong, among others over the past three decades. His most popular DVD, “Badass Madapaka”, was filmed in front of a sold-out crowd at the Wiltern Theater in Los Angeles. JR De Guzman has entertained all over the world, having performed for Stand-Up Tokyo and ROR Comedy in Japan, the Jokers Ball in Indonesia, the Badaboom Comedy Series in Amsterdam, and countless other international shows.
“It’s an impressive line-up of notable Filipino Americans in Film from all over the USA coming together for Filipino American History Month here in Chicago! It also is a wonderful comeback to the theater on our third collaboration with Asian Pop-up Cinema,” said Louella Rose Cabalona, FYLPRO President, noting the two organizations successfully pivoted to a drive-in screening last year. “My sincerest thank you for Asian Pop-Up Cinema and Chicago Asian Network’s support in helping FYLPRO uplift the profile of Filipinos while also raising funds for our programs benefiting youth leaders.”
Tickets for “Akin Ang Korona” range from $30 to $40. https://fylpro.networkforgood.com/events/34059-akin-ang-korona-us-premiere-fylpro-arts-fest-2021
For more information on filmmakers and performers and to purchase tickets: https://bitly.com/fylproartsfest2021
The organizers encourage wearing masks for everyone’s safety regardless of vaccination status. Alliance Française De Chicago requires wearing a mask when moving around the building (regardless of vaccination status) and social distancing where possible. For the venue’s Covid-19 safety measures, visit www.af-chicago.org/covid-19-information

#### ASIAN POP-UP CINEMA ANNOUNCES “FATHER’S DAY CHEER”
 
Non-profit pan-Asian film organization Sophia’s Choice today announces Asian Pop-Up Cinema’s last online program in anticipation of the end of stay-at-home order with more cities in the States opening up!
Father’s Day Cheer celebrates multiple phases of fatherhood, and fills the void of Japanese cinema missing on mainstream channels. Three films are exclusively offered to Asian Pop-Up Cinema for a one-time only stream in the U.S. between 2:00pm -10:00pm CDT on June 19-21.
Each father-themed movie will be presented in Japanese with English subtitles. This will be Asian Pop-Up Cinema’s last FREE streamed program before Season 11 (Sept 10 – Oct 10) and limited to 300 viewers per movie. Advanced registration is required on a title by title basis. More info: www.asianpopupcinema.org/otosan.
 
Friday, June 19
The Hikita’s are Expecting!  (Chicago Premiere)
Director: Toru Hosokawa
Starring: Gaku Hamada, Shiro Ito, Keiko Kitagawa
2019 | 102 minutes
A 49-year-old writer and his wife are happily married without children. One day, his wife decides she wants a child and after numerous attempts to conceive, nothing happens. In frustration, they go to the hospital to get tests and answers. What they discover is not what was expected.
“We do not see many movies about a man’s perspective on what he goes through when trying to conceive a child with his wife. I am extremely pleased to be able to premiere this online for American audiences to enjoy!” Sophia Wong Boccio, curator of Asian Pop-Up Cinema.
 
Saturday, June 20
My Dad and Mr. Ito
Director: Yuki Tanada
Starring: Juri Ueno, Lily Franky, Tatsuya Fuji
2016 | 119 Minutes
Thrown out of his son’s home, an aging father moves in unannounced with his 35-year old daughter, Aya, and Mr. Ito, her boyfriend who is 20-years older than her. At 54,
Mr. Ito is right in the middle of the father and daughter’s lifespans, leading to awkward hilarity.
“Both funny and searing, the film addresses issues of family and the plight of Japan’s aging, unwanted generation.” —Rob Schwartz, Metropolis
 
Sunday, June 21
Survival Family
Director: Shinobu Yaguchi
Starring: Fumiyo Kohinata, Eri Fukatsu, Yuki Izumisawa, Wakana Aoi
2017 | 117 Minutes
 
Winner of Asian Pop-Up Cinema’s Season IV’s Audience Choice Award, Survival Family revolves around a family living in Tokyo struggles to survive in a world where all electricity has suddenly stopped.  When Dad decides to escape from Tokyo with his wife and two tech obsessed teenagers are in search of electricity, hilarious chaos ensues and surprising tactics are revealed.
“…a family drama with thinly veiled morals and plentiful fish-out-of-water humor to boot.” – The Hollywood Reporter

#### Ask Bart: DIFF 2014
 

	Dallas VideoFest founder and director Bart Weiss has a unique open door policy that we have not seen at any other film festival.  This open door policy means anyone can email him directly to ask what films they should see at VideoFest.  They named this open door policy “ASK BART”. 

	It is March and we are not approaching VideoFest (although the Dallas Video Race is coming up in May) but we are only days away from the 2014 Dallas International Film Festival and we thought we would ask Bart for his picks at DIFF.  Below is his advice and thoughts for us.

	For our local readers, you might be thinking about coming to the upcoming Dallas International Film Festival, so I thought I would give you all some suggestions for films that I have either seen or know about.

	There are many great programs that I will not mention because I just have not seen them yet.  I mentioned some of these last week in my notes from SXSW, which include Hellion (probably my pick hit of the festival), No No, a documentary, and Evolution of a Criminal. They are all great and I would have shown them at the VideoFest if DIFF had not.  However, we are sponsoring a few films at DIFF: Rich Hill, Copenhagen, Child Of God, The Congress and Hellion. Aside from Hellion, I have not seen these, but I hear that are VideoFest-like films.

	As for shorts, I would recommend Dig, Molly, I Was a Teenage Girl, Easy (by our own Daniel Laabs), and Blur by Courtney Ware, who will be doing the video fest introduction this year. Also check out the high school shorts, the North Texas University shorts and the Booker T. Washington (Arts Magnet) shorts.

	Other films I would recommend are Flutter, a really wonderful Texas film, similar to but very different from Hellion. Michael Cain has been working on his film, The Starck Club for years and Michael has done a nice job with this. About Mom and Dad, a feature made by former students of mine, is also definitely worth seeing.  A few films I have not seen, but have heard buzz about are I Believe in Unicorns, Ida, and Whitey: United state of America vs. James J Bulger.

	Whitey is by Jo Bulinger who has made some great films and whose early work we have shown at the festival.  I heard about a controversial screening in Boston where this trial was held.  I think it will play differently here, but it's still worth understanding what happened.

	The opening night film, Words and Pictures, is worth seeing, as well as the oldie, Stagecoach, a classic John Wayne, John Ford film. It is not the best of that duo, but well worth seeing with good print and an audience. Also re-seeing Paris, Texas in Texas will be interesting. How does this film feel 30 years later? Does it still resonate?

	In the meantime, there are still things to see this week.The Texas Theatre has a new series called NY Film Critics Series. The first of these is Breath In, a film that Indiewire is all over. GUESTS: Felicity Jones (Amazing Spiderman 2, Like Crazy), Director Drake Doremus (Like Crazy), Guy Pierce (Memento) remotely, Amy Ryan (Capote) remotely.This is on March 25th and should be interesting. Also on the 25th, The Magnolia is showing Spartacus, which is great to see on a big screen. At the Angelika, go see Omar, then Bethlehem to understand two sides of the Middle East crises you usually don't see.

	Obviously, there are many chances to see lots of great films, so get out there, sit in the dark and be transformed.

#### ASPIRETV IN PRODUCTION ON SEASON TWO OF “HARLEM GLOBETROTTERS: SECRETS OF THE CITY”
AspireTV, the network that celebrates and reflects Black culture and urban lifestyle, is in production on the second season of Harlem Globetrotters: Secrets of the City from the Emmy-nominated studios of Sunwise Media and Herschend Entertainment Studios. The series was the first to be greenlit under the output deal with Sunwise Media to develop and produce multicultural programming through aspireTV Studios.
“The success of Harlem Globetrotters: Secrets of the City underscored the power of storytelling that is both globally expansive and culturally rooted,” said Angela Cannon, General Manager, aspireTV. “Our viewers connected deeply with the series’ celebration of Black culture, history and discovery, and we’re excited to build on that momentum with a second season in partnership with Sunwise Media as the Globetrotters continue their journey around the world.”
Harlem Globetrotters: Secrets of the City is a travel series that follows the Harlem Globetrotters as they span the globe on their historic 100-year world tour. The show combines adventure and cultural immersion; utilizing a documentary style that transports viewers to the soul of the city and the heart of the people wherever the team travels. The Globetrotters share untapped secrets of culture, cuisine and adventure from the most renowned cities around the globe. The Harlem Globetrotters have been touring the world for 100 years, visiting over 120 countries which has given them unfiltered access and connections to diverse cultures around the world.
The new season of Harlem Globetrotters: Secrets of the City will feature the team in Brussels, Amsterdam, Paris, Lagos, Athens, Rome, Tahiti and Chile.
“Our partnership with aspireTV helps us to deepen our relationship with our fans, giving them unprecedented access to our team, and players, as they tour countries around the globe,” said Harlem Globetrotters President, Keith Dawkins.
“Season two is an exciting milestone, and we’re proud that Handy Foundation apprentices have contributed to both seasons of Harlem Globetrotters: Secrets of the City,” said Ri-Karlo Handy, Founder and CEO of Sunwise Media and Founder of The Handy Foundation. “With the Harlem Globetrotters’ legacy as global ambassadors of goodwill, this partnership is a natural fit rooted in impact, opportunity and excellence. Serving as showrunner and leading a registered apprenticeship program, I’ve seen firsthand how apprenticeship strengthens the business. This show is better for it, with apprentices delivering real contributions, fresh perspectives, and production-ready talent at every level.”
Harlem Globetrotters: Secrets of the City is produced by Sunwise Media and Herschend Entertainment Studios. Keith Dawkins and Bronwen O’Keefe serve as executive producers as well as Ri-Karlo Handy.
AspireTV Studios, a purpose-driven business development strategy, is committed to supporting a more diverse and equitable creative supply chain. Together with Sunwise Media, a certified Minority Business Enterprise (MBE), aspireTV Studios will source and connect advertisers with diverse owned media, content creation, full-service production and distribution across cable, satellite and streaming platforms.

#### AT ANY PRICE
AT ANY PRICE

	 

	By Gary Murray

	Starring Zac Efron, Dennis Quaid and Heather Graham

	Written by Ramin Bahrani and Hallie Elizabeth Newton

	Directed by Ramin Bahrani

	Running time 105 min

	MPAA Rating R

	Selig Film Rating Cable

	 

	Hollywood has been working hard to turn Zac Efron into a major star.  The actor broke big with the High School Musical series of TV movies and films.  Since then he has been in such flicks as Charlie St. Cloud, 17 Again and The Lucky One.  Arguably, his strongest performance was in 2008s Me and Orson Welles.  The latest vehicle to put him on the A-list is At Any Price.

	The story is of the family farm.  Henry (Dennis Quaid) is a farmer and seed salesman, part of a generation of men who have worked the land for decades.  His oldest son and inheritor of the family farm Grant has been off at college.  Dean (Zac Efron) is the younger brother who is more interested in auto racing than farming.  He has a car that he uses in local races and dreams of a shot at NASCAR.

	Things are not perfect on the farm.  The film opens with Henry and Dean at a funeral.  Dad is there to poach the farmland and get 200 acres for his wayward son Grant to start his own farming empire.  The idea of the family farm is expand or die.

	Henry is struggling with his seed business and has done some slightly unethical activities to keep his head above water.  He also has been keeping a mistress Meredith (Heather Graham) on the side.

	Dean has a girlfriend and a dream, but not much more.  When his brother doesn’t show back up at the farm, it becomes obvious that Dean will be forced to take over the business, something he does not want to do.  Eventually, he’s given the chance to drive a NASCAR vehicle in a major race.  All he needs to do is come up with $15,000.

	The rest of the story of At Any Price is of these two different plot threads coming to a head in a collision point.  It is also of head-strong people who will do anything to get ahead.

	This is one of the best performances by Dennis Quaid. He is vain and confident, confused and self-centered all within the same beat.  It takes a lot of guts to play a less than sympatric character and still find the humanity within the role.  This is a masterful performance from an actor who is seldom given his due. 

	Watching Heather Graham one begins to wonder—can she play anything other than a loose woman?  This is another re-tread of a part she has done so many times before.  Heather looks great but is becoming typecast as a low morals femme.

	Zac Efron has the ability to be a great actor but this is not his best performance.  As his dreams are crushed on the asphalt, the believably of the event rings hollow.  He is a good kid caught in a bad circumstance, poised on the threshold of manhood and unsure if he should take the next step.

	The biggest problem with the movie is that it just drags along.  It never builds to a climax.  While the scenes of corn fields are pretty to look at, it doesn’t make for a great film.   Ramin Bahrani makes a very literary work and it would have worked more as a novel than a screenplay.  Film needs action and not introspection. 

	At Any Price is not a movie that will light up the box office. It tries to be a tangent version of Field of Dreams and simply becomes just another contender. 

#### AT&T PERFORMING ARTS CENTER ANNOUNCES ITS BROADWAY SERIES 2020/2021 SEASON
The Prom
 
The nonprofit AT&T Performing Arts Center today announced the 2020/2021 season of its Broadway Series, featuring THE PROM; SUMMER: THE DONNA SUMMER MUSICAL; SISTER ACT; WAITRESS and WHAT THE CONSTITUTION MEANS TO ME. Season subscribers will also have the option to add Rodgers and Hammerstein’s OKLAHOMA! and HADESTOWN to their season subscription.
This season’s lineup is a stellar selection of Broadway hits. It represents 19 Tony Award nominations; one Grammy nomination and one Obie Award winner for Best New Play.
Subscriptions are available now.
This is the second season of the groundbreaking partnership between Dallas Summer Musicals and the AT&T Performing Arts Center in which Rodgers and Hammerstein’s OKLAHOMA! and HADESTOWN (winner of eight Tony® Awards), optional add-ons, will be presented at the Winspear Opera House. Each season, DSM will present up to four weeks of Broadway in the beautiful Winspear Opera House on the Center’s campus in the Dallas Arts District. Season subscribers are among the first to enjoy the benefits of this exciting collaboration between these two beloved Dallas institutions.
“This season is a lineup of the newest, freshest and most exciting shows out there,” said Debbie Storey, president and CEO of AT&T Performing Arts Center. “Most of these productions are seeing their Dallas premieres, and all will be seen for the first time in the Winspear Opera House, the best stage for Broadway in North Texas.”
Broadway Series subscribers enjoy free ticket replacement, discounted pre-paid parking rates and the Center’s inter-show ticket exchange, which provides the flexibility to exchange tickets for one show to another in the season (limit one exchange per season).
Members of the Center enjoy a wide range of exclusive benefits making this Broadway experience better than ever before. Member benefits include priority access to the best available seats, access to the PNC Members Lounge for complimentary beverages at each performance and access to the Platinum Circle orchestra seating for Platinum Circle members. Membership donations not only help the nonprofit Center bring the very best in performing arts to North Texas, but also support the Center’s community and education programs, including Community Partners which provides free tickets to those who would otherwise not have access. To join with a membership donation, visit attpac.org/support or call Membership Services at 214-978-2888.
Five-show subscription packages range from $155 to $685, with the option to order Rodgers and Hammerstein’s OKLAHOMA! for $50 to $130 and HADESTOWN for $50 to $140.
For groups of 10 or more please call 214-978-2879.
Information is available at www.attpac.org/broadway. Subscriptions may also be purchased by phone at 214-880-0202, or in person at the AT&T Performing Arts Center Winspear Opera House Box Office at 2403 Flora Street. The Box Office is open 10 a.m. – 4:30 p.m. Monday through Friday and before performances – closed Saturdays and Sundays.
 
2020/2021 SEASON OF BROADWAY
 
THE PROM
Everyone’s invited to the joyous Broadway hit that New York Magazine calls “smart and big-hearted” and The New York Times declares it “makes you believe it musical comedy again”! THE PROM is a new musical comedy about big Broadway stars on a mission to change the world and a love that unites them all.
Variety raves, “It’s so full of happiness that you think your heart is about to burst.” And The Hollywood Reporter cheers, “It’s comic gold!”
You belong at THE PROM!
 
SUMMER: THE DONNA SUMMER MUSICAL
“Toot toot, hey, beep beep!”
Say those words, and you’ll immediately feel the beat, the spirit, the heat of the legendary Donna Summer. Her songs smashed every record. Her story shattered every barrier. Now, the queen arrives direct from Broadway.
After a twice extended, sold-out run at San Diego’s celebrated La Jolla Playhouse, SUMMER: The Donna Summer Musical, partied on Broadway at the Lunt-Fontanne Theatre and is now strutting its way across North America on a National Tour.
She was a girl from Boston with a voice from heaven, who shot through the stars from gospel choir to dance floor diva. But what the world didn’t know was how Donna Summer risked it all to break through every barrier, becoming the icon of an era and the inspiration for every music diva who followed. From Janet Jackson to Beyoncé, they all began with Donna.
Three actresses play the role of musical icon Donna Summer at different points in her life as “Diva Donna,” “Disco Donna” and “Duckling Donna,” while an inexhaustible ensemble of almost entirely women tear up the stage.
Featuring choreography from Tony Award winner Sergio Trujillo for Ain’t Too Proud, and directed by Des McAnuff, the Tony Award®-winning director of Jersey Boys and The Who’s Tommy, SUMMER takes us through her tumultuous life and tempestuous loves. Including a mega-watt dream list of musical hits—including “Bad Girls,” “MacArthur Park,” “She Works Hard for the Money,” and “Last Dance”—SUMMER makes Fall the hottest season of all.
 
SISTER ACT
Sister Act is the feel-good musical comedy smash based on the hit 1992 film that has audiences jumping to their feet! Featuring original music by Tony- and eight-time Oscar winner, Alan Menken (Newsies, Beauty and the Beast, Little Shop of Horrors), this uplifting musical was nominated for five Tony Awards, including Best Musical.
When disco diva, Deloris Van Cartier, witnesses a murder, she is put in protective custody in the one place the cops are sure she won’t be a found: a convent! Disguised as a nun, she finds herself at odds with both the rigid lifestyle and uptight Mother Superior. Using her unique disco moves and singing talent to inspire the choir, Deloris breathes new life into the church and community but, in doing so, blows her cover. Soon, the gang is giving chase, only to find them up against Deloris and the power of her newly found sisterhood.
Filled with powerful gospel music, outrageous dancing and a truly moving story, Sister Act will leave audiences breathless. The cast is chock full of amazing roles for women of all ages, making this a perfect choice for high schools and community theatres. A sparkling tribute to the universal power of friendship, Sister Act is to REJOICE!
 
WAITRESS
Meet Jenna, a waitress and expert pie-maker who dreams of a way out of her small town and rocky marriage. Pouring her heart into her pies, she crafts desserts that mirror her topsy-turvy life such as “The Key (Lime) to Happiness Pie” and “Betrayed By My Eggs Pie.” When a baking contest in a nearby county — and a satisfying encounter with someone new — show Jenna a chance at a fresh start, she must find the courage to seize it. Change is on the menu, as long as Jenna can write her own perfectly personal recipe for happiness.
Brought to life by a groundbreaking all-female creative team, this hilarious hit Broadway musical features original music and lyrics by 8-time Grammy® nominee Sara Bareilles (“Brave,” “Love Song”), a book by acclaimed screenwriter Jessie Nelson (I Am Sam), original choreography by Lorin Latarro (Les Liaisons Dangereuses, Waiting For Godot), recreated by tour choreographer Abbey O’Brien and original direction by Tony Award® winner Diane Paulus (Hair, Pippin), recreated by tour director Susanna Wolk.
“WAITRESS is a little slice of heaven!” says Entertainment Weekly, and is “sweet, sassy and passionate,” according to New York Magazine.
“It’s an empowering musical of the highest order!” raves the Chicago Tribune.  Don’t miss this uplifting and hilarious musical celebrating friendship, motherhood, and the magic of a well-made pie.
 
WHAT THE CONSTITUTION MEANS TO ME
Direct from Broadway, the 2019 Tony® nominated Best Play and Pulitzer Prize finalist, What the Constitution Means to Me, by famed writer Heidi Schreck, arrives Dallas for a strictly limited engagement.
Playwright Heidi Schreck’s boundary-breaking play breathes new life into our Constitution and imagines how it will shape the next generation of Americans.
Fifteen year old Heidi earned her college tuition by winning Constitutional debate competitions across the United States. In this hilarious, hopeful, and achingly human new play, she resurrects her teenage self in order to trace the profound relationship between four generations of women and the founding document that shaped their lives.
Schreck’s timely and galvanizing play, directed by Oliver Butler, became a sensation off-Broadway last fall before transferring to Broadway where it received two Tony Award® nominations among countless other accolades. See the play The New York Times hails as “not just the best play on Broadway, but also the most important.”
 
HADESTOWN
Welcome to HADESTOWN, where a song can change your fate. Winner of eight 2019 Tony® Awards, this acclaimed new musical by celebrated singer-songwriter Anaïs Mitchell and innovative director Rachel Chavkin (Natasha, Pierre & The Great Comet of 1812) is a love story for today… and always.
HADESTOWN intertwines two mythic tales — that of young dreamers Orpheus and Eurydice, and that of King Hades and his wife Persephone — as it invites you on a hell-raising journey to the underworld and back. Mitchell’s beguiling melodies and Chavkin’s poetic imagination pit industry against nature, doubt against faith, and fear against love. Performed by a vibrant ensemble of actors, dancers and singers, HADESTOWN is a haunting and hopeful theatrical experience that grabs you and never let’s go.
 
OKLAHOMA!
Over 75 years after Rodgers & Hammerstein reinvented the American musical, this is OKLAHOMA! as you’ve never seen or heard it before – reimagined for the 21st century.
Stripped down to reveal the darker psychological truths at its core, Daniel Fish’s production tells a story of a community circling its wagons against an outsider, and the frontier life that shaped America. Upending the sunny romance of a farmer and a cowpoke, this OKLAHOMA! allows the classic musical – and our country – to be seen in a whole new light.
Funny and sexy, dark and jolting, “this is the OKLAHOMA! that was there all along.” (New York Magazine) The Daily Beast says “Forget your traditional idea of Oklahoma! Daniel Fish’s daring, brilliant, utterly absorbing re-interpretation is dark and different—brilliantly so.”
Show Run Time: 2 hours and 45 minutes, including intermission
Age Recommendation: Due to mature content in this production, it is recommended for children ages 12 and up. This production contains fog, loud gunshot effects, moments of darkness, and violence.

#### AT&T Performing Arts Center’s hearhere 2019/2020 season
 
The nonprofit AT&T Performing Arts Center announced today the 2019/2020 season of its distinctive speakers series hearhere. From the White House to stage and screen; and through space and time – with this series you will hear the imaginations, passion, humor and knowledge of iconic personalities who shape the way we experience our world and each other.
This sixth season of hearhere begins with the highly anticipated return of Former First Lady Michelle Obama on September 26, 2019. December 14, 2019 brings to the stage the renowned film director and actor Spike Lee. 2020 takes flight with American astronaut Captain Scott Kelly on January 23.
The hearhere 2020 season culminates on June 13 with Samin Nosrat, author, lecturer and filmmaker; and the return engagement of world-renowned TV science expert Neil deGrasse Tyson on June 22.
hearhere engagements will be performed on the campus of the AT&T Performing Arts Center in the Winspear Opera House, in the downtown Dallas Arts District.
“Everyone in this season is preeminent in their field and we’re excited to bring them to Dallas,” said Debbie Storey, president and CEO of AT&T Performing Arts Center. “All of these shows will be cerebral, inspiring and fun.”
Current subscribers can renew their seats now through Monday, July 29. New subscriptions will be available for purchase beginning at 10 a.m. on August 2. Five-show packages will range from $211.50 to $852.50.
Tickets may be purchased online at www.attpac.org/hearhere, by telephone at 214-880-0202 or in person at the AT&T Performing Arts Center Winspear Opera House Box Office at 2403 Flora Street. The Box Office is open 10:30 a.m. – 4:30 p.m. Monday through Friday and before performances – closed Saturdays and Sundays. For groups of 10 or more please call 214-978-2879 or visit attpac.org/groups.
Patrons can make a tax-deductible donation to join Center Circle at the Platinum donor level of $1,000 and receive access to Platinum Orchestra seating. This support allows the Center to offer arts education programs, free community events and a stunning array of performances, all year long. Call Membership Services at 214-978-2888 for information.
Purchase of the five-show series includes the right to renew the same seats for future seasons and a discounted parking option.
 
hearhere – 2019/2020 Season
 
An Evening with Former First Lady Michelle Obama
Thursday, September 26, 2019 – 7:30 p.m.
Michelle Robinson Obama served as First Lady of the United States from 2009 to 2017.
As a transformative First Lady, Mrs. Obama launched and led four key initiatives: Let’s Move!, to address the challenge of childhood obesity; Joining Forces, to support veterans, service members and their families; Reach Higher, to inspire young people to seek higher education; and Let Girls Learn, to help adolescent girls around the world go to school.
Before becoming First Lady, Michelle Obama attended Princeton University and Harvard Law School. She started her career as an attorney at the Chicago law firm, Sidley & Austin, where she met her future husband, Barack Obama.  She later worked in the Chicago mayor’s office, the University of Chicago, and the University of Chicago Medical Center. Mrs. Obama also founded the Chicago chapter of Public Allies, an organization that prepares young people for careers in public service.
In 2018, Michelle Obama published her memoir, Becoming, which sold more copies than any other book published in the United States in 2018, achieving that status in just 15 days and instantly rising to the #1 slot on the New York Times Best Sellers list.
Mrs. Obama was born on January 17, 1964. She married Barack Obama in 1992. They currently live in Washington, DC and have two daughters, Malia and Sasha.
 
 
Spike Lee
Saturday, December 14, 2019 – 8:00 p.m.
Oscar award winning Spike Lee is a Director, Writer, Actor, Producer, Author, and NYU Grad Film Tenured Professor whose body of work continues to grow over the last 3 decades. Recent projects include BLACKkKLANSMAN, based on a true story by Ron Stallworth, an African-American police officer who infiltrates the local Ku Klux Klan during the 1970s, which also premiered at the Cannes Film Festival and received the esteemed Prix de la Jeunesse Award. Lee’s filming of the play Pass Over, premiered at Sundance. He also directed all ten episodes of the hit Netflix series She’s Gotta Have It, which will be returning for a 2nd season. Spike has directed and produced over 30 films since his first feature film, the independently produced She’s Gotta Have It, which also premiered at the Cannes Film Festival in 1986 and received the esteemed Prix de la Jeunesse Award.
Lee continues to produce Cinematic works of Art that display his skill and ability to showcase outspoken and provocative socio-political critiques that challenge cultural assumptions about Race, Class and Gender identity. His film Do the Right Thing, released in 1989, earned Lee an Academy Award nomination for Best Original Screenplay and still remains relevant today. Lee has also produced several documentaries, including the Academy Award nominated 4 Little Girls and the Peabody and Emmy Award winning films When the Levees Broke: A Requiem in Four Acts and If God is Willing and Da Creek Don’t Rise, all with HBO. In addition, his Michael Jackson documentaries, BAD 25 and original ‘off the Wall’ were both critically acclaimed.
In addition to his prolific film career, Lee has directed and produced numerous music videos and he began commercial work in 1988 with his Nike Air Jordan campaign. Ever moving into new areas, Lee combined his extensive creative experience into yet another venture with DDB Needham to create Spike/DDB, a full-service advertising agency. Lee has also authored several books, including Five For Five, a pictorial reflection of his first five features, Best Seat in the House, with Ralph Wiley, and two children’s books Please, Baby, Please and Please, Puppy, Please, co-authored with Tonya Lewis Lee, his Wife.
Born in Atlanta, Georgia, and raised in Brooklyn, NY, Lee returned south to attend Morehouse College. After graduation, he returned to New York City to continue his education at NYU/Tisch, where he received his MFA in Film Production. After graduation, he founded 40 Acres and a Mule Filmworks, based in Brooklyn. He began teaching a course on filmmaking at Harvard in 1991, and in 1993 he joined the Faculty at NYU/Tisch in the Graduate Film Program, where he was appointed Artistic Director in 2002, a position which he still holds today.
 
Captain Scott Kelly
Thursday, January 23, 2020 – 7:30 p.m.
Captain Scott Kelly’s epic Year In Space, now a New York Times best-selling book, solidified his status as one of the greatest pioneers in history. In his acclaimed speech appearances, he now brings audiences to the edge of their seats with transcendent insights that inspire and challenge them to dream big, test the status quo, and “choose to do the hard things.”
One of a select group of Americans who embody a defining moment in the nation’s history, he captivated the world and seized the imagination of millions during his record-breaking voyage—proving that the sky is not the limit when it comes to the potential of the human spirit. On his trip, Scott, together with his identical twin brother Mark on Earth, paved the way for the future of space travel and exploration as the subjects of an unprecedented NASA study on how space affects the human body.
Scott’s New York Times best-selling memoir, Endurance: My Year In Space and Our Journey to Mars, is now available everywhere and has been optioned as a Hollywood film by Sony Pictures.
With awe-inspiring stories from space and personal reflections on leadership, teamwork and testing limits, Scott inspires others to believe that they can reach any goal, no matter how ambitious or audacious. As he looks back on the expedition that shuttled him into history books, audiences revel in the presence of a true American hero and gather unique takeaways on persistence, resilience and self-determination that transform the way they view their own journey through life.
 
Samin Nosrat
Saturday, June 13, 2020 – 8:00 p.m.
As an undergraduate studying English at UC Berkeley, Samin Nosrat took a detour into the kitchen at Chez Panisse restaurant that happily determined the course of her life and career.  Since 2000, she pursued her twin passions of food and words with equal vigor, aiming to create work that inspires, creates community, and raises cultural, social and environmental awareness.
Nosrat learned to cook at Chez Panisse, in Italy alongside Benedetta Vitali and Dario Cecchini, and at (the no longer existing) Eccolo in Berkeley.  She studied poetry with Robert Hass, Shakespeare with Stephen Booth, and journalism with Michael Pollan.  She has said that Alice Waters and farmer Bob Cannard taught her more about land stewardship than anyone else.
Her book, Salt, Fat, Acid, Heat: Mastering the Elements of Good Cooking was illustrated by Wendy MacNaughton. It is a New York Times bestseller, and also 2018 James Beard General Cookbook of the Year,  2018 Fortnum & Mason Debut Cookbook, 2018 IACP Cookbook of the Year, 2018 IACP Julia Child First Book Award, and Sunday Times Food Book of the Year 2017.  A documentary series based on the book is now streaming on Netflix. In 2018 she was named the Eater Chef of the Year. She is also one of five food columnists for the New York Times Magazine.  In April 2019 she was named one of Time Magazine’s 100 Most Influential People of 2019 in the Pioneers category. Also in 2019, Nosrat’s Netflix series, Salt Fat Acid Heat, received the 2019 James Beard Award for Television Program, on Location.
Samin Nosrat has spoken about food, art, culture and cooking at venues as diverse as the Oakland Unified School District Nutrition Services, UC Berkeley, Yale University, SFMoMA, St. Mary’s College, University of San Francisco, the Orange Institute, the Headlands Center for the Arts, the International Association of Culinary Professionals (IACP), and Artechef, the Cuban national cooking school. She is currently working on her next book titled What to Cook (Ten Speed Press).
 
Neil deGrasse Tyson – “Delusions of Space Enthusiasts”
Monday, June 22, 2020 – 7:30 p.m.
Neil deGrasse Tyson was born and raised in New York City where he was educated in the public schools clear through his graduation from the Bronx High School of Science. Tyson went on to earn his BA in Physics from Harvard and his PhD in Astrophysics from Columbia.
Tyson’s professional research interests are broad, but include star formation, exploding stars, dwarf galaxies, and the structure of our Milky Way.
In 2001, Tyson was appointed by President Bush to serve on a 12-member commission that studied the Future of the US Aerospace Industry. The final report was published in 2002 and contained recommendations (for Congress and for the major agencies of the government) that would promote a thriving future of transportation, space exploration, and national security.
In 2004, Tyson was once again appointed by President Bush to serve on a 9-member commission on the Implementation of the United States Space Exploration Policy, dubbed the Moon, Mars, and Beyond commission. This group navigated a path by which the new space vision can become a successful part of the American agenda. And in 2006, the head of NASA appointed Tyson to serve on its prestigious Advisory Council, which will help guide NASA through its perennial need to fit its ambitious vision into its restricted budget.
In addition to dozens of professional publications, Dr. Tyson has written, and continues to write for the public. From 1995 to 2005, Tyson was a monthly essayist for Natural History magazine under the title Universe. And among Tyson’s ten books is his memoir The Sky is Not the Limit: Adventures of an Urban Astrophysicist; and Origins: Fourteen Billion Years of Cosmic Evolution, co-written with Donald Goldsmith. Origins is the companion book to the PBS-NOVA 4-part mini-series Origins, in which Tyson served as on-camera host. The program premiered on September 28 and 29, 2004.
Two of Tyson’s recent books are the playful and informative Death By Black Hole and Other Cosmic Quandaries, which was a New York Times bestseller, and The Pluto Files: The Rise and Fall of America’s Favorite Planet, chronicling his experience at the center of the controversy over Pluto’s planetary status. The PBS/NOVA documentary “The Pluto Files”, based on the book, premiered in March 2010.
For five seasons, beginning in the fall of 2006, Tyson appeared as the on-camera host of PBS-NOVA’s spinoff program NOVA ScienceNOW, which is an accessible look at the frontier of all the science that shapes the understanding of our place in the universe.
During the summer of 2009 Tyson identified a stable of professional standup comedians to assist his effort in bringing science to commercial radio with the NSF-funded pilot program StarTalk. Now also a popular Podcast, and a limited-run Television Series on the National Geographic Channel, StarTalk combines celebrity guests with informative yet playful banter. The target audience is all those people who never thought they would, or could, like science.
In its first year on Television it was nominated for a “Best Informational Programming” Emmy.
Tyson is the recipient of nineteen honorary doctorates and the NASA Distinguished Public Service Medal, the highest award given by NASA to a non-government citizen. His contributions to the public appreciation of the cosmos have been recognized by the International Astronomical Union in their official naming of asteroid 13123 Tyson. On the lighter side, Tyson was voted Sexiest Astrophysicist Alive by People Magazine in 2000.
In February 2012, Tyson released his tenth book, containing every thought he has ever had on the past, present, and future of space exploration: Space Chronicles: Facing the Ultimate Frontier.
Recently Tyson served as Executive Editor and on camera Host & Narrator for Cosmos: A SpaceTime Odyssey, the 21st century continuation of Carl Sagan’s landmark television series. The show began in March 2014 and ran thirteen episodes in Primetime on the FOX network, and appeared in 181 countries in 45 languages around the world on the National Geographic Channels. Cosmos, which is also available in DVD and BluRay, won four Emmy Awards, a Peabody Award, two Critics Choice awards, as well as a dozen other industry recognitions.
Tyson is the fifth head of the world-renowned Hayden Planetarium in New York City and the first occupant of its Frederick P. Rose Directorship. He is also a research associate of the Department of Astrophysics at the American Museum of Natural History.
Neil deGrasse Tyson lives in New York City with his wife, a former IT Manager with Bloomberg Financial Markets, and their two kids.

#### Atlas Distribution Company has acquired THE TOWN THAT TAKES and will release the suspense-filled supernatural horror thriller in select theaters across the top 20 North America markets, on Friday, July 10th, 2026
Atlas Distribution Company has acquired festival favorite THE TOWN THAT TAKES and announced today that it will release the suspense-filled supernatural horror thriller in select theaters across the top 20 North America markets, on Friday, July 10, 2026.  Inspired by CROATOAN, the only clue left behind following the disappearance of the Lost Colony of Roanoke, the film transforms one of America’s most enduring unsolved mysteries into a chilling blend of Southern Gothic atmosphere, investigative suspense, and supernatural terror. See the trailer here.
THE TOWN THAT TAKES stars Miles Mussenden (Doom Patrol, Cloak & Dagger), Mike Markoff (Hit Man), Grace Patterson (Slotherhouse), and Britt Bankhead (Insane Like Me). Directed by Bankhead from a screenplay by Bankhead and Jon Blaze, the film is executive produced by Bankhead and Patterson.
For generations, historians, researchers, authors, and paranormal enthusiasts have searched for answers surrounding the disappearance of the Roanoke colonists. With no definitive explanation ever discovered, the event remains one of the most debated mysteries in American history. The only clue left behind was a single word: CROATOAN.
Now, THE TOWN THAT TAKES imagines a terrifying answer.
“This is the kind of film that reminds you why summer belongs in a theater,” said Harmon Kaslow, President of Atlas Distribution Company.
“Britt Bankhead took one of the oldest unsolved mysteries in American history and built a supernatural thriller that gets under your skin and stays there. It is genuinely frightening, it is smart, and it delivers the kind of edge-of-your-seat dread that audiences will want to experience together on the big screen. We are proud to bring it to theaters.”
Blending edge-of-your-seat suspense, supernatural terror, and emotional family drama, the film follows Dean Richardson, a troubled Army veteran attempting to rebuild a relationship with his estranged twelve-year-old son, Wyatt, following the sudden death of his ex-wife.
Their journey takes a terrifying turn when they stop in a remote backwoods’ town haunted by whispers surrounding the word CROATOAN. After a brutal murder leaves Dean as the prime suspect and Wyatt suddenly disappears, he is forced into an uneasy alliance with veteran Detective Douglas O’Shea and rookie Detective St. Clair as a series of unexplained deaths, disappearances, and impossible encounters begin spreading throughout the region.
As evidence points toward something far older and more sinister than a simple murder investigation, Dean races to uncover the truth behind the legend before an ancient evil claims another victim.
The deal was negotiated by Britt Bankhead on behalf of the filmmakers, with Harmon Kaslow representing Atlas Distribution Company.
To bring THE TOWN THAT TAKES to your market, please contact David Johnson, Head of Sales at Atlas Distribution Company, at djohnson@atlasdistribution.com.
Film Synopsis: Dean Richardson, a troubled Army veteran living alone in Georgia, travels to North Carolina following the sudden death of his ex-wife. After the funeral, he brings his estranged twelve-year-old son, Wyatt, home with him in hopes of rebuilding their fractured relationship.
Their journey takes an unexpected turn when they stop in a small backwoods’ town haunted by whispers surrounding the mysterious word “CROATOAN.” After encountering unsettling locals and witnessing increasingly strange events, Dean finds himself caught in a growing nightmare when a motel clerk is found brutally murdered and he becomes the prime suspect.
As veteran Detective Douglas O’Shea and rookie Detective St. Clair investigate a series of unexplained deaths connected to the area, evidence begins pointing to something far more sinister than a simple murder case. Reports of impossible attacks, missing persons, and strange encounters spread throughout the county while Wyatt suddenly disappears.
Forced into an uneasy alliance with O’Shea, Dean races to find his son and uncover the truth behind the legend of CROATOAN before an ancient evil claims another victim.

#### Atom Tickets Launches Digital Ticketing For Film Festivals
 
Atom Tickets, the first-of-its-kind social movie ticketing app, launched a new service aimed at North American film festivals featuring a reserved ticketing experience powered by Atom’s convenient digital ticketing capabilities to reserve seats in advance at designated host venues. The first partner to use the new service is The Dallas International Film Festival (DIFF), running April 11-18. It will simplify the ticketing process for the 100,000 people who are expected to attend DIFF’s screenings, outdoor concerts and festival-related activities.
“Festivals are an important part of the movie ecosystem and they offer audiences the opportunity to see movies where they are best experienced – in the theater. We are proud to be able to include film festivals into our family of exhibition partners and thrilled to debut our new service with the Dallas International Film Festival,” said Steve Joudi, Head of Exhibitor Relations and Operations, Atom Tickets.
“We are always looking for ways to enhance our festival goers’ experience,” said Johnathan Brownlee, CEO & president of Dallas Film and executive director of Dallas International Film Festival. “As we have grown over the years, we have developed a solid foundation for producing exceptional programming and created a signature filmmaker experience. When we asked ourselves, ‘WHAT NEXT?’ we looked at the current market for film and saw tremendous growth in the popularity of reserved seating. No other film festival has given their patrons the opportunity to choose their seats for every screening, and we are pleased to offer this perk to those attending DIFF 2019. We will even be able to section off seats for Star Pass holders. Atom is a cutting-edge partner and we are thrilled to work with them to bring this vision to life.”
Atom Tickets digital ticketing service for festivals can be integrated into any film festival’s existing audience booking platform.
How Atom Tickets & DIFF Experience Works:
Film Festival passholders will be directed to Atom (app or web) to reserve their movie tickets after purchasing a pass on the DIFF website. When they access Atom they’ll be prompted to login and input their passholder number. Once their information is entered, passholders can simply reserve a seat (either in VIP or standard seating area depending on their pass level). At checkout, guests will bypass the required payment option to receive a confirmation QR code to be used at the venue upon arrival.
Festival goers without a pass can purchase individual movie tickets on Atom and pay for the ticket using Atom’s standard checkout process before receiving the confirmation QR code – similar to a regular movie ticket purchase. At the DIFF theater locations, both passholders and non-passholders can skip the box office lines and go directly to the ticket attendants where they scan a QR code on their phone to redeem their order.

#### Atom Tickets Partners With UberEATS For Free Private Screenings Of New Movie “The Founder”
 

	Today the innovative movie ticketing platform Atom Tickets announced that it is partnering with UberEATS, the on-demand food delivery network powered by Uber, to host six free private screenings of the upcoming film The Founder. The screenings will take place in six different cities across the Western U.S. and are presented in association with the film's distributor The Weinstein Company.

	The advanced film screenings will take place on National Popcorn Day, January 19, 2017, at local theaters in Dallas, Los Angeles, Orange County, San Diego, San Francisco and Seattle. Reservations for the screenings will be available exclusively to UberEATS app users in the six locations on a first-come, first-serve basis starting January 15. A reservation includes two free tickets to the advanced private screening, free round-trip Uber rides to and from the theater plus a free popcorn and drink.

	Atom Tickets is a game-changing mobile app and website that is revolutionizing the movie ticketing industry to make movie experiences faster, easier and more social than ever. Atom lets users pre-order movie tickets and concessions and provides a VIP experience that includes bypassing lines at theaters. The user-friendly platform also lets moviegoers watch trailers, read reviews and coordinate movie outings with friends while allowing each person to pay separately with just a few simple taps.

	"Atom Tickets and UberEATS both simplify everyday activities and save people time, and we're really proud to be collaborating with a company that we admire," said Matthew Bakal, executive chairman and co-founder of Atom Tickets. "We're excited to treat these communities to this exceptional movie while supporting a fellow app in the process. It speaks to the forward-thinking culture we're creating at Atom."

	This is the first partnership between Atom Tickets and UberEATS, a top food delivery app that leverages the Uber technology to quickly deliver quality food from local restaurants in over 50 cities across the world.

	"At Uber, we are committed to providing a unique, customer-focused experience. This special promotion and partnership with Atom Tickets offers users a fun way to experience this food focused movie and celebrate National Popcorn Day," said Allen Narcisse, General Manager for UberEATS Southern California.

	THE FOUNDER private screenings will be held at the following locations:

		Dallas (AMC Northpark 15)
	

		Los Angeles (ArcLight Santa Monica)
	

		Orange County (Edwards Irvine Spectrum 21)
	

		San Diego (AMC Fashion Valley 18)
	

		San Francisco (AMC Van Ness 14)
	

		Seattle (Regal Meridian Place 16)
	

	The Founder is the true story of how Ray Kroc, played by Michael Keaton, maneuvered himself into a position to buy the 1950s burger operation of Mac and Dick McDonald and create a billion-dollar fast food empire. The movie is scheduled to release nationwide on January 20.

	For those unable to participates in these special events, Atom Tickets is gifting new customers $5 off their purchase of movie tickets to see The Founder nationwide at Atom enabled theaters when they use promo code "FOUNDER" starting January 20.

#### ATTACK THE BLOCK
ATTACK THE BLOCK
 
By Gary Murray 
 
Starring Jodie Whittaker, John Bevega, Alex Esmail, Franz Drameth, Leeon Jones, Simon Howard, Luke Treadway, Jumayn Hunter and Nick Frost
 
Directed by Joe Cornish
 
Running time 90 min
 
MPAA Rating R
 
Selig Film Rating FULL PRICE
 
The B-picture has gotten a bad rap for more than a few years.  
 
Back in the old studio days of the 1930’s, the companies had crews and casts on salary.  They also had millions in costumes and sets.  It only made sense to use these resources to make more than one film.  With so many people going to the movies, films didn’t stay long and more products were needed. 
 
While Universal was making Dracula during the day, they made the Spanish language version at night.  The sets, costumes and actors of King Kong also showed up The Most Dangerous Game.  Back in the old days of cinema, the theaters offered double features with an ‘A’ picture like Gunga Din and a lesser film as the under-card or ‘B’ picture.  They were films like The Devil Bat and Cat People.  Some studios like Republic and Monogram were exclusively making these under-card flicks, mostly Western and Noir thrillers.  
 
When the Supreme Court made the studios get rid of their theaters, the concept of the ‘B’ picture changed to a more schlocky form.  Roger Corman and his ilk became the leaders of cheap and fast film-making.  The drive-in became the domain of the double feature and the idea of the ‘B’ meant inferior quality. It became double features such as I’ll Drink your Blood with I’ll Eat your Skin.  
 
In our modern day film world, the ‘B’ picture is more of a ‘straight-to-DVD’ release, where more products are needed.  But, the idea of an over-the-top flick with a low budget feel is still called a ‘B’ picture.   Attack the Block is that definition of a ‘B’ picture.  It is over-the-top and low budget.  It is also a heck of a lot of fun.
 
The story is of an alien invasion.  In London, a young nurse (Jodie Whittaker) walks home from work.  She is accosted by a group of thugs lead by Moses (John Beyega) who takes her valuables.  At that moment, a loud crash fills the night.  Something has hit a car, destroying it.  When the gang investigates, the beast attacks then run away.  The boys give chase and kill it.  It is a very small alien.  They take it back to their block of flats and hide it in the local drug dealers place.  The business is covered by a front man (Nick Frost) who is too stoned to really understand much of anything.  
 
Very soon, the boys are attacked by a different group of aliens.  These are a cross between a dog and a monkey but with glow in the dark teeth.  The guys and the nurse band together, defending their home from the menacing horde.  They fight to save their block against the evil aliens.  
 
Let’s be honest, Jaws, Super 8 and Grindhouse are all close cousins to the concept of the ‘B’ flick.  Heck, Grindhouse is a ‘B’ film double feature experience, wearing it proudly on its forehead.  Attack the Block follows this tradition and is one heck of a fun little cinematic ride.  It was the winner of the Midnight Screening Audience Award at the 2011 SXSW Film Festival and the Audience Award at both the Los Angeles Film Festival  
and Another Hole in the Head Film Festival.  It is the kind of film that the critics will hate but the audience will love.  I know it is silly but I loved it anyway.   
 
Director Joe Cornish does an amazing job with his young cast and lack of budget.  He gets strong performances from his young cast, giving them more than just thumbnail sketches of personality.  He keeps the tightness of suspense throughout the picture, giving not quick shocks but moments of sustained terror.  This is masterful storytelling done on a grand scale.  
 
Attack the Block will never be an Oscar contender but it is a fun diversion of a flick.  Much like last Summer’s Piranha 3D, this is the sleeper film of the summer.   It is bound to become a cult classic.  
 
 

#### ATTPAC LAUGHING IT UP
https://www.youtube.com/watch?v=i380TeCe5o8

	ATTPAC's shining series is the Lexus Broadway series.  But over the last few seasons ATTPAC has utilized humor to add a new element to the Art District's nightly shows.  Comedy has become a yearly group for ATTPAC to bring talent to our fair city.  This year they even crossed over with the other new baby #HearHere speaker series.  Animation icon Matt Groening brought the Simpsons mystic to Dallas.  Attpac went a bit bolder with the choice of Miranda July, stuck w/ an uber recognizable comedy improv company and are bringing back the Jewish legend to round out their 2016 year in comedy. 

	

	

	 

	 

	 

	 

	 

	 

	 

	 

	 

	 

	That's right next month Jerry is back in Dallas.  So make sure you prep yourself for the great one's return.  But lets discuss the last two unique choices for comedy ATTPAC brought us. 

	Miranda July – Unexpected, Quirky and Utterly Impressive.

	https://www.youtube.com/watch?v=kZ5P12yqvW4

	Miranda's a bold figure that is just obscure enough to be hip and cool.  Now sadly her show happened to fall the very night after our city's Police were brutally attacked.  But in that sad evening July shared her story so that a catharsis could be organically created.  Her life's zig zagging journey helped ground the audience who were captivated by Miranda's wild choices in life.  Her multi-media mixing really makes her so unusual.  She tries new things in different and new mediums.  Whether it's a passionate one person show filled with crazy projections, her quirky and heart warming films, or her witty and realistic stories we gain a new view with each additional Miranda July work.  She held our attention and even caused a few mesmerizing moments in her short visit to Dallas.  A bold talent choice to continue the interesting comedy journey ATTPAC is forging each new year.

	

	 

	 

	 

	 

	"Founded by Amy Poehler (SNL, Parks and Recreation), Upright Citizens Brigade Touring Company performs a night of provocative sketch comedy and absurd improv."

	UCB's improv formula and style aren't provocative or absurd. The formula is simple a small group of funny folks, a few chairs and an audience.  The provocative and absurd material comes from that key figure, the audience.  So…the show opens with the house lights being pulled up so the four improv comedians can talk to us the audience.  This pivotal interaction allows the four to pull words, moments, images, thoughts and whole stories.  Now this weekend's show hinged it's hopes on a pregnant lady (very pregnant!).  Luckily for the sold out Dallas City Performance Hall, UCB Tour Co couldn't have chosen a better person.  Carla (not sure about her spelling) is an AT&T marketing person who's VERY pregnant and happy about it.  But our talented UCB folks pulled out story and moment after moment from the young audience find.  The next hour's worth of an opening act was non-stop belly-aching laughter.  From lactation to dog park hecklers to pregnant women fighting Carla's tales were given the UCB spin.  The four comedians (one girl and three gents) flowed through scene after scene seeming to each have a light bulb moment that would lead to the next moment of laughter.  The foursome was completely on point for this opening act.  Act 2 wasn't bad, but couldn't replicate the hilarious moments from Act 1.  That is until the four UCB folks smartly weaved Act 1 BACK into Act 2.  The strong yet swift ending left us wanting even more and thus teasingly making us love the show.  Overall ATTPAC's comedy choices seem a bit out of left field at times and spot on at others.  Gotta love that the lead non-profit in the AD is testing it's boundaries and continuing to expand it's content. 

	So make sure you keep up with everything ATTPAC at ATTPAC.ORG.

#### ATTPAC welcomed JEFF GOLDBLUM & THE MILDRED SNITZER ORCHESTRA – A Review By Gadi Elkon
The eccentric Jeff Goldblum dazzled a packed Winspear Opera House with a mixture of stories, selfies and sonic Jazz waves.  Here is my look back at an evening spent watching Goldblum & The Mildred Snitzer Orchestra take over our beloved Winspear.

This won’t be your typical review since it’s about a show that certainly isn’t your typical Winspear Opera House performance.  There was no introduction, Goldblum’s fun antics wouldn’t allow for such nonsense.  Though Chris Heinbaugh did try to at least give us a little intro prior to the musical portion of the Goldblum smorgasbord.  How do I explain it.  When I arrived at the Winspear I entered the lower bowl and I heard that familiar cadence of Goldblum and noticed a group of folks surrounding the actor.  He was slowly moving up and down the first three rows of seats right in front of the Shannon and Ted Skokos Stage.  Folks were getting to shake his hand and take many a picture.  He seemed to revel in the attention.  He purred and meowed at each selfie taken with him.  I mean literally he vocalized each movement and moment he had that wasn’t him telling a story or answering a question.  There was no control this was what many would say is utter chaos.  Your talent in the crowd getting groped and taken advantaged of, but that wasn’t what this was at all.  As I said Jeff seemed to revel in all the magical attention.  His unique style fits so perfectly in this weird introduction.
After Heinbaugh did his best to corral Goldblum we finally met The Mildred Snitzer Orchestra.  Talented Jazz musicians that mingle in a little Monk here and showcase their own mighty work there.  They even laid a nice tribute to Dallas’ finest, Meatloaf.  No for real!  The way in which Goldblum interacts with his fine musician friends is a spectacle to be seen.  He enjoys it as much as anyone in the room.  He pops in and out of smacking the piano to sometimes just close his eyes and listen to the sonic mastery.  But that isn’t all the show is about.  Between songs and a for a 10 minute “halftime” Goldblum does his own form of work.  He talks directly to the audience.  He plays a few games with some happily selected audience members and plays his version of Six Degrees of Separation from Him.  He does what he wants and that is what the evening is about.  I can only imagine that every single show is completely unique and unforgettable for those whom lay witness to the golden Goldblum.
I’ll always look back on this weird evening spent watching a master artist convey his originality to a Dallas audience.  Jeff Goldblum is one of a kind and so is his show.  ATTPAC always does a fantastic job bringing musical guests like Bela Fleck or Joan Baez (She sounded GREAT!), but they one upped themselves by allowing us all to experience the trippy world of Jeff Goldblum and The Mildred Snitzer Orchestra.
How about I just leave you with this famous line from Goldblum himself.
“I, uh, don’t think I’m, y’know, so different than your average, y’know, average.”
Exactly.

 

#### ATTPAC’s CHICAGO – Interview with Eddie George
ATTPAC brings back CHICAGO to Winspear Opera House from December 18th through the 23rd.  I’ll have a full review coming next week.  This year’s production has a real treat as Heisman Trophy winner, NFL Legend and Broadway actor Eddie George is back as Billy Flynn.  He sat down with Selig Film News to talk about the legendary role, his acting history, and so much more!
Here is our interview of Eddie George – Billy Flynn in CHICAGO.

Interview with Eddie George who stars as Billy Flynn in Chicago.

 

#### AUDREY – Interview with Writer Lou Sanz and Director Natalie Bailey
SXSW 2024 kicked off this past Thursday March 7th and runs through Saturday March 16th.  Our Gadi Elkon talked with multiple filmmakers having their world premieres at the Austin based festival.  Here is our Interview with Writer Lou Sanz and Director Natalie Bailey from the raucous comedy, AUDREY.

 Forgotten soap-star and self-appointed Mother of the Year, Ronnie Lipsick is living the life she never asked for. An acting career derailed due to an untimely pregnancy 18 years earlier, dreams of stardom replaced with a suburban performing arts school. A husband, Cormack, who’s lust and love for life has gone as limp as his manhood. Youngest daughter, Norah, who appears to have no use for her and finally, the ungrateful eldest, Audrey, who Ronnie has given the best part of her parenting time to mould into the success she always wanted to be. But when an accident lands Audrey in a coma, Ronnie gets her second chance at the life she actually wanted by taking on her daughter’s identity.
Writer Lou Sanz and Director Natalie Bailey talked with our Gadi Elkon about getting to shoot at home, some stories from the set, and of course about world premiering at SXSW!
Here is our Interview with Writer Lou Sanz and Director Natalie Bailey

The film has its world premiere today at SXSW 2024!
For more info, AUDREY.

#### August 30th Movie Releases with interviews with Keri Russell and Mexican Icon Eugenio Derbez
httpv://www.youtube.com/watch?v=vxcCOS-Iwtg

	The Texas Theatre is showcasing Andrew Bujalski quirky film about eccentric computer chess lovers, sort of.  Click through for our 4 favorite movies out this week.

	 

	

	httpv://www.youtube.com/watch?feature=player_embedded&v=0KwzEQPMppI

	Mads Mikkelsen is the dynamic dane that has created some of the darker roles for Television and Film over the last decade.  For you Nicholas Winding Refn's fan you'll know Mads from the bold drug saga Pusher and it's sequel.  But most folks either first glanced Mads in 2004's King Arthur or as the diabiolical villian in Casino Royale.  Recently he masterfully recreated Hannibal Lecter on NBC's bloody good HANNIBAL.  The Hunt is a haunting story of whether perception is reality and the tragic elements that evolve from that perceptive state.  Mads gives one of the year's most torn lead roles as his character is completly torn down to nothing.  It's a powerful film that will stick with you long after the reality is made clear.

	httpv://www.youtube.com/watch?v=Zl8dzRLr3Mg

	The story of IP Man has been told often, but Director Wong Kar Wai has created easily the most visually stunning version of the tale of Bruce Lee's historic trainer.  As you saw in the trailer, fight coordinator Yuen Woo-Ping makes this film kick TOTAL ASS.   But it's the dramatic and beautiful look at the times and places that IP man lived that really makes the film standout.  The story won't shock you, but the way Wong Kar Wai makes water, snow, sweat, and blood look epic is masterfully done.  Be prepared, you're eyes will be totally tired after this tale of the Grandmaster.

	httpv://www.youtube.com/watch?v=JUWQwvmvnvU

	Mexican comedic icon Eugenio Derbez took 12 years to make his directorial debut.  It's a funny twist on the whole Kramer vs. Kramer fatherhood tale.  Like the iconic film the young talent in this film shines bright.  Loreto Peralta is utterly adorable and captivating as the bi-lingual daughter of the quirky but caring Mr. Bravo.  Eugenio showcases a Buster Keaton or Roberto Benigni quality that has a wonderful fluid nature that allows for hilarious physical comedy as well as heartfelt caring moments, especially with young Loreto.  The funny look into the stunt industry is quite fulfilling and gives the right amount of separation from the obvious court-room ending that made Kramer vs Kramer so powerful.  This film isn't on that dramatic of a close, but rather it ties the bow quite nicely and will have you leaving the film with a smile on your face.  Check out an interview I did with Eugenio about his directorial debut – http://gadielkon.com/2013/08/instructions-not-included-interview-with-director-and-star-eugenio-derbez/#.UiC8XnQo7IV.

	httpv://www.youtube.com/watch?v=xQL8d5NTHlY

	I went into Austenland not expecting that much, and was pleasently surprised.  Keri Russell is as adorable as ever and the quirky premise of a Jane Austen vacation spot is in the perfect hands of Jerusha (Director) and Jared (Producer) Hess.  It does well to keep numerous elements from the Shannon Hale book, but touchingly mingles Stephenie Meyer's script with the odd senseabilities of the Hess' connection.  But the real lovable dynamic is Jennifer Coolidge and Keri's growing friendship.  Their banter back and forth is just laugh out loud funny and the duality of Keri's character's deciding on her Mr. Darcy is also well done.  Overall a great summer comedy to ease you into the cold of fall and winter.  Keri Russell was awesome enough to visit Dallas and take part in a roundtable interview.  Enjoy…

#### AUGUST AT TWENTY TWO – Interview with Writer Actress Ali Edwards and Director Sophia Castuera
Director Sophia Castuera and Actress/Writer Ali Edwards of LADY PARTS PRODUCTIONS talked with our Gadi  Elkon about their feature film, AUGUST AT TWENTY TWO.

Cal, an floundering actress, must reevaluate her priorities when she discovers that her childhood “soulmate,” Jacob, has a serious girlfriend, Emily. Feeling unfulfilled by disappointing auditions, pressure to succeed (whatever that means), and failed attempts to reconnect with Jacob, Cal seeks a new companion in Em. As Cal gets swept up in her exciting new social life, she begins neglecting her best friend Bobby, who is becoming increasingly concerned about her rapidly changing focus. As Bobby and Cal’s friendship disintegrates, so does Cal’s sense of self. Meanwhile, her relationship with Em develops in unexpected and incendiary ways.
Sophia and Ali talked with our Gadi Elkon about the origins of the story, the casting process, Lady Parts Productions, working with Gravitas Ventures and much more!
Interview with Director Sophia Castuera and Actress/Writer Ali Edwards:

For more info AUGUST AT TWENTY TWO.

#### August Diehl & Michael Aloni Star in PLAN – In Theaters & On Demand October 14th
 
Menemshia Films will open PLAN A in NYC at the New Plaza Cinema on Friday, October 7th. The following Friday, October 14th, the film will open in theatres in Los Angeles, Boston, Phoenix, Seattle, South Florida and other cities around the country. On that date it will also be available on numerous VOD platforms such as Apple TV, Prime Video (to buy/rent), GooglePlay, Vudu, Comcast, Spectrum, Cox, Verizon, DIRECTV, Frontier, and Dish.
PLAN A is based on the incredible true story of the “Avengers,” a group of Jewish vigilantes, men and woman, who after surviving the holocaust are vowing to avenge the death of their people by poisoning the water supplies in German cities and to kill six million Germans, one for every Jew slaughtered by the Nazis – “an eye for an eye, a tooth for a tooth.”
Max, a holocaust survivor has lost all his family in the camps. Full of rage and with nothing left to live for other than revenge he helps the Jewish Brigade soldiers under British command who, on their own accord, find and execute Nazis accused of leading positions in the system. When the British realize ex-Nazis are disappearing, the Brigade is sent away, Max follows Anna and a group of former partisans to Nuremberg, where they soon realize that they will not find redemption in the upcoming Nuremberg trials.
Led by charismatic leader Abba Kovner, they formulate the biggest revenge operation in history – ‘Plan A.’ They infiltrate German water companies as undercover engineers with only one goal: to poison the drinking water in Nuremberg, Munich, Cologne, Weimar and Hamburg.
‘Plan A’ fails, and Max realizes that living a life, having children and building the State of Israel is his, and the Jewish peoples’ true revenge.
Inspired by the events featured in the book “Nakam,” (Revenge in Hebrew) by Prof. Dina Porat, the chief Historian of Yad Vashem, PLAN A stars August Diehl (Inglourious Basterds, A Hidden Life), Sylvia Hoeks (The Girl in the Spider’s Web, Blade Runner 2049) and Michael Aloni (Shtisel, When Heroes Fly). PLAN A was written and directed by brothers Doron and Yoav Paz, the directors behind Jeruzalem and The Golem. PLAN A is a German-Israeli co-production that runs 109 minutes and is in English.
“We believe that PLAN A is a gripping true story that deals with the most primal and natural human instinct – pure revenge,” state the directors Doron & Yoav Paz. “It gives the audience a new perspective about the holocaust and confronts powerful feelings of revenge, justice and morality”
.
By the way…there was a “Plan B,” but that’s another movie.

#### AUGUST: OSAGE COUNTY – A Review by John Strange
AUGUST: OSAGE COUNTY

	By: John ’Doc’ Strange

	Directed by: John Wells

	Cast: Meryl Streep, Julia Roberts, Ewan McGregor, Chris Cooper, Abigail Breslin, Benedict Cumberbatch, Juliette Lewis, Margo Martindale, Dermot Mulroney, Julianne Nicholson, Sam Shepard, Misty Upham 

	MPAA Rating: R (for language including sexual references, and for drug material)

	Selig Rating: FULL PRICE

	Runtime: 119 Min.

	When the patriarch of the Weston family, Beverly Weston (Sam Shepard), commits suicide, the family comes together at the family home in rural Oklahoma for the funeral.  The three daughters, Barbara (Julia Roberts), Karen (Juliette Lewis), and Ivy (Julianne Nicholson) and their families are a rough cross section of what we think of when we consider the question of “country girls”. 

	One is a mother and seems stable (Barbara), one is a bit trashy and is engaged to someone I would not buy a car from (Karen), and the third never left town but is poised to do so now that daddy is gone (Ivy).  Momma Violet (Meryl Streep) is a drug-chugging, foul-mouthed, matriarch driving every single person in the house to distraction. 

	Tough crowd, right?  Well, a family get-together like this is nothing without the rest of the family.  We have Mattie Fae (Margo Martindale), her husband Charlie (Chris Cooper), and their son Little Charlie (Benedict Cumberbatch).  This is NOT a love-fest but it does have a feel that rings true.

	This film is almost overloaded with amazing talents who work the script like they had been together for years.  I understand that they had a week of rehearsals prior to the beginning on principle shooting.  If this is what a week of rehearsal can bring, all of the directors out there need to take this lesson to heart.  The story is emotionally charged with revelations and surprises exploding out of almost every scene.

	August: Osage County is adapted from Tracy Letts’ Pulitzer Prize-winning play of the same name.  Don’t go to see this film if you want a feel-good story.  This is not a date movie.  It is gritty and rough to watch.  There is drug usage and drug abuse.  There is heart ache and love torn asunder.  This is a side of real life I pray most of you will never ever have to see… except on this screen.

	
	Movie Site: http://www.augustosagecountyfilm.com/

	
	The Selig Rating Scale:

	FULL PRICE – Excellent movie, well worth the price
	MATINEE – Good movie
	DOLLAR – OK movie
	CABLE – No need to rush. Save it for a rainy day.
	FREEBIE – Good that I saw it on the big screen but wish I hadn't paid for it.
	COMMERCIAL TV – Commercials and cutting to the allotted time will not hurt this one.
	FORGET IT! – Bad. If you see this one, do yourself a favor and keep it to yourself.
	GET YOUR TORCHES – BAD! – Burn the script, the writer, the director and maybe even the actors!

#### AULCIE – A Review by John Strange
AULCIE – A Review by John Strange
In 1976, Aulcie Perry from New Newark NJ, the last man cut from the NY Knicks that year went on to become a legend playing basketball, in Israel.  And then, as the film tells us in the introduction, he disappeared.
The story presented to us, how Aulcie rose to fame and then flamed out, is told using video, still images, and drawings.  The narrative basically follows along as the legendary basketball player explains his life to the daughter, Cierra, he knew he had but is just meeting for the first time since her birth.
This is the story of a young man, born in the Deep South and raised in Newark NJ, who by the age of 13, was living for the game of basketball.  His skill got him out of the ghetto.  His sister, Bernadine Perry-Davis, likened him to a superstar basketball player in high school and he excelled in his college years.  This got him a call from the New York Knicks.
But, at the end of the pre-season, Aulcie was let go in favor of a player with more experience.  Come September, Aulcie is playing in the championship game for the city summer league.  Shamluk Maharovsky, (Maccabi Tel Aviv Manager) watches him playing at Madison Square Garden.  He says that he said, “God, give me this man!”
The Maccabi manager made the young man an offer to come to Israel and play basketball for his team.  After he, and his family and friends had a moment to consider the offer, the chance to get out of the ghetto, Aulcie takes the offer and goes to the Middle East to play basketball!
Aulcie shines on the team, becoming a leader.  The team does amazingly well with the 6’10” triple-threat player, winning the European Championship the first year!  After that, the team continued its win streak.  The people of Israel adore him!
But as time goes on, injuries start to happen.  Life has a way of slapping us when we don’t listen to it and that’s happened to Aulcie.  Pain medication is great until you get hooked.  And his rise leveled out and began its plummet.
This story is not really about drugs though that demon had a big part to play in the baller’s life.  They damaged his career and his private life but only because he couldn’t make himself go through the door for rehab.  This is a man who, despite mistakes and missteps, never loses his dignity.
I love that the film shows the good and the bad.  Aulcie never tries to say it was someone else’s fault.  The game footage does not overwhelm the story.  The director uses the media available very well and uses live interviews to their best advantage giving us a well rounded look at a man that the people state of Israel came to love.
Aulcie and Aulcie Perry is a very good example of why we need documentaries like this to show us parts of the world and its people we would never know of otherwise.  Director Dani Merkin has a deft hand at this profession.  Her film’s flow and pace are as close to perfection as any film I have seen in quite some time.  Whether you love or hate basketball, this is a 5-star documentary!
 
This film is part of the 8th annual Israel Film Center Festival set for June 7-14, 2020.  For more information: https://israelfilmcenterstream.org/festival/.
 
Directed by: Dani Menkin
Cast: Aulcie Perry, Tami Ben-Ami, Shmuel Mahrovsky, Tal Brody, Shimon Mizrahi, Simi Riger, Earl Williams
MPAA Rating: NR
Selig Rating: 5 Stars
Runtime: 75 Min.
Documentary
8th annual Israel Film Center Festival: Screening Availability: Saturday, June 13, at 8:30 p.m. – Sunday, June 14, at 8:30 p.m., Q&A: Sunday, June 14, at 6 p.m.
Trailer: https://youtu.be/BC2ZKFh1d2I
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### Auspicious Oct 11 release for Shuja Ali’s Baat Bann Gayi
 

	Year 2013 has been Bollywood’s most successful year thus far, which have had many films shifting release dates to hit the silver screen on a suitable week. Almost every week there have been 4 to 5 new releases and in some weeks the numbers have gone to as high as ten. Picking a good release date has been a big task for corporate houses and movie makers. Anil Sharma’s Singh Sahab The Great has joined this league when they have shifted their release date from  October 11 to November end. Incidentally, Balaji Films has postponed the release of Ragini MMS 2 from this given date thus giving comic caper Baat Bann Gayi an auspicious Oct 11 release option.

	“Considering the mammoth success of Chennai Express was released on the occasion of Eid-ul-Fitr and is still running to packed houses, we have decided to release our film, Baat Bann Gayi on Oct 11, as there are two auspicious events Dussehra and Bakri Eid,” avers producer Sayed Asif Jah.

	Baat Bann Gayi is a romantic comedy enriched with the classical plot of ‘duals’, which depicts the comedy of errors when look alike of characters encounter each other. Unexpected, hilarious situations arise because of mistaken identity.  Kabir (Ali Fazal) is deeply in love with Rachna (Anisa). After a lot of hiccups he is successful in impressing Rachna’s brother Laxmi Nivas (Gulshan Grover) with his antics. The real twist in the tale comes when Kabir’s look alike Rasiya Bihari (Ali Fazal), who works for a land mafia Carlos Rehbar Pasha (Razzak Khan), also gives his heart away to Rachna. And Rachna and her family mistakes him for Kabir. Kabir, on the other hand is confused as people are mistaking him for Rasiya..

	Another twist comes when Rasiya bumps into Debu (Gulshan Grover), a dance teacher who is not straight and he exactly looks like Laxmi Nivas. Wild mishaps begin because of mistaken identity. The comedy of doubles becomes the comedy of double trouble. Whole lot of trouble and confusions turn the flow of the narrative into a hilarious, thrilling roller coaster ride full of madness, surprises, and stomach aching humorous situations.

	Presented by Jaypeeco India Pvt Ltd and Vibhu Agarwal, Baat Bann Gayi,  produced by Sayed Asif Jah and Megha Agarwal, is directed by Shuja Ali. The film is a production of Jaypeeco Infotainment in association with ASR Media. Baat Bann Gayi, starring Ali Fazal, Gulsan Grover, Anisa, Amrita Raichand, Razzak Khan and Akshay Singh. The music is by Harpreet Singh with songs. The cinematography is by Deepak Pandey  and editing by Manan Sagar.

#### AUSTENLAND
AUSTENLAND

	 

	By Gary Murray

	Starring Keri Russell, Jennifer Coolidge and J.J. Feild

	Written by Jerusha Hess and Shannon Hale

	Directed by Jerusha Hess

	Running time 97 min

	MPAA rating PG-13

	Selig Film Rating Matinee

	 

	Keri Russell is basically a television actress who has been making headway into major motion pictures.  She has appeared in Mission: Impossible III, We Were Soldiers and Waitress.  Her latest is to revive the romantic comedy and is called Austenland.

	The tale of the film is about Jane Hayes (Keri Russell).  She is in her 30s with no man and few interested candidates.   She is also obsessed with the world of Jane Austen novels.  She dreams to meet her own Darcy.  Eventually, she blows her life savings on going to England and Austenland.

	Austenland is basically a B&B in the countryside.  It is an English manor, the kind of place written of in Pride & Prejudice.   It has now been turned into an amusement park of a sort.  Imagine combining West World with Downton Abbey.  It is also full of archetype British fiction men (but no Yul Brynner in a cowboy hat). 

	Off the plane and in full English maiden gear, Jane meets a fellow traveler (Jennifer Coolidge).  The two become fast friends on the travel to the destination.  The other woman is just looking for fun and sex but has no real concept of Jane Austen.

	At the manor, they meet Mrs. Wattlesbrook (Jane Seymour).  The matron lets the two newbies know that no modern devices are allowed from that point forward.  They are both dressed in traditional garb and taken to the big house for a week of refinement and romance.  The co-traveler gets the identity of a very rich Miss Elizabeth Charming while Jane is saddled with being an orphan.  This is the first of her many disappointments.

	Jane finds out, like in the time of Austen, there are different classes at the manor and she is in the lowest package, the copper package.  The days consist of sewing and banter, with meals served by coated man-servants.  To be honest, it feels like a dull vacation.

	Jane meets the gardener, Martin (Bret McKenzie).  He is a strapping young man who thinks all this play-acting is a bit silly.  Jane falls for his simple charms.  At the same time, her character is to be infatuated by Henry Nobley (J.J. Feild).  He is the Darcy of her fantasy tale, an introspective young man that the heroine falls for.  Eventually, Jane decides to take the script that has been laid out for her and turn it on its ear.  By breaking the conventions of the plot, the film begins to fall into sitcom territory.

	There are some nice twists and turns to get to our romantic ending.  Where the first third of the film lashes out at the conventions of the genre, it is in the last third of the film that the genre falls firmly into place.  The film had a nice but ingenious finish. 

	The reason to see the film is not to be surprised by the story but to enjoy the journey the tale takes.  In order to do that, the cast must be up to the task.  This is a stellar bit of casting.  The writing of Shannon Hale and the directing of Jerusha Hess are not enough to hold attention.

	Keri Russell has always turned in some fine work but here she gets a chance to be funny.  There is this certain charm to her acting, feeling a bit silly in corsets and bonnets.  On more than one occasion, she is a trouper.  Her finding out what is real and what is pretend drives the film to its pat ending.

	For anyone who has seen American Pie, they know the work of Jennifer Coolidge.  This is a big step forward for the actress and she plays brashness to a tee.  She delivers line after line with solid comedic timing.  The scenes between her and Keri Russell become magic.

	In the secondary cast, there are two standout performances.  Georgia King plays Lady Amelia Heartwright, another guest at the manor.  She banters and claws with our two female protagonists to a stunning degree and her eventual reveal is side-splitting.  The other actor who needs mention is J.J. Feild as Henry Nobley.  It is a subtle and subdued reading that eventually pulls at the heartstrings.  It is some honest acting from a basically unknown performer. 

	Finally, it is always good to see Jane Seymour in a film.  She is a fan favorite Bond Girl who pets a stuffed lamb in same manner of Dr. Evil from Austin Powers.   It is a small part that she does with a certain over-the-top charm.

	Austenland is a film for Jane Austen fans who have never actually read an entire Jane Austen novel.  The world of Austenland, the amusement, is very far off from the reality of the time.  The film is about real love verses fantasy love and how combining the two is a very dangerous game.  This is definitely a ‘chick flick’ that men will tolerate. 

#### Austin Asian American Film Festival Announces Full Film Lineup for 2022 Festival
 
The Austin Asian American Film Festival (June 23-26) announced the film lineup for this year’s 14th edition of the film festival. Taking place June 23-26, AAAFF’s headliner screenings include Tom Huang’s comedy Dealing With Dad, which will open the film festival, So Yun Um’s Liquor Store Dreams, which is the Spotlight selection, and Kurdwin Ayub’s Sonne, which will close the film festival. All screenings will take place at the AFS Cinema (6406 N I-35, Unit 3100).
AAAFF will screen 11 feature films (6 Narrative, 5 Documentary), and 16 short films as part of their ongoing mission to produce programs that champion Asian and Asian American stories through film, educate about AAPI issues, and build community through partnerships with creatives and other organizations. The in-person/in-theater event will feature several filmmaker appearances and post-screening Q&As, as well as a red carpet gala presentation prior to the Closing Night screening on Saturday, June 25.
Austin Asian American Film Festival Executive Director Hanna Huang, said, “As our biggest program of the year, the film festival is packed with a lineup of the latest emerging independent films along with events for audiences and filmmakers to have conversations about AAPI representation in front of and behind the camera.”
AAAFF Creative Director Ray Lloyd and Program Director Jenny Nulf, added, “This year’s lineup includes a wide array of genres and themes from a diverse spread of countries and Asian American communities. We’re ecstatic to present our lineup this year and celebrate independent film with our supportive film festival community here in Austin.”
Opening Night will feature Tom Huang’s festival favorite dysfunctional family comedy Dealing With Dad about an Alpha mom/corporate manager tasked with going home to deal with her overbearing dad, who is now despondent and won’t leave the house. What she and her siblings discover is that their dad is actually, much more pleasant in his depressed state, so they wrestle with the decision to “fix” him or not.
AAAFF’s Spotlight film will be So Yun Um’s documentary Liquor Store Dreams which draws a line from the ‘92 LA Uprisings to the current-day BLM movement as it looks at two Korean American children of liquor store owners who work to overcome the history and stereotypes that plagued their parents.
Closing Night will present Kurdwin Ayub’s drama Sonne about three teenage girls from Vienna who deal with the fallout of becoming a viral sensation after a YouTube video of them twerking in hijab and singing a pop song takes off. They each become famous overnight, especially among Kurdish Muslims, which forces them to face their feelings and relationship to the culture as well as making them unexpected targets. The film won Best First Feature at the Berlin International Film Festival.
Additional narrative features include Kit Zauhar’s drama Actual People, about a biracial girl in her final week of college, whose desperation to get a boy to like her leads to escalating anxieties about everything in her life. Victor Villanueva’s Lucid follows a woman who lives a full satisfying life…in her dreams. That is, until a mysterious man she meets in her dreams challenges her to make them more adventurous until she questions if it is worth staying in her dream state or not. Qiu Jiongjiong’s fantasy A New Old Play focuses on a man who was a leading clown-role actor in 20th-century Sichuan opera, as he reluctantly is escorted to the Ghost City. Throughout his trip, earthly scenes from the past creep into the mists of the Netherworld. The film won a Special Jury Prize at Locarno. Faran Moradi’s love story Tehranto pairs two young students with very different upbringings from a divided Iranian community in Toronto as they fall in love against the backdrop of the city.
A trio of feature-length documentaries include Samarth Mahajan’s Borderlands looks at how everyday lives intertwine with borders in the Indian subcontinent via six characters whose lives are defined by personal and political borders. Julie Ha and Eugene Yi’s Free Chol Soo Lee explores the efforts by Asian Americans to free Chol Soo Lee, a Korean immigrant who was wrongly convicted of a gang murder. However, once released, he was ill-equipped to handle the attention and status that his celebrated case brought upon him. Violet Du Feng and Qing Zhao’s Hidden Letters tells the story of two Chinese women trying to balance their lives as independent women in modern China while confronting the traditional identity that defines but also oppresses them. Shanti Thakur’sTerrible Children looks at an Indian family’s struggle and growth generationally after the filmmaker’s Indian father gives her a letter, which he left unopened for 20 years. The letter inspires her to discover her father’s history of trauma and renewal—of family violence, boyhood in a right-wing paramilitary group, Muslim-Hindu violence during Partition, and family banishment for marrying a Danish woman.
To purchase badges, tickets and for more information More information please go to: www.aaafilmfest.org.
 
2022 Austin Asian American Film Festival Official Selections
 
HEADLINERS
Opening Night Selection
Dealing with Dad 
Director: Tom Huang
Country: US; Running Time: 106 min
Alpha mom/corporate manager Margaret Chang must return to her hometown to deal with her overbearing dad, who is now despondent and won’t leave the house. She drags along her older sad-sack brother Roy to help her. They discover their dad is much more pleasant in his depressed state, and their equally overbearing mom Sophie and youngest brother Larry (still living at home) see no need to change this. The siblings ponder the situation and reminisce about the bad times with Dad, discovering that their familial bond is stronger than they ever realized.
Spotlight Selection
Liquor Store Dreams 
Director: So Yun Um
Country: US; Running Time: 97 min
Tracing back from the ‘92 LA Uprisings to the current-day BLM movement, Liquor Store Dreams is an intimate portrait of two Korean American children of liquor store owners who set out to bridge generational divides and claim their own legacy. As they forge new paths, they must face the history and stereotypes that plagued their parents
Closing Night Selection
Sonne 
Director: Kurdwin Ayub
Country: Austria; Running Time: 87 min
Three teenage girls from Vienna twerk in hijab and sing a pop song. A YouTube video of it makes them famous overnight, especially among Kurdish Muslims. Yesmin, the only one of the friends who is Kurdish herself, begins to distance herself more and more from her culture. Nati and Bella, on the other hand, seem fascinated by a world that is strange to them. When the girls meet two young Kurdish patriots, the situation threatens to escalate.
ADDITIONAL NARRATIVE FEATURES
Actual People 
Director: Kit Zauhar
Country: US; Running Time: 84 min
Riley, a biracial girl in her final week of college, goes to great lengths to win the affections of a boy from her hometown of Philly, and ends up having to confront her escalating anxieties about her love life, family, and future.
Lucid 
Director: Victor Villanueva
Country: Philippines; Running Time: 88 min
Ann Cruz is a lucid dreamer. Her dreams are the exact opposite of her mundane, routinary life. In one of her fabricated dreams, she meets a mysterious man who challenges her to make her dreams more adventurous. As she crosses paths with another lucid dreamer, she realizes her dreams are far more alive than her reality – making her question if it is worth staying in there or not.
A New Old Play  
Director: Qiu Jiongjiong
Country: Hong Kong/France; Running Time: 179 min
One evening in the 1980s, Qiu Fu, a leading clown-role actor in 20th-century Sichuan opera, reluctantly departs this world for the Ghost City under the escort of two underworld officials. Along the way, he meets old friends. As they recall the past, earthly scenes creep into the mists of the Netherworld. Qiu Fu’s life in opera unfolds against the backdrop of China’s tumultuous 20th-century history.
Tehranto  
Director: Faran Moradi
Country: Canada; Running Time: 92 min
In Toronto lively music, intricate textiles, and vibrant colors paint an unlikely story of love and family when Badi and Sharon, two young students with very different upbringings from a divided Iranian community, accidentally fall in love.
DOCUMENTARY FEATURES
Borderlands  
Director: Samarth Mahajan
Country: India; Running Time: 67 min
An intimate exploration of how everyday lives intertwine with borders in the Indian subcontinent. Borderlands brings together six characters whose lives are defined by personal and political borders. Through conversations and observations, the characters reveal their efforts to find meaning in a world beyond their control. Divided families meet, love blossoms across borders, traffickers get caught – in this slice of life documentary.
Free Chol Soo Lee 
Directors: Julie Ha, Eugene Yi
Country: US; Running Time: 83 min
Asian Americans unite to free Chol Soo Lee, a Korean immigrant who was wrongly convicted of a gang murder, but once out, he self-destructs, threatening the movement’s legacy and the man himself.
Hidden Letters 
Directors: Violet Du Feng, Qing Zhao
Countries: China/Germany/Norway/US; Running Time: 89 min
Hidden Letters tells the story of two Chinese women trying to balance their lives as independent women in modern China while confronting the traditional identity that defines but also oppresses them. Connected through their love for Nushu–a centuries- old secret text shared among women — each of them transforms through a pivotal period of their lives and takes a step closer to becoming the individuals they know they can be.
Terrible Children  
Director: Shanti Thakur
Countries: US/India/Canada; Running Time: 57 min
Terrible Children poses the universal question: must we betray our family to grow up? The filmmaker’s Indian father gives her a letter, which he left unopened for 20 years. She pieces together her father’s history of trauma and renewal—of family violence, boyhood in a right-wing paramilitary group, Muslim-Hindu violence during Partition, and family banishment for marrying a Danish woman. Told through personal narrative, reimagined history, and chronicles of racial nationalism, the film reveals the rich and complex interior lives of boys fighting to become men.
SHORT FILMS
38 at the Garden       
Director: Frank Chi
Country: US; Running Time: 38 min
In a hostile time for Asian Americans, the revisiting of a basketball star, Jeremy Lin’s unlikely  story 10 years later gives hope and shatters stereotypes on sport’s biggest stage.
Big Trouble in Little America          
Director: Qiyue Sun
Country: US, Running Time: 9:05 min
Haunted by wet dreams on her newly bought mattress every night, “Chinese Girl” goes on a journey to cleanse herself of the spirits with help from her Chinese heritage.
Conversations at the Register        
Directors: Brandon Soun, Lan Nguyen
Country: US; Running Time: 8:55 min
Community organizing saved KH Supermarket from demolition two years ago, but after a long fight against gentrification, the Cambodian American market is closing its doors and starting a new chapter.
Elvis of Laos
Director: Van Ditthavong
Country: US; Running Time: 11:20 min
Through dance and conversations – a famous Lao singer, his son, and his granddaughter examine the artist’s life, inspirations, and legacy after leaving the war-torn country in late 1974.
Fictions          
Director: Alice Liu
Country: Canada; Running Time: 12:30 min
A young Chinese Canadian photographer is forced to reflect on her shifting identity when she discovers the work of Cindy Sherman.
Firsts              
Director: Jesse Ung
Country: New Zealand; Running Time: 16:50 min
On the eve of Chinese New Year, Steven, a closeted Chinese international student living in New Zealand, oppressed by the expectations of his parents plans to lose his virginity to a stranger that he meets online.
Mulaqat – Sandstorm                        
Director: Seemab Gul
Country: Pakistan; Running Time: 19:52 min
Zara, a schoolgirl in Karachi (Pakistan), shares a sensual dance video with her virtual boyfriend, who then blackmails her. Caught between his manipulative behavior and the desire to experience love on her own terms, Zara searches for the strength to reject the confines of a patriarchal society.
Seasons         
Directors: Gabriella Canal, Michael Fearon
Country: US; Running Time: 21:50 min
Nevia No is a classically trained performer who runs Bodhitree Farm in Pemberton, New Jersey. Nevia struggles to maintain equilibrium on the farm and provide for her farmhands, mother and adult daughter, Euni. Nevia dreams that a season of farming will persuade her daughter to take over the family business, but Euni may have dreams of her own.
Sincerely Miné Okubo
Director: Yuka Murakami
Country: US; Running Time: 15:43 min
Short biographical film on the artistic span and career of Miné Okubo, a Japanese American artist who is best known for her graphic memoir Citizen 13660 (1946), which chronicled the WWII incarceration while she was an internee.
Stigma, Style             
Director: Cheryl Wong
Country: Singapore; Running Time: 13:15 min
Set in Singapore, eleven-year-old Kerri is invited to spend an afternoon by the pool at her friend Jessica’s house where she grows increasingly curious about Jessica’s elder sister, Clara.
Thank You, Come Again      
Director: Nirav Bhakta
Country: US; Running Time: 11:11 min
After the trigger of a hate crime, an undocumented Indian American convenience store clerk comes crashing into his subconscious as he grieves the passing of his father during an attempted border crossing.
The Everyday Show
Director: Viren Shinde
Country: US; Running Time: 10:30 min
Diya is an acclaimed film director who appears on Sam’s talk show to promote her latest film. But Sam insists on unearthing a decision from Diya’s past that she would rather not discuss on live television.
Warsha                       
Director: Dania Bdeir
Country: Lebanon; Running Time: 15 min
A Syrian migrant working as a crane operator in Beirut volunteers to cover a shift on one of the most dangerous cranes, where he is able to find his freedom.
What Remains           
Director: Ginger Yifan Chen
Country: US; Running Time: 4:20 min
Over a series of photographs, Georgette Quan tells the story of her family’s shrimping business, from the age of the Chinese Exclusion Act to its present-day status as a state park.
Where the Winds Die            
Director: Pejman Alipour
Country: Iran; Running Time: 12:54 min
Sardasht is a Kurdish city in West of Iran. Sardasht is the first city in the world to be a victim of chemical weapons with mustard gas bombs at 4:15 p.m. on Sunday, June 28th, 1987. This film is about before and after the bombing, a romantic relationship, and the effects of the war.
Year of the Rabbit                 
Director: Akira Morita
Country: Cambodia; Running Time: 11:44 min
Year of the Rabbit follows trailblazing deaf tuk-tuk driver Kong Sovannaro as he navigates the chaotic streets of Phnom Penh to support his growing family. It’s an exploration of love; the different and similar ways it is expressed in the “hearing” and “deaf” communities, and across the network of support Sovannaro has created around himself.
 

#### Austin Film Fest Receives Announces Grant from The Academy of Motion Picture Arts & Sciences to Continue Commitment to Diversity
 

	Austin Film Festival & Writers Conference (AFF) has announced its continued commitment to diversity in filmmaking through its grant from The Academy of Motion Picture Arts and Sciences. Celebrating its 25th anniversary, AFF is known for championing writers’ contributions to film, television, and new media.The Academy’s FilmCraft grant was established to identify and empower future filmmakers from nontraditional backgrounds, cultivate new and diverse talent, promote motion pictures as an art form, and provide a platform for underrepresented artists.

	“We are committed to carrying on our responsibility of challenging the status quo,” stated AFF Executive Director, Barbara Morgan. “In addition to serving up a program steeped with diverse viewpoints and approaches, the Diversity Focus Program also provides a platform for underrepresented artists from all over the world to be heard, to have access, and to add their voices to the fabric of the industry’s future.”

	Last year’s program featured 215 panelists, 50 percent of which were people of color and women. Notable attendees included Effie Brown, Reggie Rock Bythewood, Greta Gerwig, Misha Green, Courtney A. Kemp, Stefani Robinson, Anthony Sparks, Robert Townsend, Keenen Ivory Wayans, Virgil Williams, Sasheer Zamata and many more. Panels for the Diversity Focus Program spanned topics such as “The Women in the Room” and “Speaking Truth to Power: How Entertainment Can Tackle the Thorniest Social Issues (and Change the World).”

	AFF has been committed to inclusion since its inception, not only in programming, but in their year-round events where creators have the opportunity to connect with professionals in order to help them develop the skills to have their voice heard and make an impact on the industry.

	In March, AFF partnered with the Academy’s Education and Nicholl Fellowships Programs for the third year in a row to host Finding Representation. The event included a series of panels and roundtables dedicated to helping attendees launch their writing career and receive seasoned advice on how to get representation from an agent or manager and represent themselves and others responsibly in their writing. Attendees were given the opportunity to meet face-to-face with industry insiders such as Angela C. Lee, Kendrick Tan, and Kay Oyegun.

	Additionally, AFF partnered with Baylor University and the Washington National Cathedral to host a three-day conference, Long, Long Way: Race and Film 1968-2018,centered on exploring the intersection of film and culture with a focus on racial reconciliation and justice. Through film screenings, discussions, keynote speakers, and teaching sessions, panelists and attendees were given the opportunity to launch substantial conversations about race and prejudice. The Conference featured screenings and panel discussions of Guess Who’s Coming to Dinner and Get Out. AFF will participate in a similar program at the Washington National Cathedral February 1-3, 2019 and at the Trinity Church Wall Street in New York February 8-10, 2019.

	For more information on the 25th annual AFF, scheduled for this October 25-November 1, 2018, visit www.austinfilmfestival.com.

#### Austin Film Fest Reveals Closing Night & Centerpiece Films
BLEED FOR THIS

	 

	Austin Film Festival & Screenwriters Conference (AFF), the premier film festival recognizing the writers’ contributions to film, television, and new media, announced today new additions to its 2016 Film Slate, including its Centerpiece and Closing Night films. For its Centerpiece selection, AFF will feature the coming-of-age dramedy The Edge of Seventeen. Starring Oscar® nominees Hailee Steinfeld and Woody Harrelson, The Edge of Seventeen closed Toronto International Film Festival last week and will play in Austin on Monday October 17th.  Producer James L. Brooks (As Good as It Gets¸ The Simpsons, Terms of Endearment), and writer/director Kelly Fremon Craig will present the film at AFF and take part in a conversation afterwards.

	AFF also announced Bleed for This as its Closing Night Film. Starring Miles Teller and Aaron Eckhart, Bleed for This is based on the true story of world champion boxer Vinny Paz. Writer/director Ben Younger will be in attendance and participate in a post-screening discussion.

	Other additions to the Festival program include thriller Desierto, directed by Jonás Cuarón (Gravity) and starring Gael Garcia Bernal, and road trip dramaYouth in Oregon, starring Frank Langella, Christina Applegate, and Billy Crudup.

#### Austin Film Festival – LOVING – Interview with Jeff Nichols
When Martin Scorsese commands you to make a film, you do it.  Jeff Nichols 5th film has been championed by the iconic director and marks the first time the young filmmaker dives into a biographical narrative.  Click through for Gadi Elkon's interviews with Writer/Director Jeff Nichols.

	

	Focus Features' fall release of LOVING showcases it's importance.  The honest and delicate look at the Supreme Court ruling on the Loving's historic marriage comes out in theaters this month.  The opening night film of the Austin Film Festival 2016 has already made a huge impact and is on the verge of being one of the year's most loved films.  At AFF Jeff shared the story of his producer Sarah Green getting Martin Scorsese to read the script.  Not only did Scorsese love the "delicate" (as he put it) script but he halted any notion of script notes needed and thus LOVING's script was approved.  Nichols film then garnered a standing ovation at Cannes and the sold out Paramount Theater in Austin was enamored by the important film.  A mixture of historical accuracy and touch of intelligently showcased stoic behavior.  Jeff has had a busy 2016 with the spring release of Midnight Special.  His fourth film amp'd up his visual scope and gave us a tightly wounded emotional road trip movie.  Jeff visited Dallas with Midnight Special and sat down with SeligFilmNews to discuss his film and also gave a nice sneak peak at Loving!

	Jeff Nichols southern sense and texture are completely captured in LOVING.  The picturesque cinematographer highlights the rural beauty while still illuminating the rugged toughness of the cement capitol city.  Cars continue to pop up throughout Nichols work and the era is fully captured by the drag racing elements in this film.  But it's the hands of a working man that standout.  Joel Edgerton's aged worn hands become a constant reminder of the struggle.  As we continue to see him working and working on building other's homes he is kept away from his and Mildred's home.  The irony and the emotional tole are wonderfully encompassed in the incredible star making performance of Ruth Negga.  She is the heart and the soul of the film while also the reality of the lost memories of truth.  Ruth's acting is something that should be awarded along with much more (Script? Director? FILM???).  The children aren't as vocal as an addition, but their innocence is always on showcase.  Also a great cameo from Michael Shannon and you have the Nichols' touch complete.  And now here is my Red Carpet interview with Jeff Nichols about LOVING opening up AFF 2016.

	Don't miss out on one of the best films of 2016.  Focus Features' LOVING.

#### Austin Film Festival – Short Film Spotlight
https://vimeo.com/178216199

	I've always loved watching short films at festivals.  The short sections at festivals are always my first go to spot for new talent and Austin Film Festival 2016 didn't disappoint.  Today we'll look at two short filmmakers.  Click through for our interviews with THAT DAY's Stephanie Mishelle Ard & PAST THE SECOND STAGE's Samuel Hunter Galloway.

	

	https://vimeo.com/162072183

	Writer/Actor/Director/Comedian Samuel Hunter Galloway sat down with me to chat about his short films, New Zealand, London and weird Austin. 

	Actress/Writer/Director Stephanie Mishelle Day's honest and moving short film, THAT DAY, truly moved me.  Stephanie talked about making the leap to make this film, her serendipitous casting and about the joys of Austin, Tx. 

	Stay tuned over the next few weeks for more Austin Film Festival 2016 videos.  You can check out our YouTube page to catch the most recent uploads!

#### Austin Film Festival & Writers Conference Honors Walter Hill and Keenen Ivory Wayans At 2017 Festival
Keenen Ivory Wayans

	 

	Austin Film Festival & Writers Conference (AFF), the premier festival that champions the writers’ contributions to film, television, and new media, announced today two distinguished awardees to be honored during its 24th Anniversary this October 26 – November 2. Legendary writer/director/producer Walter Hill will receive AFF’s Extraordinary Contribution to Film Award, and groundbreaking comedian/writer/director/producer Keenen Ivory Wayans will receive AFF’s Extraordinary Contribution to Television Award. Hill and Wayans join previously announced Distinguished Screenwriter award recipient Kenneth Lonergan (Manchester By The Sea).

	For over 40 years, Walter Hill has served as a writer, director, and producer on a wide array of films, and has become known as one of the foremost action filmmakers in Hollywood. In addition to co-producing the science fiction blockbuster Alien, Hill wrote and directed notable films including 48 Hrs., The Warriors, The Driver, Southern Comfort, Last Man Standing,Geronimo, Wild Bill and The Long Riders. Hill has contributed to television as well, receiving both the Emmy and DGA Awards in 2005 for his work directing the HBO neo-western Deadwood. 

	In addition to accepting the Extraordinary Contribution to Film Award during this year’s AFF, Hill will participate in ‘A Conversation with Walter Hill’ moderated by Shane Black (writer/director The Nice Guys, Iron Man 3, Kiss Kiss Bang Bang), who cites Hill as an influence on his own career.

	Keenen Ivory Wayans created, launched, and hosted the landmark 1990’s variety series, In Living Color. The irreverent, Emmy-winning series broke racial barriers and showcased Wayans’ scathing social humor. In Living Color also introduced the public to countless now-famous actors, musicians, and comedians including Damon Wayans, Jamie Foxx, Jim Carrey, and Jennifer Lopez.

	Outside of television, Wayans has had a successful career writing, directing, and acting in films. He co-wrote 1987’s Hollywood Shuffle with actor/director Robert Townsend; wrote, directed, and starred in 1989’s blaxsploitiation parody I’m Gonna Git You Sucka; and directed the horror spoof Scary Movie, which remains one of the most successful feature films directed by an African-American.

	Hill, Wayans, and Lonergan join a roundup of panelists confirmed to speak at this year’s Writers Conference, including the writers of films A Ghost Story, Arrival, Blade Runner: 2049, Girls Trip, Kong: Skull Island, Kubo and the Two Strings, Logan, Moana, Star Trek Beyond and television showsAmerican Gods, I Love Dick, Power, Queen Sugar, The Deuce, The Wire, This is Us, Twin Peaks, and Underground. The full list can be found at www.austinfilmfestival.com.

#### Austin Film Festival 2014 – 5 Films to Catch & Interview with MENTOR Producers Jedd and Todd Wider
The Austin Film Festival and Conference started today and run through next Thursday October 30th.  Panelist this year include Irish legendary Writer/Director Jim Sheridan, Writer/Director Cary Fukunaga, Writer/Director/ShowCreator Michelle Ashford, Daily Show's Jon Stewart and so many more.  Click through for our picks for 5 panels to check out at the festival and our interview with producers Jedd and Todd Wider of the film Mentor.

	

	Austin Film Festival 2014:

	Five films to check out at the festival –

	5.  Nightfall in India

	4. 7 Minutes

	

	3. Terrible Love

	

	2. Escobar: Paradise Lost

	1. #chicagoGirl

	http://vimeo.com/79270867

	Interview with Mentor producers Jedd and Todd Wider.

	I started our conversation out by asking Jedd what motivates the brothers to produce documentary films.

https://seligfilmnews.com/wp-content/uploads/2014/10/Jedd-Socially-Driven.wav

	Todd then explained about the change the intriguing research into bystander action and in-action.  We also discussed what intrigued them about Director Alix Lambert.

https://seligfilmnews.com/wp-content/uploads/2014/10/Todd-Bystander-Behavior-Research-and-Alix-Lambert.wav

	I asked the Wider brothers about what was the atmosphere for their Ohio festival screening earlier this year. 

https://seligfilmnews.com/wp-content/uploads/2014/10/Jedd-Creating-a-Stir-with-the-Film.wav

	Jedd talked about the sad way Mentor high school acted throughout the years of bullying to these kids.

https://seligfilmnews.com/wp-content/uploads/2014/10/Jedd-Schools-are-a-major-problem-Insane.wav

	Finally the guys and I discussed programs that are showcasing new ways of dealing with the issue of bullying in the country.

https://seligfilmnews.com/wp-content/uploads/2014/10/Todd-Programs-and-Jedd-Rights-of-Passage.wav

	Mentor is a heartbreaking look into the sad state of saftey in our schools for children that are bullied.  For more information about Mentor's Austin Film Festival screenings go, here.

#### Austin Film Festival 2015 – Dark Matters Feature Winner – REPARATION – Interview with Writer/Director Kyle Ham
The AFF 2015 film festival has proven to be one of the real talent finders in the festival circuit.  Easily my favorite film festival to meet new and wonderful people.  The awards for the festival have been given and we'd like to celebrate a few of the winners with our Award's series.  First up is the AFF 2015 Dark Matters Feature Winner – Reparation.  Writer/Director/Producer Kyle Ham was our very first interview at this year's festival and the film one of my real gem picks for the festival.  Click through for our in-depth and spoiler rich interview.

	

	

	When I screened reparation I was immediately hooked into the unique structure of the script and the tremendously open performances.  It was really the first film at the festival that caught my eye.  I wrote down a few choices words, lines and facts that caught my eye after seeing the film and doing some light online searching about the filmmakers.

	Words:  Feature Debut – Kickstarter – Marc Menchaca & Jon Huertas = quality! – filmed in Grencastle, Indiana.

	And unlike any other filmmaker I got to interview I wrote down specific lines from the film.  I was so intrigued by the sense of humor and serious tones that battled throughout Kyle Ham and Steve Timm's vibrant script.

	Lines: "That's What You Get for Driving a 71' P.O.S.".

	I asked Writer/Producer/Director Kyle Ham about that line and much more in this in-depth sit down interview. 

	For more information about Reparation please go, here.

	The full Austin Film Festival 2015 award winners.

#### Austin Film Festival 2015 – THE BAD GUYS – Interviews w/ Mekenna Melvin, Keith Nobbs, & Paul Iacono
https://www.youtube.com/watch?v=lzzxLAdrPLg

	The Bad Guys is an Austin connected film that showcases the tremendous talents of Director Carlos Rincones, Writers Rock Shaink & Alena Smith, and of the vibrant young cast.  I sat down with three members of that ensemble Mekenna Melvin, Keith Nobbs & Paul Iacono.

	

	

	 

	 

	 

	 

	 

	 

	 

	This lovely home, the play that is the background piece of the film, the beauty of upstate New York, and the incredible uses of Bidets are just a few things discussed in this electric interview. 

	If there is one interview that easily was the most wheels off and entertaining to witness, behold The Bad Guys cast!!

	Interview with Mekenna Melvin, Keith Nobbs & Paul Iacono.

	Make sure to follow Paul on Twitter.

	Keep track of the film here!

#### Austin Film Festival 2015 Opens Submissions for the Screenplay and Film Competitions
 

	Austin Film Festival (AFF) is pleased to announce that it is now accepting submissions for the 2015 Screenplay & Teleplay Competition and Film Competition. These AFF competitions often act as springboards for aspiring screenwriters and filmmakers eager to break into the movie business.

	AFF’s Screenplay & Teleplay Competition is one of the most acclaimed contests within the industry for launching the careers of up-and-coming writers. A new category has been added for short screenplays and is open to narrative scripts in any genre at 40 pages in length or less.

	Screenplay Competition Director, Matt Dy stated “We want to provide an avenue for writers to submit their short scripts to get noticed and get their work produced. In many ways, writing a short script can be just as difficult as writing a feature; the fewer the pages, the higher the expectation to impress. We’re excited to see what this new category will bring for 2015.”

	Past competition entrants have signed with major agencies and production companies and have had their scripts optioned, acquired, and produced. Earlier this year, Troy Miller, the 2013 winner of the Horror Screenplay Award, had his script optioned by Frank Darabont’s Darkwoods Productions. And at the 2014 Festival, AFF presented the world premiere of Dawn Patrol, a film produced from a 2008 Finalist script written by Rachel Long and Brian Pittman that was acquired by Enderby Entertainment. The film is directed by Daniel Petrie, Jr., and stars Scott Eastwood, Rita Wilson, and Jeff Fahey.

	AFF’s Film Competition provides an invaluable platform for filmmakers to showcase their craft among industry professionals, aspiring screenwriters, filmmakers, and film-lovers.  Known as “The Writers Festival”, Austin Film Festival prides itself on finding undiscovered storytellers that can use the art form of filmmaking to affect and inspire their audience. Accepted filmmakers not only have the opportunity to present their film in exciting venues in Austin to enthusiastic audiences, but also get to take part in AFF’s famous Screenwriters Conference where they can refine their craft, make connections with important industry insiders, and walk away inspired to start their next project.

	“[AFF was] one of the most positive experiences in my early career,” 2014 filmmaker Joshua Amar said.  “I've been to Cannes and TIFF, and not one of them compared to the networking experiences at AFF.”

	As an Academy® Qualifier, the Jury Award winners for the Narrative Short, Documentary Short, and Animated Short categories are eligible to be nominated for an Academy Award.  In addition to these short categories, additional categories in competition include Narrative Feature, Documentary Feature, Comedy Vanguard Feature, Dark Matters Feature, and Narrative Student Short.

	Jury Award winners are decided each year by esteemed and celebrated judges. Last year’s jury included renowned writers and directors, as well as executives from The Weinstein Company, P.O.V., The Sundance Institute, and Oscilloscope Laboratories, Gravitas Ventures, and Nickelodeon.

	For more information on submitting a film or screenplay, visit www.austinfilmfestival.com.

#### Austin Film Festival 2015: Full Film and Conference Slate
 

	Austin Film Festival & Screenwriters Conference (AFF), the premier film festival recognizing the writers’ contributions to film, television, and new media, announced today the full schedule of films and panels for the 22nd annual Festival, this October 29-November 5.

	John Singleton and Chris Cooper will accept the Extraordinary Contribution to Film and Acting Awards, respectively, at the 2015 Awards Luncheon held Saturday, October 31st at the Austin Club.

	John Singleton’s credits include writing and directing Boyz n the Hood, Poetic Justice, Higher Learning, Shaft, and Baby Boy, and directing 2 Fast 2 Furious, Four Brothers, and Abduction. Most recently, Singleton has ventured into television, directing an episode for Empire and developing Snowfall, an original series for FX. Singleton will present a retrospective screening of Boyz n the Hood at the 2015 AFF, for which he was nominated for an Academy Award® for Best Director and Best Original Screenplay in 1991.

	Extraordinary Contribution to Film – Actor award recipient and Academy Award® winning actor, Chris Cooper, will be presented by Lonesome Dove creator Bill Wittliff. Cooper has more than 50 film and television credits to his name including August: Osage County, The Bourne Identity, Breach, Capote, The Horse Whisperer, Lonesome Dove, Matewan, My House in Umbria, Seabiscuit, Silver City, The Town, Where the Wild Things Are, and many others. Cooper received the Academy Award® and a Golden Globe Award® for Best Supporting Actor for his role in Adaptation, the Screen Actors Guild Award for his supporting performance in American Beauty, and the Best Actor nomination in 1997 for his work in John Sayles’ Lone Star from the Independent Spirit Awards. Cooper will be in attendance for the AFF “Heart of Film” screening of Coming Through the Rye, where he plays the reclusive, renowned author JD Salinger.

	Singleton and Cooper join previously announced honorees Outstanding Television Writer Norman Lear and Distinguished Screenwriter Brian Helgeland. Past recipients of the Extraordinary Contribution to Film & Acting awards include Johnny Depp, Susan Sarandon, Jonathan Demme, Ron Howard, Danny Boyle, Oliver Stone, Sydney Pollack, and others.

	Academy Award® winner Helgeland (L.A. Confidential, Mystic River) will present the 2015 Opening Night Film, Legend, on Thursday, October 29 at the Paramount Theatre. Written and directed by Helgeland, Legend is the true story of the rise and fall of London’s most notorious gangsters, Reggie and Ronnie Kray, both portrayed by Tom Hardy in a powerhouse double performance. Legend is a classic crime thriller taking us into the secret history of the 1960s and the extraordinary events that secured the infamy of the Kray twins. The film will be released in New York and Los Angeles on Friday, November 20. It will expand to additional U.S. markets on November 25 and further on December 11. 

	AFF’s Centerpiece Film, Burning Bodhi, will have its World Premiere on Sunday, November 1, with featured cast Andy Buckley, Kaley Cuoco, Cody Horn, Landon Liboiron, Sasha Pieterse, and Eli Vargas in attendance. From writer/director Matthew McDuffie, Burning Bodhi is about a group of friends who reunite after high school when word goes out on Facebook that the most popular among them has died.

	Additional Marquee titles include Go With Me (with Julia Stiles and director Daniel Alfredson in attendance), Miss You Already (with director Catherine Hardwicke in attendance), Last Days in the Desert (with writer/director Rodrigo Garcia in attendance), Man Up (with writer Tess Morris in attendance), By Sidney Lumet (with director Nancy Buirski in attendance), Remember, Brooklyn, Mojave, The Adderall Diaries, and the World Premieres of Until 20, A Single Frame, and We’re Still Here: Johnny Cash’s Bitter Tears Revisited, all with filmmakers in attendance.

	Other films making their World Premiere in the 2015 slate are Baby Baby Baby (with Adrianne Palicki and writer/director/actor Brian Klugman in attendance), Jack’s Apocalypse (from AFF alum and Austinite Will Moore), Mully (with director Scott Haze in attendance), Of Dogs and Men (a documentary on the rise of domestic dog shootings by police), Since: The Bombing of Pan Am Flight 103 (a chronicle of the terrorist bombing of 1988), Tear Me Apart (a post-apocalyptic thriller), and Two Lunes (a poignant, dual-sided narrative on the struggles of immigration).

	Austin Film Festival also revealed today their full Screenwriters Conference schedule, which will take place the first four days of the Festival, October 29-November 1. The Conference features a roster of prominent screenwriters in film and television, including Michael Arndt, Amy Berg, Shane Black, Jack Burditt, Charles Burnett, Helen Estabrook, Rodrigo Garcia, John Lee Hancock, Mark Heyman, Angela Kang, Todd Kessler, Simon Kinberg, Jenny Lumet, Kelly Marcel, Karen McCullah, Scott Neustadter, Nicole Perlman, Issa Rae, Jason Reitman, John Ridley, Phil Rosenthal, Gary Ross, Kirsten Smith, David Wain, Andrew Kevin Walker, Michael H. Weber, and many more. The full Film and Conference schedule can be found at www.austinfilmfestival.com.

	Austin Film Festival’s 2015 Film slate:

	Marquee Features

	The Adderall Diaries

	Writers: Stephen Elliott (memoir), Pamela Romanowsky

	Director: Pamela Romanowsky

	 

	Brooklyn

	Writer: Nick Hornby

	Director: John Crowley

	By Sidney Lumet

	Director: Nancy Buirski

	 

	Burning Bodhi

	World Premiere

	Writer/Director: Matthew McDuffie

	 

	Carol

	Writer: Phyllis Nagy

	Director: Todd Haynes

	 

	Go With Me

	Writers: Joe Gangemi, Gregory Jacobs

	Director: Daniel Alfredson

	 

	I Saw the Light

	Writers: Marc Abraham, Colin Escott

	Directors: Marc Abraham

	 

	Last Days in the Desert

	Writer/ Director: Rodrigo Garcia

	 

	Legend

	Writer/Director: Brian Helgeland

	 

	Man Up

	Writer: Tess Morris

	Director: Ben Palmer

	 

	Miss You Already

	Writer: Morwenna Banks

	Director: Catherine Hardwicke

	 

	Mojave

	Writer/ Director: William Monahan

	 

	Remember

	Writer: Benjamin August

	Director: Atom Egoyan

	 

	Until 20

	World Premiere

	Writers: Geraldine Moriba, James Ragan

	Director: Jamila Paksima

	 

	We're Still Here: Johnny Cash's Bitter Tears Revisited

	World Premiere

	Writer/ Director: Antonino D'Ambrosio

	 

	Youth

	Writer/ Director: Paolo Sorrentino

	 

	Retrospective Screenings

	Boyz n the Hood presented by John Singleton

	Writer/Director: John Singleton

	 

	Pleasantville presented by Gary Ross

	Writer/Director: Gary Ross

	 

	Rudy presented by Angelo Pizzo

	Writer: Angelo Pizzo

	Director: David Anspaugh

	 

	The Shining presented by Phil Rosenthal and Leon Vitali

	Writers: Stephen King (novel), Stanley Kubrick, Diane Johnson

	Director: Stanley Kubrick

	 

	The Southerner presented by Charles Burnett

	Writer: George Sessions Perry (novel), Hugo Butler, Jean Renoir

	Director: Jean Renoir

	 

	Television

	The Bureau

	Writer/Director: Eric Rochant

	 

	I’ll Have What Phil’s Having

	Creator/Host: Phil Rosenthal

	 

	Casual

	Creator: Zander Lehmann

	Director (episodes 1 & 2): Jason Reitman

	
	Narrative Features

	Booger Red

	North American Premiere

	Writers: Berndt Mader, Johnny McAllister

	Director: Berndt Mader

	 

	Fallen Stars

	World Premiere

	Writer/Director: Brian Jett

	 

	Forward. Side. Close!

	Writer/Director: Alexander Peter Lercher

	 

	Her Composition

	U.S. Premiere

	Writer/Director: Stephan Littger

	 

	Keep in Touch

	Writers: Sam Kretchmar, Michael Angelo Covino

	Director: Sam Kretchmar

	 

	Memoria

	World Premiere

	Writers/Directors: Nina Ljeti, Vladimir de Fontenay

	 

	Newcomer

	North American Premiere

	Writer/Director: Kai Barry

	 

	The Exile

	North American Premiere

	Writer/Director: Arturo Ruiz Serrano

	 

	Documentary Features

	Monsterman

	U.S. Premiere

	Director: Antti Haase

	 

	Mully

	World Premiere

	Writer/ Director: Scott Haze

	 

	No Más Bebés

	Director: Renee Tajima-Peña

	 

	Of Dogs and Men

	World Premiere

	Director: Michael Ozias

	 

	The Sex Temple

	North American Premiere

	Director: Johan Palmgren

	 

	Since: The Bombing of Pan Am Flight 103

	World Premiere

	Director: Phil Furey

	 

	Sympathy For The Devil: The True Story of the Process Church of the Final Judgment

	Director: Neil Edwards

	 

	TRAFICANT: The Congressman of Crimetown

	Writers: Eric Murphy, Salvatore Cardoni

	Director: Eric Murphy

	 

	Comedy Vanguard

	3rd Street Blackout

	Writers/ Directors: Negin Farsad, Jeremy Redleaf

	 

	Baby, Baby, Baby

	World Premiere

	Writer/Director: Brian Klugman

	 

	Headfirst

	North America Premiere

	Writer/Director: Antti Heikki Pesonen

	 

	The Night is Young

	World Premiere

	Writers/Directors: Matt Jones, Dave Hill

	 

	Paperback

	World Premiere

	Writer/Director: Adam Bowers

	
	Dark Matters

	After Death

	U.S. Premiere

	Writer: Andrew Ellard

	Directors: Gez Medinger, Robin Schmidt

	 

	Isolation

	World Premiere

	Writers: Shane Dax Taylor, Chad Law

	Director: Shane Dax Taylor

	 

	The Lion's Path

	U.S. Premiere

	Writer: Sophie-Anne Beaudry

	Director: Stéphan Beaudoin

	 

	Reparation

	Writers: Kyle Ham, Steve Timm

	Director: Kyle Ham

	 

	Sunny Side Up

	Writer: Willem Bosch

	Director: Lourens Blok

	 

	Tear Me Apart

	World Premiere

	Writer: Tom Kerevan

	Director: Alex Lightman

	 

	
	Heart of Film

	All Mistakes Buried

	Writers: Tim McCann and Shaun Sanghani

	Director: Tim McCann

	 

	The Bad Guys

	World Premiere

	Writer: Carlos Rincones, Rock Shaink Jr., Alena Smith

	Director: Carlos Rincones

	 

	Clarence

	Director: Kristin Catalano

	 

	Coming Through the Rye

	Writer/Director: James Sadwith

	 

	The Great Alone

	Director: Greg Kohs

	 

	In Defense of Food

	Director: Michael Schwarz

	 

	In Transit

	Directors: Albert Maysles, Lynn True, David Usui, Nelson Walker III, Benjamin Wu

	 

	It Had To Be You

	Writer/Director: Sasha Gordon

	 

	Jeff Lowe's Metanoia

	Writer: Jeff Lowe, James Aikman

	Director: James Aikman

	 

	Oyler

	Director: Amy Scott

	 

	A Single Frame

	World Premiere

	Director: Brandon Dickerson

	 

	Upstairs Inferno

	Director: Robert L. Camina

	 

	The Week

	Writers: John W. Mann, Jon Gunn, Rick Gomez

	Directors: Jon Gunn, John W. Mann

	 

	Zen & the Art of Dying

	Director: Broderick Fox

	
	Texas Independent

	County Fair, Texas

	Writer: Bradford Thomason

	Director: Brett Whitcomb

	 

	Jack's Apocalypse

	World Premiere

	Writer: Will Moore, Jonathan Ray Case, Brad Montesi

	Director: Will Moore

	 

	The Teller and the Truth

	World Premiere

	Writers: Andrew Shapter, Nevie Owens

	Director: Andrew Shapter

	 

	Stories from Abroad

	Autumn Fall

	North American Premiere

	Writer/Director: JanVardøen

	 

	Beautiful Girl

	North American Premiere

	Writer/Director: Dominik Hartl

	 

	El Jeremías

	Writer: Ana Sofía Clerici

	Director: Anwar Safa

	 

	Two Lunes

	World Premiere

	Writer/Director: Huieun Park

	 

	Wanja

	U.S. Premiere

	Writer/Director: Carolina Hellsgård

#### Austin Film Festival 2016 Award Winners – Interviews.
 

	 

	 

	 

	 

	 

	 

	 

	 

	 

	 

	 

	 

	 

	 

	 

	The Austin Film Festival announced their 2016 award winners and you can see that full list right here on SeligFilmNews.  Click through for interviews with some of the folks behind those award winning films and shows.

	

	Hiscox Award Winner for Comedy Vanguard Feature:  BRAVE NEW JERSEY.  AFF 2016 Jury Award – Scripted Digital Series presented by New Form Digital: Guest Appearances, created by Elizabeth Guest.

	Here is our red carpet interview w/ Brave New Jersey's star – Tony Hale.

	For additional interviews with the cast of Brave New Jersey our interviewer Carrie Hoover talked with: Writer Michael Dowling, Actress Heather Burns, Actress Anna Camp, Actor Matt Oberg, Actor Leonard Earl, and the kids from the film.

	Here is our in-depth 1-on-1 with Elizabeth Guest.

#### Austin Film Festival 2016 Interview – Frank Raducz Jr.
In this gritty story based on real events, a drug dealer on Long Island finds himself over his head when one of his soldiers robs a connection to ruthless Serbian gangsters. When the debt falls on his shoulders he is forced to take drastic measures. IMDB.

	Click through our exclusive Austin Film Festival 2016 interview with the star of Suburban Cowboy, Frank Raducz Jr.

	

	

	 

	Interview with Frank Raducz Jr. star of Suburban Cowboy.

#### Austin Film Festival 2017 – A Flashback to Last Year’s Fest
I understand the old rule of not to use flashbacks in your scripts, but this isn't a script!  So instead I hope you'll take a jump back through memory lane to last year's festival and enjoy AFF 2016.  Of course, I started off with Tony Hale and his pimp wool coat.  Now here are my favorite 5 interviews from last year's Austin Film Festival. 

	

	First up is a red carpet chat with Writer/Director Robin Swicord.  She is best known for her scripts for The Curious Case of Benjamin Button (2008), Memoirs of a Geisha (2005), Practical Magic (1998) and Matilda (1996).   Robin is also the mother of Zoe Kazan.  The talented writer dived back into the director's chair after more than a decade break with last year's Wakefield.  The film played at AFF and Robin was kind enough to chat with us on the Red Carpet for her film.

	In the press suite we sat down with young actress, writer and director Elizabeth Guest to chat about her webseries sensation GUEST APPEARANCES. The show took home a Jury Award from AFF 2016 and Elizabeth was awesome enough to sit and chat with us.

	I saw a gritty gangster film about a wild ass drug dealer at the Rollins Theater in Austin at AFF 2016.  Suburban Cowboy's lead actor (that bad ass drug dealer) had a long in-depth sit down with us about his career and the film.  Here is a our chat with Actor Frank Raducz Jr.

	Young filmmaker Lena Khan's movie The Tiger Hunter is still one of the most intriguing I've ever seen at a film festival.  It was a real pleasure to chat with the talented Writer/Director about the story, her process and much more.

	And finally I got to chat with one of my favorite directors!  Jeff Nichols played LOVING at last year's festival and we talked on the Red Carpet for his film.

	Check back tomorrow for our first round of Austin Film Festival 2017 Interviews!!!

#### Austin Film Festival 2017 – Interview with Writer/Director Monika Petrillo
Long time script supervisor turned director Monika Petrillo had an in-depth chat about her move from Munich to America, her career and her latest film! 

	

	"After years of working as a script supervisor alongside directors such as Austin's own Robert Rodriguez, Rick Linklater and Mike Judge, Monika Petrillo has written and directed her own short film, WINK. The film won the AUDIENCE AWARD at Dances With Films earlier this year and is also playing at the Hollywood Film Festival, Pittsburgh Shorts and Marina del Rey Film Festival this month.  The 15-minute piece, starring Caitlin Brandes and Michael Chandler, tells the story of a lonely and slightly repressed housewife who discovers an unusual way to spice up her afternoon."

	Here is our interview with Monika Petrillo where we dive deeper into her work with those above mentioned Directors (a few more!), her dabbling in TV, Her documentary film, the AFF 2017 Short Film WINK and much more.

https://seligfilmnews.com/wp-content/uploads/2017/10/Monika-Petrillo.mp3

	 

	WINK will screen twice, on October 28th, 2017 at 9:30 PM at the Rollins Theatre, located at 701 W Riverside Dr. and on October 30th, 2017 at 6:00 PM at the Galaxy Highland, located at 6700 Fiskville Rd.

	

	 

	 

#### Austin Film Festival 2017 – Short Film MUST KILL KARL Interview
"Everyone has “that” friend – The one who shows up uninvited, drinks all your booze, and hits on your girlfriend – Who we all secretly hate and wish would just go away. One night, a group of friends decide enough is enough and there’s only one way to get rid of him for good – They MUST KILL KARL."

	Short Film MUST KILL KARL is apart of SHORTS PROGRAM 6: THE OUTSIDERS.  The Writer Karen Moore, Director Joe Kicak, and KARL – Mike Lobel took part in an email questionnaire to discuss the film, the behind the scenes and a lot more!

	

	Here is our Interview with Director Joe Kicak, Writer Karen Moore and Star Mike Lobel of MUST KILL KARL.

	1.  Let's start off by figuring out if there is an actual party or event that sparked the plot?  Aka is there a true dildo story?

	
	 KAREN MOORE: There (unfortunately?) isn't a true dildo story… BUT there was a party where a group of my friends discovered that we all hated the same guy that always seemed to be around and had that moment of: "Holy shit – you hate him too?? What do we do about it?". The IRL answer: Nothing. Hence the dark fantasy version that became the film.

	JOE KICAK: For me, there were a number of events with my "Karl" that sparked the discussion. However, they were mostly shitty things he said and did… including the horribly insulting "fat chicks" line in the movie.

	 

	2.  How long was the shoot and for each of you, is there a specific moment that stands out?  What did you shoot on?

	
	JOE: We shot the whole movie over two nights from dusk till dawn. We shot four stories up on a rooftop patio and we used two Sony A7sii because of their sensitivity to exposure. We were able to see nearby apartments and sky that we didn't have to light. It gave the set a lot of depth.

	The moment that stands out for me was when Mike came out with the dildo on his face. He did his lines and then started to improv. No one could stop laughing, which are all reactions we kept in the film. It was when he put it in his mouth that I couldn't handle it anymore.

	KAREN: The moment that stands out to me was when Mike did the first take of his heartbreaking Karl monologue. The whole cast was there (not on camera) to support him, it was 4am and pouring rain, and by the end of it he had us all in tears. The rest of the shoot was about laughs and dildos, but that moment gives the movie heart and it was amazing to see Mike just kill it.

	MIKE LOBEL: Joe and Karen brought me on board a little while before shooting MKK, which only took a couple days. They invited me to take part in the pre-production process, to hear my ideas for Karl, and to prepare a kind of vibe and collaborative culture for the shoot, considering we had such limited time. I'm really grateful that they put a lot of trust in me and really valued my ideas. They did this with the entire cast before the film and also they made a point of bringing all of us together in the same room to just be, get to know one another, and bond. We were all fast friends and that made the relationships really ring true on screen in my opinion.

	 

	3.  Mike what drew you to this role and how much fun was it to let loose?

	
	MIKE: I've always been curious about the shittier parts of my personality. I tapped into it for seven years on Degrassi playing Jay Hogart and I guess I got a taste. I think it's liberating, being given permission to tap into that part of yourself, without fear of self judgement, especially when you're using it to do art. Heck, maybe it's even therapeutic! Joe and I have been best friends for many years, and best friends possess an incredible ability to see their friends clearly, for all of your strengths, but also for your flaws, and if your best friend makes movies? They're eventually gonna have a part for you that they KNOW you can play. So thanks Joe. I take it in part as a horrible insult, and as the greatest honour. 
	 

	4.  You utilize a great cut-away scene to the water.  Where did you shoot that?  Also can you talk about landing the home/apartment the film is located?  Is the balcony a different place?

	
	JOE: The water cut-away was in Lake Ontario in about four feet of water. Nobody wanted to go in because the lake is infamously dirty and has fairly constant E-coli warnings. Our DOP conveniently forgot his bathing suit on the day. I of course brought spares. We picked a spot that didn't have any boats or shoreline that you could see and had to remove floating garbage around the actors.  This was the great part about casting friends, you can force them to do things…

	The apartment and the balcony were found through setscouter.com. We searched for months to find a balcony large enough for the cast, and high enough to kill someone in the event of a fall, and have a sliding door to an interior space. There were a lot of elements in the script that relied on the space. This place had it all except the decrepit balcony. Our production designer, Rosalie Mackintosh, and her team actually built a shitty deck on top of a nice deck in an incredibly short timeline.

	 

	5.  What was it like finding out you'd be included in the AFF lineup?  With it being a writer's festival Karen how important was this for you? 

	
	KAREN: Awesome! We were looking or a home for our US Premiere and are totally thrilled that AFF turned out to be that home. I knew AFF had a conference component to the festival, but I didn't realize just how extensive and impressive the line-up of writer-focused events would be. We can't wait!

	JOE: It's an extreme honour to be included in the Austin lineup because of how massive the festival is and how many great presenters will be in attendance.  It's actually overwhelming how many seminars and screenings are going on that I want to be at.

	 

	6.  Have any of you been to Austin previously for festivals (SXSW, AFF or other)?  Or Texas in general?

	
	MIKE: Oh wow, yeah I love Austin. Fell in love with it a few years back, while I was simultaneously premiering "Suck" and also performing in my band at SXSW. In the film I actually play the drummer of a (vampire)band, which was a real meta head trip, if you can imagine. It was, needless to say, the greatest moment of life, and I have incredible stories and memories of Austin.
	KAREN: No! And I've literally only heard unanimously great things about Austin.

	JOE: I haven't been either, but so many of my friends have and told me about how awesome it is.

	 

	7.  What was the casting process like for the couples?

	
	KAREN: Most of them are actually real couples that I wrote to specifically. Scott Cavalheiro and Claire Stollery (Paulo and Alison) are both very talented improvisors, so we wanted to let them feed off each other. Peter Mooney and Sarah Power (Aubrey and Charlotte) are the sweetest humans alive, so it was fun to give them these annoyingly, over the top in love characters. Both couples have gotten engaged & married since the shoot… so… we obviously take credit for that.

	As for Jamie Spilchuk and Stacey McGunnigle (Owen and Molly): They are professional actors.

	 

	8.  You already have TV release for the short, can you talk about having it screen on Bravo and CBC's Canadian Reflections next year? 

	
	KAREN: We produced the film with a $50,000 grant from Bravo, and part of that grant included the first window for broadcast. CBC's Canadian Reflections has been airing short films to a national audience for 30 years — we grew up watching it — so it's a huge honour for us to be included in that program. We'll be on Bravo in March 2018, then CBC in April 2018. Exact schedule TBA — we'll update our website: www.mustkillkarl.com with details when they're available.

	 

	9.  Can you tell us about what you personally have next?  Joe and Karen love to hear about the CBC digital series?  

	 

	KAREN: We're continuing the festival run with "Must Kill Karl" and developing the feature version. I recently finished a draft of the feature script and will be working on rewrites in the coming months as we move toward financing deadlines.

	Joe & I aren't allowed to say much about the CBC digital series other than that it's a kid's adventure web series that we're planning to shoot next summer. We're producing a 2-minute trailer for the series in November, that we'll be sharing online in February/March 2018.

	JOE: I also have another short film on the festival circuit now, "Frigid". It's a thriller about postpartum psychosis, and very different from "Must Kill Karl".

	MIKE: Right now I'm more music focused. My band, Future Peers, is currently putting the final touches on a new labour of love, that will be released at the beginning of next year! And now that you got me thinking about Austin, I'm really looking forward to the possibility of coming back down to experience the exquisite weirdness again soon!

	 

	Must Kill Karl plays in SHORTS PROGRAM 6 on Saturday October 28th at 2:00pm at THE ROLLINS THEATER & on Tuesday October 31st at 6pm Galaxy Highland.

#### Austin Film Festival 2017 – Short Film THE LOVE TRIALS Interview
"The Love Trials takes us on exploration of trust, honesty, monogamy, and the fact that love really is a leap of faith. A charming and humorous tale of falling in love and all the uncertainties that comes with it."

	Writer/Director Theodore James and Writer/Star Ashley Donigan chatted with me about their short film and all the fun behind making it.

	

	Interview with THE LOVE TRIALS – Writer/Director Theodore James and Writer/Star Ashley Donigan:

	1. Theo and Ashley I loved your kickstarter video (GO SPURS by the way Ashley).  Since y'all asked folks about being cheated on.  Have either of you been cheated on or more importantly did either of you go "searching" like seen in the short?  And which of your Skype sessions was the creepiest?

	 

	Theodore: Luckily, I have not been cheated on. Well as far as I know that is. I haven’t tried testing any of my previous boyfriends, but now that I’ve done this movie I definitely have some ideas. I recently just got engaged, so who knows. 

	 

	Ashley: Well there was one time I found out my boyfriend at the time had a second girlfriend throughout our entire relationship…so yes, I've been cheated on. I didn't go searching or test him in any way, clearly I should have.

	 

	2.  Where did you shoot?  How long was the shoot and is there any behind the scenes stories you can share?  

	 

	Theodore: We shot the film on location in Los Feliz, CA in only four days. I'm a big fan of UCB (Upright Citizen Brigade) Improv Theatre and really wanted to cast as many actors from UCB as possible. So I started going to shows and stalking their website. I was looking for an actor to play our male lead and I kept coming across Josh Covitt. The way he preformed, there was something about him. I really thought was perfect for the part. Now all I had to do was convince the producer. When I showed her a picture of him she said “Wait a fucking minute- that’s the guy I’ve been talking to on Bumble for the past three weeks!” It was definitely one of those serendipitous moments where the Universe is trying to tell you something. Needless to say we ended up casting him. 

	 

	3.  The cast seems like a really fun group.  What was the atmosphere like on set? 

	 

	Ashley: We got very lucky with our entire cast. They each brought such an excited, positive, contagious energy to set, even on our early mornings. I remember showing up at 6am and crawling straight to the coffee, barely able to open my eyes, meanwhile two of our cast members were having a "sing-off" in the corner….totally coffee-less.

	 

	Theodore: The set was so much fun. Everyone clicked immediately. I really wanted to create a fun and loose environment, although we were always battling against time restraints. We would get the script pages in the can right away and then we would do a few “fun” improv’ed takes before we moved on. We captured some really funny moments by doing this, a few of them made it in the final cut. 

	 

	4.  The outfit change was brilliant!  Who came up with the eye test?  

	 

	Theodore: We read about a study published in the Journal of Sexual Medicine where scientists found the difference between love and lust in the brain. Apparently they were able to map out the regions in the brain that are implicated in our feelings of love and lust. We thought that would be an interesting way to see if your boyfriend or girlfriend really loved  and respected you or was only interested in sex. Unfortunately we didn’t have access to the scientific equipment they used so we came up with our own variation of the test. It’s probably not as accurate as their’s but it’s just as fun. 

	 

	Ashley: After reading the study that sparked the idea, writing the eye test was a fun process for us both. Executing the eye test, however, was way more fun for TJ than myself. Thank God for contouring. 

	 

	5.  What does it mean to make it to a writer's festival?  Can you talk about your Texas ties or fondest memories of being in Texas?

	 

	Ashley: I was born in south Texas and moved to Austin for college. Texas is home. It always has been and always will be. The people, the food and the Texas pride are unmatched by anywhere else I've ever been. I've yet to find another place where you can walk into a bar solo and walk out an hour later with twelve new friends…genuine friends too. I have also always loved the arts scene in Austin which makes world premiering here an even bigger accomplishment for me. 

	 

	Theodore: It was a huge confidence booster for us to be accepted into a writer’s festival. We spent a long time writing the short. We had many table reads with actors to workshop the film in front of our peers. We were constantly sending it out for feedback. That really helped us hone in on the story and sharpen the dialogue. It feels freaking ah-maz-ing to be apart of this festival!

	 

	6.  What projects are y'all working on next together as a team and individually? 

	 

	Ashley: Right now we're both focused on writing the feature length version of The Love Trials. 

	 

	 

	SCREENING SCHEDULE (Shorts Program 2: Goal Oriented) 

	 

	Thursday, October 26th 

	9:45pm 

	Rollins Theatre
	710 W. Riverside Drive Austin, TX 78704

	https://austinfilmfestival.com/festival-and-conference-aff/festival/film-slate/

	 

	Monday, October 30th

	3:00pm 

	Galaxy Highland (Screen 9)

	6700 Middle Fiskville Rd, Austin, TX 78752

	https://austinfilmfestival.com/festival-and-conference-aff/festival/film-slate/

	 

	 

	THE LOVE TRIALS WEBSITE

	 

#### Austin Film Festival 2017 – THE LANDING Interview
Tomorrow opens the 2017 Austin Film Festival and Conference.  The 8 days highlight the writers behind the stories that captivate our movie houses, television screens, and internet browsers.  Over the next few days we'll be highlighting a few of the films and the talent behind them.  To start off our coverage of the 2017 festival and conference we give you THE LANDING by Writer/Director's Mark and David Dodson. 

	

	https://vimeo.com/212466276

	"On the 25th anniversary of the ill-fated Apollo 18 mission – which singularly and officially ended the U.S. space program's moon race – a documentary filmmaker tracks down disgraced astronaut hotshot Bo Cunningham (Don Hannah), the flight's sole survivor, who has lived in near seclusion for decades.  But the disturbing story pieced together by him and others involved in the notorious incident seem to raise more questions than are answered … Leaving us all to wonder, how far would you go for murder?"

	A film that tackles "fake news" like never before!  Writer/Directors Mark and David Dodson have created a masterful movie that appears as a true-to-life documentary but is so much more.  The film is part of AFF 2017's DARK MATTERS competition and one of the most intriguing films we've seen so far at the festival.  The way in which the audience is lead on a murder mystery through this false documentary is utterly remarkable.  The film stars Don Hannah, Jeff McVey (Austin's own) and Warren Farina as our Apollo 18 crew and a slew of talented actors as the crew's wives, colleagues and investigators.  A movie that not only makes you think about it's content, but about its structure and premise altogether. 

	The Dodson brothers were awesome enough to break their silence with me about just what their film is all about.  We also talk about their Texas ties, their backgrounds and much more.  Here is our interview with filmmakers Mark and David Dodson of THE LANDING.

https://seligfilmnews.com/wp-content/uploads/2017/10/The-Landing.mp3

	 

	The Festival screenings:

	Fri., Oct. 27 @ 9 p.m.

	St. David's Episcopal Church, Bethell Hall, 301 E. 8th St., Austin

	 

	Wed., Nov. 1 @ 10 p.m.

	Alamo Drafthouse Cinema – Village, 2700 W. Anderson Lane, Suite 701, Austin

	 

#### Austin Film Festival 2017 NEW FORM Digital Shorts – Interviews
New Form is showcasing three specific short films at AFF 2017 to highlight new additions to the digital entertainment studio's next group of wonderful content.  Our Gadi Elkon got to email interview the filmmakers of each short.

	

	SMALL TALK – "Is a musical Rom Com in the style of Nora Ephron, but with songs.  When exes Teddy and June bump into each other on the street, it opens up an emotional can of worms and the prospect that they might get back together, but should they?"

	Small Talk – Created and Directed by Becca Gleason – Our Email Questionnaire with Becca:

		1. I love the musical quality to the short, are you a fan of musicals in general?  Or was it due to the casting, especially Leah being the female lead?
	

		I’m so glad you enjoyed it! It was definitely an intimidating project to take on, especially the musical aspect. I love musicals — both theater and film — and watched quite a bit of them in preparation for the short, but I can’t say I’m an expert in any sense of the word. When I decided to take this on, I knew the only way I’d be able to pull off anything remotely decent would be to surround myself with people who understood song and dance much better than I did. I’m a tone-deaf, Jewish girl from Ohio and I was lucky enough to convince some brilliant cast and crew to take this crazy leap with me as I tried something I’d never done before. Die-hard musical wunderkinds like my friend Kathryn Gallagher, who wrote the song, and Eamon Foley, our choreographer saved my ass on multiple occasions.They’re my baby geniuses. 
	

		Casting the film came second. Leah is one of my best friends from high school and when this opportunity to work with her professionally arose, I convinced her to get on a plane to LA. Nick, our male lead, was friends of friends and came highly recommended to me. I’d seen him in a few things but I had absolutely zero idea he could sing! He sent me some of his original music and I was completely blown away. Once everyone was in the same room, and the song was recorded, my job was half over. 
	

		2.  The short starts from the guy's perspective, what made you go this route?  Where did the original idea to meld musical with a chance encounter come from?
	

		I wanted this short to have pretty even POVs so the audience could feel what they were both feeling while they were both feeling it. Since I knew we were going to end with that shot of Leah, starting with Nick seemed to make the most sense. 
	

		As far as the concept goes, I tend to gravitate to exploiting real, grounded moments and then attempting to heighten them. Everyone knows what it’s like to run into an ex somewhere unexpected. It can be gut-wrenching. A very scary unknown slaps us in the face and there’s nothing we can do about it. It was that very simple yet relatable set up that made me gravitate toward the musical structure — and I thought it would be very cinematic to recreate that emotion through song and dance… an Anti-High School Musical.
	

		3.  The dance sequences are extremely well shot and edited.  Can you talk about the camera setups, the number of takes, the design of the dance and the edit process for you?  Also how open were Nicholas and Leah?
	

		Oh man, I’d have to talk to my editor about how many takes and set ups. We were racing the sun. We shot in early May so our nights weren’t long. Our takes were pretty lengthy, which was deliberate. I didn't want this to feel too cutty. Ben Hardwicke, my DP, essentially rehearsed the dance alongside Nick and Leah — that way, he was able to always know where they’d be, and he’d adjust the camera accordingly. Funny enough, everything leading up to the dance actually took the longest. Once we were locked on that basketball court, Nick and Leah had free rain and we were able to shoot it out relatively quickly. Everyone was really down to dig in and try something new.
	

		4.  Can you talk about NEW FORM championing the short and will this lead to a series? 
	

		New Form is great! I can’t say enough nice things about them. Not many companies would be willing to give a young director a chance to try something totally foreign to them — in my case, a musical. The fact that they encouraged me to experiment was a dream come true.
	

		Hopefully this will lead to something! That’s what we all dream about, right?  
	

		5.  What's up next for you personally?
	

		I’m currently in post production on my first feature! We wrapped principal photography in Atlanta two weeks ago.
	

	PRESS START – "When a nerdy gamer Phil unlocks magic that turns into a game, he uses the abilities to remake decisions, make better choices and 'advance' in his game of life.  But now that he's in the game, Phil will have to face the personal consequences for cheating at life and ultimately the powerful man who created this magic and started Phil down this path.

	Press Start – Created by Evan Beamer and Dave Child – Our Email Questionnaire:

											1.  Love this modern gamer version of groundhog day!   Casting wise y'all have been able to get big names in other films like Armed Response, what stood out about Darrell and Alison? 
										

											 
										

											 
										

								 
							

							 
						

						Apart from being old pros, Darrell & Allison are also old friends of mine (Evan's).  Look for Darrell in some amazing new stuff – like the Martin McDonagh feature Three Billboards Outside Ebbing Missouri, and the upcoming HBO show Barry starring Bill Hader.  We love that Darrell – despite being one of the coolest people we know – can instantly slip into the nerdy awkwardness the role is saturated in. Allison tends to get cast in quite a few TV dramas (Terra Nova, Incorporated,13 Reasons Why), but she is just a hilarious human being… So whenever we have a chance to try and put her in a comedy, we do!
					

						 
					

						2.  Where did y'all shoot and is the roof the same building as the restaurant? 
					

						We shot at a great little Italian joint in North Hollywood called Victorio's Pizzeria. Be sure to check out the live music every Thursday and Sunday. You may be the only person in the audience under 65 years old, but you won't regret it!  Also they make their own ravioli.  
					

						 
					

						And yes! The roof is on the same building as the restaurant. 
					

											3.  I adore the save point moment as the kiss! How many alternative takes or elements did you have for the "restarts" or did we see everyone?
										

											 
										

											 
										

								 
							

							 
						

						Ha, they definitely kissed quite a few more times than that while we were shooting… We forced them to kiss A LOT.
					

						 
					

						We're going to be pitching this idea as a half hour series – and in that pilot script the reloads escalate the stakes quite bit more. Don't wanna give it all away, but it's fun! Let us make it!
					

						 
					

						4.  What are your favorite game platforms and games to play?  How has the project being taken in by the NEW FORM family change it's trajectory?  Any hopes to see it as a series?
					

						Dave is more into the RPG, Zelda, Skyrim adventure games, where Evan really bounces around from shooters (PUBG!), to indie platformers (Cuphead!), to local arena games (TowerFall, Smash Brothers).  Dave is rocking the PlayStation and Nintendo consoles, and Evan just picked up a new PC for Steam.
					

						 
					

						New Form gave this project life! Couldn't have done it without them… So thankful.  They are helping us try and shepherd it to the next level as a series. There are a million places we could take this story — and we're really hoping we have the opportunity to show you!
					

						 
					

						5.  What are y'all working on next.
					

						Listen, Mr. or Ms. Selig Film News:  We Have Ideas. Too many ideas. The inventory is FILLED with ideas. Put us in the room, put us in the elevator, put us on an escalator – we will pitch like it's our job. (It's our job.)  Feature, series, whatever – you name it – we are working on it. We have a rather twisted adaptation of Peter Pan in the works that's currently exciting us the most. 
					

						 
					

						Evan keeps busy directing commercials – he's coming off of one for some booze this week. Dave keeps busy acting and doing standup – you can see him in the new music video by The Knocks' called "Trouble" in which he dances with an awesome alien. 
					

						 
					

					 
				

				 
			

			 
		

	LOVE ME DO – "When a closed-off young woman's alcholic father moves in with her fresh off rehab, she must deal with his newly zen, emotional mindset, while confronting the possiblity that she's more like her father than she'd care to admit.  LOVE ME DO is a dark comedy about a parent-child relationship where the roles are reversed.

	Love Me Do – Created Gaby Dunn – Our Email Questionnaire with Gaby –

						1.  What made you dive into the autobiographical realm and tell such a close story?  How tough was the process of casting your dad's character?
					

						 
					

						A big part of any project is asking yourself, "Why are you the person to tell this story?" Whenever I would recount my childhood with an addict parent, which to me seemed boring because I'd lived it, to anyone who'd had a "normal" childhood, the looks on their faces told me this was worth telling. And more importantly, when I told it to anyone else with a similar experience, there was always some aspect they really related to and that felt cathartic for them. 
					

						 
					

						So if I have the privilege of being able to talk about alcoholism, addiction, messed up parental relationships and it can help people? Then I should bleed my experiences dry and do it! Most of my projects have an element of autobiography to them because nothing I can think up is weirder than what really happened. 
					

						 
					

						As for casting my dad, I always knew I wanted to write something about my relationship with him so when I met Carlos Alazraqui at a table read for a different project , I just felt he was "the one." I emailed Carlos after the table read (VERY NERVOUSLY) to ask if he'd be open to reading the script and he was. And then he did so much research. I sent him family photos. I sent him an interview I'd done with my dad, and my dad's Instagram account. And he really nailed the performance. But yeah, it's very surreal to cast your "dad."
					

						 
					

						2.  You've been a real icon in the digital age for young filmmakers and have been open and honest about sexuality in your projects.  Can you talk about the importance technology has had on expanding filmmaking but also about showcasing all types of people?
					

						 
					

						Thank you! I love that the characters in this project are marginalized people but the project isn't about that. Amber is queer. Taylor is queer and black. Yasmin is black. But that isn't the entirety of their storylines in the way it might be on a traditional platform like TV. The creative control of digital allows me to make that stuff an aspect of the character, particularly Amber's bisexuality as it's who I really am, but it's not her biggest problem at all. Because I got control we got to have queer characters, queer actors, a queer director, women of color actors, etc and really fill out the cast, crew, and the world with how the world really looks.
					

						 
					

						3.  What made you go with the red frames over another color?  As a whole how much fun was the wardrobe and look of the film?
					

						 
					

						I actually wear those red frames in real life and then wardrobe gave another pair to the actress playing young Amber, the amazing Kendall Nicole. It was a great way to show a through-line in that Amber's always been a little quirky and off-beat.
					

						 
					

						The look of the film was from the brilliant mind of Bryce Morgan, our queer lady director, who loves to play with color and unique shots. I adore the way she did the flashback sequences, which take place in 1997. Wardrobe also killed it with little Amber's overalls and Alex Mack-looking backwards cap. But the thing that really undid me was Carlos' wardrobe for Virgil which is ripped directly from an outfit my dad wore in 1997 — cowboy hat, aviator sunglasses, boots, big belt buckle, fleece lined jacket. I sent them several photos of him to work off of and they made Carlos look exactly like him.. I cried when he came out of the wardrobe tent. The resemblance is spooky. It was fun to recreate a scene from my real childhood with actors that really look like us, but it was also very emotional in a way I didn't expect.
					

						 
					

						4.  I love the way you edited the "tripping" scene.  How long was the shoot and how much footage were you working with in the edit?  Also the choice to mix lines in different bodies when did that part come into the edit? 
					

						 
					

						That was all our editor Anjoum Agrama, who is an incredible woman. The shoot was 2 days and we had a good amount of footage but not too much as Bryce is very intentional with her shots. (No David Fincher madness here.) The overlapping was all Anjoum and Bryce. Bryce wanted it to seem like a real drug trip in that time is nonlinear and I love writing projects where time isn't necessarily happening in real time, so it was a likeminded collaboration there.
					

						 
					

						5.  New Form is another wonderful outlet can you expand on how it's helping put out unique material and how it's helped you in particular?  Also any hints to what you have coming out in the future, youtube or other?
					

						 
					

						New Form saw my vision and gave me the money and resources to make it a reality which is literally all any creator can ask for. It was a total dream come true to be able to shoot this and show this to fans who want to see more from me — What's my perspective? What can I contribute to queer cinema? How do I portray the deeper parts of my real life? Our budgets for YouTube are non-existant so to be given a budget and told to make whatever I wanted? I felt like I was so overly ready to get this out there. 
					

						 
					

						In the future, we're pitching Love Me Do as a TV show! I also have a nonfiction book coming out from Simon and Schuster in Fall 2018 based on my financial podcast called Bad With Money. Season three of the pod should be coming in January. I also just completed another short film, "Dick Sisters" that I co-wrote and starred in (it's a bisexual murder comedy) that we're submitting to festivals and want to become a feature. I don't know! I'm always working!
					

						 
					

					 
				

				 
			

			 
		

	For more information on NEW FORM please go here.

	New Form is holding a panel later today at 3:30pm at the State Theater if you want to see the films and meet the creators and Stacey Crawford from New Form.

	 

	 

#### AUSTIN FILM FESTIVAL 2018 – Interview with TEXAS COTTON’s Tyler Russell and George Hardy
At the 25th Annual Austin Film Festival Filmmaker Tyler Russell presented his feature film TEXAS COTTON in the Texas Independent Features section of the fest.  He'd previously shown the short film version a few years prior.  Tyler and the star of the film George Hardy chatted with our Gadi Elkon about all things Texas Cotton.

	

	An aging lawman is convinced a mysterious stranger arrested in his small town is innocent. His investigation stirs up a hornet's nest that will change the town forever. 

	 Here is our interview with TEXAS COTTON'S Director Tyler Russell and Lead Actor George Hardy (Sergeant Travis Delmore).  

	 

https://seligfilmnews.com/wp-content/uploads/2018/11/Texas-Cotton-Russell-and-George.mp3

	 

	For more information about the film, TEXAS COTTON. 

	 

#### AUSTIN FILM FESTIVAL 2018 – Interview with Writer/Director Peter Hedges
Oscar nominated Writer and Director Peter Hedges was in attendance at the 25th Austin Film Festival with the centerpiece film BEN IS BACK.  Our interviewer Carrie Hoover took part in a roundtable interview with the filmmaker about his latest movie.

19 year-old Ben Burns (Lucas Hedges) unexpectedly returns home to his family’s suburban home on Christmas Eve morning. Ben’s mother, Holly (Julia Roberts), is relieved and welcoming but wary of her son staying clean. Over a turbulent 24 hours, new truths are revealed, and a mother’s undying love for her son is tested as she does everything in her power to keep him safe. Ben is Back also stars Courtney B. Vance (“The People V. O.J. Simpson: American Crime Story”) and Kathryn Newton (Lady Bird).
 Here is our interview with BEN IS BACK Writer/Director Peter Hedges.
 
 
https://seligfilmnews.com/wp-content/uploads/2018/11/Peter-Hedges.mp3
 
*Carrie asks the 2nd question, to help follow along with the voices.
For more information – BEN IS BACK .

#### Austin Film Festival 2018 – JULES OF LIGHT AND DARK – Interview with Writer/Director Daniel Laabs
Today is the start of the 25th annual Austin Film Festival & Writers Conference.  At this year's festival filmmaker Daniel Laabs is presenting his feature film debut, JULES OF LIGHT AND DARK.  Daniel took the time to chat with us about the film, his wonderful cast, the importance of film festivals and so much more.  Here is our Interview with Filmmaker Daniel Laabs.

	
	

	In present-day Texas, Maya (Tallie Medel) and her on again, off again girlfriend Jules (Betsy Holt) total their car after a night of backwoods raving and teen mischief. They’re rescued from the wreckage by Freddy (Robert Longstreet), a divorced oil worker whose stoic facade crumbles as he comes to see himself, and his repressed desires, in Maya. As Jules recovers, Maya and Freddy develop a rapport that dulls the debilitating silence of their small-town lives. Together, they subtly encourage one another to chase after what they want the most (or at least figure out what that might be).

	Interivew with Filmmaker Daniel Laabs:

	 

https://seligfilmnews.com/wp-content/uploads/2018/10/Laabs-Jules-of-Light-and-Dark.mp3

	 

	Jules of Light and Dark screens at Austin Film Festival:

	Thursday October 25, 2018 9:45pm – 11:15pm 
	
	Alamo Drafthouse Village 2700 W Anderson Ln, Austin, TX 78757 

	Wednesday October 31, 2018 6:00pm – 7:30pm 
	
	State Theatre 719 Congress Ave, Austin, TX 78701  

#### Austin Film Festival 2019 – Interview with Dave Buckman
The Austin Film Festival just wrapped its 26th festival and conference.  The writer-centric festival has been a staple destination point for writers, filmmakers and so many lovers of the conference/festival experience.  For our press team this marked our 11th year of coverage.  A veteran of the festival and an transplant to ATX since 2004 comedian/director/improv coach Dave Buckman chatted with us earlier this week.  Check out our interview of the funny Dave Buckman as we talk about his Second City roots, his jump to BOOM Chicago, fun times in Amsterdam, and of course his favorite taco in Austin!

Dave Buckman has directed, taught and performed at some of the world’s leading improvisational comedy institutions. After several years studying and teaching improv in Chicago, Dave served as Artistic Director of Boom Chicago in Amsterdam, where he was fortunate to work with and direct some of the funniest people working in television and film, such as Seth Meyers, Jordan Peele, Ike Barinholtz, Jason Sudeikis and many more. He culminated his run in Europe with directing the second stage-swap with The Second City’s Main Stage in its 50 year history, After Europe, Dave worked as a director and teacher at The Second City in Chicago and Cleveland. Since 2005, Dave has been living in Austin, TX with wife and creative partner Rachel Madorsky, teaching and performing improv weekly at ColdTowne Theater. He is now the Executive Producer of ColdTowne and Austin SketchFest and is also Senior Producer for The Out Of Bounds Comedy Festival, held every Labor Day in beautiful Austin, TX. He also appears frequently in features, commercials and TV shows and has hosted the AFF Awards ceremony four years running.   AFF26 Website.
And now here is my chat with Dave about all that and much more.
 
https://seligfilmnews.com/wp-content/uploads/2019/11/Dave-Buckman-AFF-2019.mp3
 
For more information about the festival please go to AFF26.

#### Austin Film Festival and HUMANITAS Announces New Partnership to Discover Original Voices
 
Austin Film Festival (AFF) and HUMANITAS have joined forces to launch the inaugural “HUMANITAS Originals Award”. This joint initiative is a new addition to AFF’s Script Competitions and is open to both feature screenplays and teleplay pilots that reflect the kinds of stories HUMANITAS has honored for over four decades.
A classic HUMANITAS story examines what it means to be a fully realized human being in a world struggling with racism, sexism, ageism, anti-Semitism, poverty, religious strife, and a widening political divide. By deeply exploring the cultures, lifestyles, sexual orientations, and political and religious beliefs of people who are very different from ourselves, we can dissolve the walls of ignorance and hate that threaten the our global community.
The winner of the HUMANITAS ORIGINALS will receive a $5,000 prize along with reimbursement for airfare (up to $500) and hotel (up to $500) if used to attend the Festival and Conference, as well as the bronze AFF Typewriter Award. HUMANITAS will review the top scripts submitted in the category and will determine the finalists and one winner. Finalists will be given the opportunity to meet with representatives from HUMANITAS during AFF’s Writers Festival, which will be held this October 24 – 31, 2019.
“Austin Film Festival is thrilled to be partnering with HUMANITAS to provide an exciting opportunity for aspiring writers. As a Festival committed to championing storytellers, we are determined to continue creating opportunities for new voices in the industry, and we’re proud to be launching the HUMANITAS Originals Award as another platform for writers to find success”, said Executive Director, Barbara Morgan.
“We are very excited to be partnering with the Austin Film Festival,” said HUMANITAS Executive Director, Cathleen Young. “Under the incredible leadership of Barbara Morgan, AFF is passionate about creating meaningful opportunities for writers who are launching their Hollywood careers. We share their passion. In an increasingly divided world, we feel we must do everything we can to empower storytellers and creators to show us who we are and who we need to be as a member of the global family by way of their unique, creative voices.”
AFF’s Script Competitions are currently open for submissions with a March 29 Early Deadline, April 19 Regular Deadline, and May 15 Late Deadline. For more information including rules, eligibility, and how to submit, please visit www.austinfilmfestival.com.

#### Austin Film Festival and Rooster Teeth Announce New Fellowship Award
 
Austin Film Festival (AFF) and Rooster Teeth are partnering to launch the Inaugural “Rooster Teeth Fellowship Award” to be presented at the 26th Annual Austin Film Festival. This new award will be available in conjunction with AFF’s existing Script Competitions and is open to all scripted submissions that embody the Rooster Teeth genre.
The Rooster Teeth Fellowship Award is open to original scripts in the following categories: features, TV pilots, digital series, and fictional podcasts. The fellowship will be awarded to the project that best fits Rooster Teeth’s voice by incorporating elements of comedy and genre filmmaking and accomplishing a low budget/high concept feel. Rooster Teeth is looking for stories about ordinary people in extraordinary situations, coming-of-age stories, and other engaging journeys of self-discovery.
The winner of the Rooster Teeth Fellowship Award will receive a $5,000 prize along with a one-on-one mentorship with Rooster Teeth. This will include feedback and notes from a Rooster Teeth representative on the winning Fellowship script and a week-long mentorship in Austin with all travel expenses covered. In addition to the Fellowship Award, Rooster Teeth will offer development deals to three (3) finalists, who will be given the chance to develop an original concept in conjunction with the Rooster Teeth team. Rooster Teeth will review the top scripts submitted to the category and will determine the finalists and one winner. Finalists will be given the opportunity to meet with representatives from Rooster Teeth during AFF’s Writers Festival, held this October 24 –31, 2019.
“Austin Film Festival is honored to announce the launch of this inaugural fellowship in partnership with Rooster Teeth. Our organization is proud to offer continued opportunities for aspiring storytellers and this fellowship award will be a path for emerging voices to find industry success in Austin’s own backyard.” said Executive Director, Barbara Morgan.
“We’re thrilled to be able to offer this fellowship in conjunction with Austin Film Festival,” said Ryan P. Hall, Head of Development at Rooster Teeth. “We’ve always believed in investing in the Austin entertainment scene and developing projects here. We can’t wait to see what stories come our way!”
AFF’s Script Competitions are currently open for submissions with a March 29 Early Deadline, April 19 Regular Deadline, and May 15 Late Deadline. For more information including rules, eligibility, and how to submit, please visit www.austinfilmfestival.com.

#### Austin Film Festival Announces ‘I, TONYA’ As Second Closing Night Film
Chappaquiddick

	 

	Austin Film Festival & Writers Conference (AFF), the premier film festival recognizing the writers’ contributions to film, television, and new media, announced today a late addition to its film slate. I, TONYA, the darkly comedic tale of American figure skater Tonya Harding and one of the most sensational scandals in sports history, will serve as AFF’s second Closing Night Film. Directed by Craig Gillespie, I TONYA stars Margot Robbie as Harding, Sebastian Stan as her ex-husband Jeff Gillooly, and Allison Janney as Harding’s acid-tongued mother. Writer Steven Rogers will be in attendance for the screening.

	AFF’s other Closing Night Film, already announced, is Chappaquiddick, which details the drowning of campaign specialist Mary Jo Kopechne while trapped in a car that Senator Ted Kennedy drove off a bridge and later failed to report. Actor Jim Gaffigan, who stars as attorney Paul Markham in the film, will be in attendance along with director John Curran and writers Taylor Allen and Andrew Logan.

	AFF will also be welcoming esteemed multi-hyphenate Robert Townsend, most famous for co-writing, directing, and starring in boundary-pushing comedy Hollywood Shuffle. Townsend will participate in AFF’s Writers Conference, and will also present AFF’s Extraordinary Contribution to Television award to Keenen Ivory Wayans, with whom he co-wrote Hollywood Shuffle.

	Also slated to attend AFF this year are Jennifer Morrison (House, Once Upon a Time) for her film Sun Dogs, producer Matt Tolmach (The Amazing Spider-Man, Jumanji: Welcome to the Jungle) for Paige Tolmach’s documentary What Haunts Us, and actor/director James Keach (Walk the Line, Glen Campbell: I’ll Be Me) for his new documentary Augie. 

	For the full schedule of films, panels, workshops, and parties, visit www.austinfilmfestival.com.

#### AUSTIN FILM FESTIVAL ANNOUNCES 2014 SLATE
 

	The 21st Annual Austin Film Festival & Screenwriters Conference (AFF), the premier festival recognizing writers’ and filmmakers’ contributions to film, television, and new media, announced their slate of programming, this October 23-30.
	Marquee selections will feature Wild, Escobar: Paradise Lost, The Imitation Game, The Sound and the Fury, The Homesman, Black and White, Big Hero 6, Red Army, and the World Premieres of Gravitas Venture’s 21 Years: Richard Linklater, Bravo’s upcoming series A Girlfriend’s Guide to Divorce, and Amplify’s Dawn Patrol – a script discovered out of AFF’s Screenplay Competition by Enderby Entertainment’s Daniel Petrie, Jr. and Rick Dugdale.

	AFF’s Film Competition Program boasts 15 World Premieres, with titles hailing from more than 20 countries.  Film talent confirmed to attend includes Jay Duplass (writer/director Jeff, Who Lives at Home), Rita Wilson (Sleepless in Seattle), Scott Eastwood (Fury), W. Earl Brown (Deadwood), Jason Ritter (Parenthood), Austin Nichols (One Tree Hill), Leven Rambin (The Hunger Games), Matthew Letscher (Her), Alex Anfanger (The Secret Life of Walter Mitty), Sebastian Roché (Beowulf), Luke Kleintank (Bones), Lindsay Pulsipher (Hatfields & McCoys), Glenn Morshower (Friday Night Lights), Lindsay Burdge (A Teacher), comedian Maz Jobrani, members from the band Morphine, and more.

	The Screenwriters Conference, held the first four days of the Festival (October 23-26), will play host to writers behind some of the last year’s biggest blockbusters and indie gems: Guardians of the Galaxy, Dawn of the Planet of the Apes, 12 Years a Slave, American Hustle, Dallas Buyers Club, Saving Mr. Banks, and The Fault In Our Stars; as well as highly-anticipated projects: Unbroken, Fifty Shades of Grey, The Jungle Book, The Hunger Games: Mockingjay, and Top Gun 2.  Television creators, writers, directors, and producers will be represented from Mad Men, True Detective, Breaking Bad, Fargo, Masters of Sex, Bob’s Burgers, Justified, and Orange is the New Black.
	Guest programmers for AFF’s annual Retrospective Series include Matthew Weiner presenting episodes from The Twilight Zone; Jim Sheridan and Terry George presenting In the Name of the Father; Jenny Lumet, daughter of Sidney Lumet, presenting Network; and Randall Wallace presenting Braveheart.
	Badges and passes are available for purchase online at www.austinfilmfestival.com or by phone at 1-800-310-FEST.

	Attendance is subject to change and based on permitting schedules.

	Austin Film Festival is supported in part by a grant from the Texas Commission on the Arts, City of Austin Economic Growth & Redevelopment Services Office/Cultural Arts Division believing an investment in the Arts is an investment in Austin’s future.

#### AUSTIN FILM FESTIVAL ANNOUNCES 25 SCREENWRITERS TO WATCH IN 2020
 
Austin Film Festival & Writers Conference (AFF), the premier film festival recognizing the writers’ contributions to film, television, theater, and new media, announced today their fifth annual “25 Screenwriters to Watch.” Since 1994, Austin Film Festival has sought to elevate the recognition and stature of screenwriters through a myriad of initiatives and programs, including its industry-renowned Writers Conference, a film festival perennially packed with the visionaries of tomorrow, and the largest screenplay competition in the world. Released today on the AFF website, this year’s “25 Screenwriters to Watch” list is an extension of its mission and includes a roster of promising and innovative voices, featuring writers from diverse backgrounds, mediums, and points in their careers.
Last year’s 25 Screenwriters to Watch has witnessed its featured writers continue to find success in the industry. Television writer Davia Carter joined the writing room for the new CW series Katy Keene. Also featured last year, Tripper Clancy’s film Stuber, produced by Fox and starring Kumail Nanjiani, premiered in theaters last July, and Tripper is currently at work on the Kevin Hart led Quibi title Die Hart scheduled to release this year. Meanwhile, Jean Lee who’s been noted by Women In Film, the Blacklist, and Ryan Murphy’s HALF, among other prominent entities, is currently in post-production on a new documentary feature titled The Heart of Puerto Rico.
 
The 2020 Screenwriters to Watch include:
Indianna Bell: Bell’s short film Call Connect, won the Jury Prize for Best Narrative Short at the 2019 Austin Film Festival. Bell is also the author of Quirky Quentin, a children’s book that combines her love of writing and disability care work and advocacy.
Julie & Shawna Benson: The sister writing duo are currently developing a live-action television show with the Jim Henson Company and recently wrote for Nickelodeon’s Untitled Star Trek Animated series.
Zoe Cheng: Cheng won the 2019 Austin Film Festival’s inaugural HUMANITAS Originals Prize for her film When a Flower Falls. She also placed in the top 50 of the 2019 Academy Nicholl Fellowships in Screenwriting. Currently, she is one of the 2020 program writers for the Walt Disney Television Writing Program.
Jon Comulada: Comulada was awarded the inaugural Rooster Teeth Fellowship Award at the 2019 Austin Film Festival, where he was also a finalist in the Comedy Pilot category for The Daily Dowager. He is currently in post-production for a short film as well as working on a political comedy pilot and a sci-fi/thriller feature among other screenplays.
Christopher Corte: Corte has written for the stage, sketch comedy, and film and television all over the country. His film Service Animals won multiple awards at the 2019 Austin Film Festival, including the SciFi Award. He is currently working on two projects, both within the sci-fi genre.
Micah Cyrus: Cyrus has worked in a variety of roles in the film industry, ranging from Research Assistant and Writers’ Assistant positions to working in International Film Distribution for Lionsgate/Summit Entertainment and as Creative Content Coordinator in Digital Marketing for Relativity Media. He is currently a Staff Writer for Season 3 of the CW’s All American and is now working on a YA feature.
Jonathan Flicker: Flicker’s pilot Ghostrunner won the 2019 Austin Film Festival AMC Drama Teleplay Award and was a top-ten finalist in the Screencraft Pilot Launch Competition. He is currently working on a feature-length script entitled Credible Fear.
Zarna Garg & Greg Fortier: Garg and Fortier’s Rearranged won the Comedy Screenplay Award presented by Sony Pictures Animation at the 2019 Austin Film Festival and was a Semifinalist for the 2019 Academy Nicholl Fellowships. It has been optioned by Marginal Mediaworks.
Rupinder Gill: Gill is a writer/producer on the upcoming Peacock series Rutherford Falls and the NBC series Indebted. She previously worked on the Amy-Poehler-produced comedy I Feel Bad and the Eugene Levy/Catherine O’ Hara starrer Schitt’s Creek.
Giorgos Georgopoulos & Maria Fakinou: Georgopoulos and Fakinou’s film Not to be Unpleasant but we need to have a serious talk was praised for its excellent writing at the 2019 Austin Film Festival. Georgopoulos is currently developing a Greek fantasy series, and one of his scripts is in the pre-production process.
Cris Graves: An Emmy Award-winning filmmaker, Graves has worked across multiple platforms and has had her work screened at various festivals, including Cannes, Oaxaca, and Hamilton. Her feature film script Alone Girl, which made it onto The Bitch List 2020, was selected as a semi-finalist in three categories at the Austin Film Festival Screenplay Competition. She plans to direct Alone Girl and is also working on developing a podcast entitled Blissful Spinster.
Josh Hallman & Kai Hasson: Hallman and Hasson’s film Robu was a festival favorite short at the 2019 Austin Film Festival. Hasson plans to write a feature-length project based on Robu while Hallman is currently working on a contained action film.
Jeremy Laval: Laval’s film Noise won the Audience Award for Dark Matters Feature at the 2019 Austin Film Festival. In addition to filmmaking, Laval co-founded the production company Frontline Cinema. He is currently working on developing another feature as well as a series.
Hannah Leder & Alexandra Kotcheff: Leder and Kotcheff met at the age of eight and had made their first film by age 12. Their film The Planters, which they wrote, directed, starred in, and single-handedly crewed, won both an Audience Award and Jury Award at the 2019 Austin Film Festival. They are currently working on another feature-length dark comedy, Peachville.
David Midell: Midell’s debut feature NightLights was released in 2014, made its network television premiere on the Lifetime Movie Network in 2015. His follow-up film The Killing of Kenneth Chamberlain won both an Audience and a Jury Award at the 2019 Austin Film Festival.
Par Parekh: Parekh’s film The Happy was a festival favorite at the 2019 Austin Film Festival. His previous work includes promotional videos for such musical talents as Beyoncé, Celine Dion, Shuggie Otis, and Willie Nelson. Currently, his feature documentary debut Sister Una Lived A Good Death is in post-production.
David Pantano: Pantano’s screenplay Backfired was a Screencraft and Austin Film Festival Semifinalist. It is slated to be released as a comic book by Source Point Press this June.
Larry Postel: An Austin Film Festival Finalist from 1995, screenwriter, and full-time freelance advertising copywriter, Postel wrote many screenplays and had numerous sales and options over the years, but nothing was produced… until 2019! In 2019, three of his original spec screenplays were produced. The Main Event was released by Netflix this April; Flip Turn is in post-production; and High Holiday is completed and out to distributors.
Chris Retts: Rhetts is a multiple-produced screenwriter, including feature-length projects produced by MarVista Entertainment for the Lifetime Movie Network. His film Wade in the Water, set to be distributed later this year, won multiple awards in the festival circuit, and its script was a Semifinalist for the Nicholl Fellowships in Screenwriting. He currently has several scripts in development including a TV pilot and his follow-up to Wade in the Water.
Caitlin Scherer: Scherer’s screenplays have placed in numerous contests, including as a Top 5 Finalist at the 2019 Austin Film Festival for Fitter Families. She was the recipient of the inaugural Rooster Teeth Development Fellowship and is currently in the writing process for a new dark comedy horror script about climate change.
Kelly Strathmore: Strathmore’s screenplay East Palo Alto was a finalist in the 2019 Austin Film Festival Screenplay Competition. She has been the recipient of multiple awards and grants, including the 2020 CineStory Foundation TV Fellowship. She is currently working on writing an action comedy/dramedy.
Yi Tang: First-time filmmaker Yi Tang’s short Black Goat won the Jury Award for Narrative Student Short at the 2019 Austin Film Festival. She is currently working on her thesis short film, Blooming Flowers and Full Moon, as well as beginning work on her first feature-length project.
Christina Tucker: Tucker’s film From the Wilderness was a Finalist at the 2019 Austin Film Festival. Her previous writer/director credits include The Ghost and the Writer and Chores. She is currently a New York-based freelancer in film, television, and commercial production.
Patrick Wimp: Wimp’s digital series Brothers from the Suburbs won both the Jury and Audience Award for Produced Digital Series at the 2019 Austin Film Festival. It was recently licensed to the newly launched short-form mobile streaming platform Ficto.
Gareth Wronski: Wronski’s first book, Holly Farb and the Princess of the Galaxy, was published by Simon & Schuster in 2017 and was nominated for the Silver Birch Award. Additionally, he is a PAGE Awards winner, Screencraft Comedy finalist, Tracking Board Launch Pad Top 10 finalist, and Final Draft Big Break Top 3 finalist. He is currently working on a post-apocalyptic rom-com.
 
More information on these writers can be found at www.austinfilmfestival.com

#### Austin Film Festival Announces All Virtual Fest for 2020
 
Austin Film Festival has announced that its 27th annual Film Festival and Writers Conference will be a completely virtual event including panels and film screenings that will feature leading industry creatives, to be held this October 22nd–29th, 2020.
The Virtual Writers Conference will include the addition of a full day more of panels and workshops, with sessions held from Thursday, October 22nd through Monday, October 26th. Industry insiders such as Lindsay Doran (producer Sense and Sensibility), Scott Frank (writer Get Shorty), Kevin Willmott (cowriter Da 5 Bloods), and Tracey Scott Wilson (writer Respect) will engage in topical industry conversation and speak to their process of turning craft into career. The programming team is committed to providing the same immersive and interactive offerings to its attendees by translating Conference favorites such as the annual Austin Film Festival Pitch Competition and Roundtable sessions to an engaging virtual experience. Additionally, the Conference will include virtual networking opportunities so creatives from all over the world can connect and collaborate.
The Virtual Film Festival will include eight full days of films comprised of marquee premieres and selected films from this year’s competition. Viewers will have the opportunity to tune in live to experience the exciting atmosphere of film premieres or alternatively to enjoy films on demand and on their own schedule.
Austin Film Festival’s Virtual Badge, offered at its lowest price to date, grants its audience access to the event’s five days of panels alongside eight days of films and filmmaker Q&As.
The 2020 Virtual Austin Film Festival & Writers Conference takes place from October 22 through 29, 2020, with more panelist and film announcements to come.
For new announcements and information on how to attend, visit www.austinfilmfestival.com and follow @austinfilmfest on Twitter, Facebook, and Instagram.

#### Austin Film Festival Announces Competition Sponsors and Judges
 

	In order to further support writers and storytellers, Austin Film Festival, (AFF), also known as “The Writers Festival”, is pleased to announce 2017 sponsors and judges for its Screenplay, Film, Digital Series, Playwriting, and Fiction Podcast Script Competitions. Sponsors will serve on the jury for their category and, schedules permitting, participate in AFF’s writers Conference as panelists as well as holding meetings with finalists during or after the 24th Annual Austin Film Festival, taking place this October 26 – November 2.

		Public Radio International (PRI) has officially signed on as the sponsor of the inaugural Fiction Podcast Script Competitionwhich is open to scripts for any ongoing series intended for a purely acoustic medium. PRI is a key player in our country’s public media system; by producing and distributing programming to public radio stations nationwide and on digital platforms, they inspire curiosity and encourage civic engagement that leads to a more informed, empathetic and connected world. AFF has added a late deadline to the Fiction Podcast Script Competition: July 7.
	

		Sweetwood Creative, an Austin based production company led by Pat Hazell and Katie Goan, will be underwriting this year’s Playwriting Award. Sweetwood Creative: your Humor Resources Department produces original theatrical experiences, develops custom content, and provides creative consulting to writers, producers, and advertising agencies. www.sweetwoodiscreative.com
	

		Writers Guild of America, East (WGAE) is the underwriting sponsor of the Drama Screenplay Award category. Drama Finalist scripts will be judged by a select panel of WGAE screenwriters and the winner will be presented by a WGAE representative at the Awards Luncheon.
	

		Sony Pictures Animation is the official sponsor of the Comedy Screenplay Award. The studio behind Hotel Transylvania 2¸ Cloudy with a Chance of Meatballs, and the upcoming The Emoji Movie will supply a representative to judge for the Semifinalist round of the Comedy category and one Sony screenwriter to join our panel of judges to evaluate the Finalists. Entries in this category are open to all genres of comedy and do not need to be exclusively animated scripts.
	

		AMC returns as the official sponsor and judge for the One-Hour Pilot Award for the fifth year in a row. The AMC One-Hour Pilot Award is open to any pilot script written in the one-hour format for an original television series.
	

		Skybound Entertainment is the sponsor for this year’s Sci-Fi Screenplay Award. The multiplatform entertainment company is led by Robert Kirkman and David Alpert, responsible for such television hits including The Walking Dead, Fear the Walking Dead, Outcastand the upcoming Universal feature Invincible.
	

		Enderby Entertainment, co-founded by producers Rick Dugdale and Daniel Petrie, Jr., returns to sponsor AFF’s indie film category,open to feature scripts in all genres with an original concept and distinctive voice that can be independently produced for under $10 million.
	

		Stage 13, one of the digital content creation brands in the Warner Bros. Digital Network Group, is sponsoring AFF’s Scripted Digital Series Competition. Stage 13 is a short form digital content brand that creates and showcases a diverse slate of original stories from short form scripted to non-scripted. Led by culture, vision and voice, the brand has had it’s series premiere at film festivals across the U.S. and is launching this summer. Stage 13 execs will help choose the winner of the competition and, schedules permitting, will meet with each Finalist during or after the Festival. Find out more about Stage 13 at www.stage13.com.
	

		This year’s Narrative Short Competition is sponsored by ShortsTV, the global home to short film. Available across the US andEurope, the channel brings audiences captivating short form content from filmmakers across the globe. ShortsTV will help select the Jury Award winner of this category and, schedules permitting, meet with each finalist during or after the Festival. Additionally, ShortsTV will provide the Jury Award winners of the Narrative, Documentary, Animated, and Student Short categories a distribution deal, and will offer the filmmakers the opportunity for their short in competition to air on their channel.
	

		POV, American Documentary’s award-winning premiere showcase for independent non-fiction film series on PBS, is once again partnering with Austin Film Festival to support the Documentary Feature Competition. POV will help select the Jury Award winner in this category and, schedules permitting, meet with each finalist during or after the Festival.
	

		Popular independent distribution company Gravitas Ventures will once again help decide the Jury Award winner for the Comedy Vanguard Feature Competition and offer the Jury Award winner a first look Video On Demand distribution deal.
	

	In addition to the sponsors noted above, Screenplay Competition Semifinalists and Finalists will have their scripts reviewed by industry judges which include representatives from Bellevue Productions, Escape Artists at Sony, Gross Entertainment, Madhouse Entertainment, Nickelodeon, Paradigm, and Warner Bros among others. They will also be included in our Annual Producer’s Book distributed to over 400 agents, managers, producers, and other industry professionals. More judges will be announced soon.

	Selected films will similarly be reviewed by jurors made up of acclaimed filmmakers, distributors, and other industry insiders. Already confirmed this year are representatives from Showtime, Gunpowder & Sky, Stage13, POV, ShortsTV, and Gravitas Ventures each of whom will help select the Jury Award winners for one of AFF’s nine film and series categories. More film jurors will be announced shortly.

	AFF is also proud to announce its continued partnership with Hiscox Insurance, who will once again serve as the official sponsor for AFF’s Audience Award, and will present the second Hiscox Courage Award to the film that best embodies the virtue of courage and to the filmmaker who best embraced the risk to share the story.

	AFF is currently accepting entries for the 2017 Festival. Writers and filmmakers can submit their projects at www.austinfilmfestival.com. Final Deadlines are quickly approaching: May 10 for plays, and May 15 for screenplays and digital series. For film submissions, the Regular Deadline is May 19, the Late Deadline is June 30, and the Extended Deadline is July 7. Fiction podcast has a regular deadline May 10 and a Late Deadline of July 7.

#### Austin Film Festival Announces First Wave For 2017 Festival
 

	Austin Film Festival (AFF), the premier film festival recognizing writers’ and filmmakers’ contributions to film, television, and new media, announced today the first wave of films included in their 2017 film slate.

	Taking place October 26 through November 2, AFF will premiere the season finale of HBO’s new drama The Deuce. Creators David Simon and George Pelecanos will be in attendance.  Other titles include Permanent with Rainn Wilson and Patricia Arquette, Please Stand By with Dakota Fanning and Toni Collete, and 24 Hours to Live with Ethan Hawke and Liam Cunningham.

	In addition to playing films from all over the world, AFF continues to spotlight local films and talent. This year AFF will premiere the romantic comedy Amanda and Jack Go Glamping starring David Arquette and Amy Acker, written and directed by Austin filmmaker Brandon Dickerson. Additionally, AFF will present a remastered retrospective of 1985 Austin-produced cult horror film Confessions of a Serial Killer starring famed local filmmaker Robert Burns. Based on the crimes of serial killer Henry Lee Lucas, Confessions was the first independent film acquired for distribution by Roger Corman.

	Already confirmed to attend the fest this year are David Arquette for Glamping, and Sasheer  Zamata (Saturday Night Live) and Brent Morin (Undateable) for the World Premiere of comedy The Outdoorsman. These actors will join AFF’s already announced Distinguished Screenwriter awardee Kenneth Lonergan (Manchester by the Sea).

	The complete list of programming, including over 100 more films as well as hundreds of panels, will be announced in late September.

	 

	AFF FIRST WAVE: 

	24 Hours to Live

	Writers: Zach Dean, Jim McClain, Ron Mita

	Director: Brian Smrz

	Starring: Ethan Hawke, Liam Cunningham, Rutger Hauer

	24 Hours to Live follows a career assassin who turns rogue after his latest mission goes awry.

	 

	Amanda & Jack Go Glamping

	World Premiere

	Writer/Director: Brandon Dickerson

	Starring: David Arquette, Amy Acker, Adan Canto, June Squibb

	With his mid-life marriage on rocky ground, dejected one-hit-author Jack Spencer goes glamping (glamorous camping) with his wife, Amanda, in search of a spark. When the isolated retreat suddenly becomes anything but private with the arrival of double booking honeymoon hipsters and a super-hunk land owner, Jack must learn to get over himself as he dives deep off the grid into a comedic exploration of love, failure, relevance, and miniature donkeys.

	 

	Confessions of a Serial Killer – Remastered 1985 Retrospective

	Writer/Director: Mark Blair

	Starring: Robert Burns, Dennis Hill, Berkley Garrett

	The thinly veiled account of the chilling life and crimes of notorious Henry Lee Lucas, whose reign of terror came to an end on July 11th, 1983.

	 

	The Deuce-Season Finale

	World Premiere

	Creators: David Simon, George Pelecanos

	Starring: James Franco, Maggie Gyllenhaal, Zoe Kazan

	Created by George Pelecanos and David Simon and starring James Franco and Maggie Gyllenhaal, The Deuce follows the story of the legalization and subsequent rise of the porn industry in New York’s Times Square from the early 1970s through the mid-1980s, exploring the rough-and-tumble world at the pioneering moments of what would become the billion-dollar American sex industry. George Pelecanos, David Simon, James Franco and Nina K. Noble executive produce.

	 

	Flock of Four

	World Premiere

	Writer/Director: Gregory Caruso

	Starring: Braeden Lemasters, Shane Harper, Coco Jones, Reg E. Cathey

	In 1959, four best friends search for a legendary jazz musician and discover an unforgettable night of culture and music in South Central, Los Angeles.

	 

	Mr. Fish: Cartooning from the Deep End

	World Premiere

	Director: Pablo Bryant

	Mr. Fish, one of the most dangerous American cartoonists working today, is faced with selling his art or selling his soul.

	 

	An Ordinary Man

	North American Premiere

	Writer/Director: Brad Silberling

	Starring: Ben Kingsley, Hera Hilmar, Peter Serafinowicz

	The life of a fugitive war criminal takes a turn for the unexpected in An Ordinary Man.  After years of hiding in plain sight following the brutal Balkan wars, a man known only as the General, ferried nightly from couch to couch by faithful loyalists, at last is placed in an apartment of his own.    When Tanja, the young housemaid of the prior tenant unwittingly stumbles through his door, it’s clear to both that her simply departing will not be an option.    What follows is a cat and mouse game of intentions and identities, in which the General’s need for human contact drives him to take increasingly greater risks, pressing to unearth Tanja’s secrets…and setting  them both on a collision course with the past.

	 

	The Outdoorsman

	World Premiere

	Writer: Ryan Gilmour

	Director: David Haskell

	Starring: Brent Morin, Sasheer Zamata, Spencer Grammer

	As he prepares to cut ties with society and spend a year in the mountains, an aspiring wilderness writer meets a goal oriented, corporate woman who has quit her job to ‘find herself.’ He falls in love, but ultimately must ask himself what he wants: the ‘normal’ life he’s avoided his whole life, or living his outdoor fantasy, alone.

	 

	Permanent

	Writer/Director: Colette Burson

	Starring: Kira McClean, Rainn Wilson, Patricia Arquette

	Set in 1983 in small town Virginia, Permanent  centers around a 13-year-old and her family. The story of a hairstyle gone incredibly wrong and a young girl’s plight to fit in while encountering bullies at a new school.

	 

	Please Stand By

	Writer: Michael Golamco

	Director: Ben Lewin

	Magnolia Pictures’ upcoming dramedy starring Dakota Fanning and Toni Collette.

	 

	Touched

	North American Premiere

	Writer/Director: Karl R. Hearne

	Starring: Hugh Thompson, Lola Flanery

	A ghostly, psychological drama about a young woman who disappears from her building and her solitary landlord who tries to track her down.

#### Austin Film Festival Announces First Wave of Films For 2020 Festival
 
Austin Film Festival (AFF), the premier film festival recognizing writers’ and filmmakers’ contributions to film, television, and new media, has announced the first wave of screenings to be included in their 2020 film slate, taking place virtually October 22-29.  In case you missed it, the fest is going virtual. The fan-favorite writer’s festival will offer panels and films online this fall.
AFF will feature world premiere screenings including vaunted writer/director Anne Rapp’s latest film Horton Foote: The Road to Home, chronicling the life and work of the legendary Academy Award winning writer of To Kill a Mockingbird. Also screening at AFF are premieres from second-round writers through the Festival’s Screenplay competitions, including the world premieres of THE CATCH starring Katia Winter, Bill Sage, Kyle Gallner, and James McMenamin, by first-time director Matthew Ya-Hsiung Balzer, as well as the directorial debut of writer/director Paul Kowalski with Paper Tiger. Rounding out the Screenplay Competition alums is writer/director Khaled Ridgeway’s film with the Texas Premiere of his title Death of a Telemarketer starring Lamorne Morris, Haley Joel Osment, and Jackie Earle Haley.
AFF will spotlight Texas filmmakers and productions with this year’s North-American premiere of Blinders, directed by former Terrence Malick collaborator Tyler Savage and written by Savage & Dash Hawkins, along with the US Premiere of Fugitive Dreams, written and directed by Jason Neulander and The Get Together directed by Will Bakke and starring Johanna Braddy and Alejandro Rose-Garcia (Shakey Graves) joining the Festival slate. The Festival is also excited to announce the World Premiere of the delightful comedy Reboot Camp, written and directed by Ivo Raza, starring David Lipper, Keli Price, David Koechner, Maya Stojan, Ed Begley Jr., Lindsey Shaw, Chaz Bono, Eric Roberts, and Ja Rule. Lastly, AFF will offer World Premieres for alumnus & writer/director Aldo Miyashiro’s Wake Show and the feature documentary directorial debut of Open Field by Kathy Kuras.
The 2020 Writers Conference will welcome a strong roundup of prominent screenwriters in film and television including Tanya Barfield (writer Ms. America), Paul Feig (director Last Christmas, Bridesmaids), Scott Frank (writer Get Shorty; writer/director Godless), John Logan (creator Penny Dreadful; writer Skyfall, Gladiator), Gina Prince-Bythewood (writer/director The Old Guard, Love & Basketball), Kevin Willmott (co-writer BlacKkKlansman, Da 5 Bloods), and Tracey Scott Wilson (writer Respect). AFF’s Writers Conference, which will feature over 30 virtual panels on the art, craft, and business of screenwriting, will be held the first five days of the Festival (October 22–26).
AFF’s Senior Film Program Director Casey Baron is looking forward to this new format taking place this year: “We’re excited to support our selected filmmakers and continue championing such wonderful storytellers in an incredibly challenging time for our industry. It’s an added bonus that AFF will welcome back some good friends from our alumni community, and give all involved an opportunity to find their audience on an international stage.”
The complete list of programming, including over 100 films as well as this year’s panels, will be announced in late September.
 
AFF FIRST WAVE:
Blinders
North-American Premiere
Director: Tyler Savage
Writers: Tyler Savage & Dash Hawkins
In the wake of a messy break-up, Andy Escobedo decides to start fresh, relocating from Austin to Los Angeles. Eager to make new connections, he befriends Roger, an unusual rideshare driver. But when Roger’s behavior gets too strange for comfort, Andy blows him off, choosing to focus on a budding relationship with Sam. This unhinges Roger, who begins to torment Andy, ensuring that his stay in L.A. is short-lived.
 
Death of a Telemarketer
Texas Premiere
Writer/Director: Khaled Ridgeway
When a smooth-talking Telemarketer preys upon the seemingly perfect mark, he must pass a twisted test on ethics if he wants to live to sell another day.
 
Fugitive Dreams
US Premiere
Writer/Director: Jason Neulander
In this allegorical road movie touching on themes of homelessness, mental health, and addiction, two lost souls embark across a dreamscape America. Their darkly strange journey confronts them with their traumatic pasts, and bonds them in compassion and love.
 
Horton Foote: The Road To Home
World Premiere
Director: Anne Rapp
Horton Foote: The Road To Home is a documentary that chronicles the creative journey of acclaimed Texas writer Horton Foote through his own eyes and voice at the end of his life. Foote, who was born and raised in Wharton, Texas, went on to become a Pulitzer Prize winning playwright, the winner of two Academy Awards for screenwriting, an Emmy Award for television writing, and was recipient of the National Medal of Arts among numerous other theatrical and literary prizes. His long and successful 70-year career of writing consisted primarily of stories set in the small town of Harrison, Texas, a fictitious version of Wharton. Horton was known for his delicate yet deeply-layered and profound storytelling— about family, human connections, struggles, resilience and redemption.
 
Open Field
World Premiere
Director: Kathy Kuras
She plays by NFL rules in NFL stadiums. She wins world championships. She’s at the top of her game. What does she have to do to level the playing field?
 
Paper Tiger
World Premiere
Writer/Director: Paul Kowalski
A widowed immigrant mother in LA fears her schizophrenic teenaged son is turning into a school shooter. Inspired by true events, Paper Tiger unfolds as a timely conversation about gun violence, mental illness and immigration; it also plays as a riveting psychological thriller, showcasing Paul Kowalski’s feature debut as a crafted and cinematic roller coaster.
 
Reboot Camp
World Premiere
Writer/Director: Ivo Raza
After losing his life savings and his wife to a self-help guru, Seymour is on a mission to expose false prophets who fleece people for money. He teams up with his brother Danny, a filmmaker, and they start a fake self-improvement group called Reboot Camp. While Seymour transforms into the charismatic Gordon St. Pierre, a larger than life persona who teaches a path to bliss through a process called “rebooting,” Danny films. They succeed handsomely as even the most ludicrous group activities are met with unbridled enthusiasm from the members. But as Reboot Camp grows, Seymour and Danny must request additional funds from the producer, who pushes them to hire his niece Claire to supervise.
 
The Catch
World Premiere
Writer/Director: Matthew Ya-Hsiung Balzer
A troubled woman returns to her estranged family in coastal Maine.  With her lobsterman father caught up in a turf war at sea, she and an ex-boyfriend make plans to hijack local drug runners.
 
The Get Together
World Premiere
Director: Will Bakke
Writers: Will Bakke & Michael B. Allen
A recent college post-grad, a soon-to-possibly-be-engaged couple, and a failing musician all deal with the realities of growing up as their three stories intersect over the course of one night at a house party in Austin.
 
Wake Show
World Premiere
Writer/Director: Aldo Miyashiro
Leonardo Oviedo is an ambitious theatre director, whose plays haven’t accomplished the success he dreamt of. Seeking for some recognition, he decides to write a play for four characters; a one-performance only, where all actors have to die onstage. On that matter, he casts an old has-been actor, who is an alcoholic, an overweight actress, an endearing and intellectually disabled boy, and a black actor, who has only been cast for the color of his skin. The play brings on a media hype never seen before, is an instant success and everyone is eager for the opening night. With defenders and detractors, the whole country talks about Leonardo Oviedo, and he will be willing to get to the very end, to fulfill this sickening artistic ideal.
 
For new announcements and information on how to attend, visit www.austinfilmfestival.com

#### Austin Film Festival Announces First Wave of Films for 2023 Festival
Not An Artist
 
Austin Film Festival (AFF), the premier film festival recognizing writer’s and filmmaker’s contributions to film, television, and new media; supporting creatives at all levels, including its support for the WGA and SAG-AFTRA in their ongoing strike efforts. For 30 years, AFF has been a platform for open discussion, a place where the screenwriting community comes together to pass on experience, craft, and the writers’ journey from script to screen. Today AFF announced its first wave of screenings to be included in their 2023 film slate, taking place Thursday, October 26 – Thursday, November 2.
Opening the 30th Annual Festival is the MGM and Amazon Studios film, Saltburn, a thrilling tale of privilege and desire from Academy Award®-winner Emerald Fennell, who will be in attendance. Fennell’s highly anticipated sophomore film stars Barry Keoghan, Jacob Elordi, and Rosamund Pike. AFF will also screen the debut feature American Fiction from writer/director Cord Jefferson, which perfectly encapsulates the writer’s dilemma between preserving the integrity of their voice and catering to the marketplace, starring Jeffery Wright, Sterling K. Brown, and Tracee Ellis Ross. In addition, 2015 Distinguished Screenwriter Brian Helgeland returns to Austin Film Festival with his newest project, Finestkind, that takes him back to his roots and tells the story of two brothers set against the backdrop of commercial fishing and crime syndicates of Massachusetts, starring Ben Foster, Tommy Lee Jones, Toby Wallace, and Jenna Ortega.
This year’s festival includes exciting new World Premieres including Lena Headey’s feature directorial debut, The Trap, featuring Michelle Fairley and James Nelson Joyce. AFF will be also hosting the World Premieres of satirical comedy Not An Artist, the Portuguese heartfelt drama Autumn, the stoner comedy Soweto Blaze from South Africa, and a family drama from Texas, I’ll Be There.
AFF FIRST WAVE:
 
AMERICAN FICTION (USA) – ORION/MGM 
Written/Directed by: Cord Jefferson 
Cast: Jeffery Wright, Tracee Ellis Ross, John Ortiz, Erika Alexander, Leslie Uggams, Adam Brody, with Issa Rae and Sterling K. Brown 
Synopsis: Cord Jefferson’s hilarious directorial debut, which confronts our culture’s obsession with reducing people to outrageous stereotypes. Jeffrey Wright stars as Monk, a frustrated novelist who’s fed up with the establishment profiting from “Black” entertainment that relies on tired and offensive tropes. To prove his point, Monk uses a pen name to write an outlandish “Black” book of his own, a book that propels him to the heart of hypocrisy and the madness he claims to disdain.
In attendance: Writer/Director Cord Jefferson
 
SALTBURN (US/UK) – MGM/Amazon Studios 
Written/Directed by: Emerald Fennell  
Cast: Barry Keoghan Jacob Elordi Rosamund Pike Richard E. Grant Alison Oliver Archie Madekwe 
Synopsis: Academy Award® winning filmmaker Emerald Fennell (Promising Young Woman) brings us a wicked tale of privilege and desire. Struggling to find his place at Oxford University, student Oliver Quick (Barry Keoghan) finds himself drawn into the world of the charming and aristocratic Felix Catton (Jacob Elordi), who invites him to Saltburn, his eccentric family’s sprawling estate, for a summer never to be forgotten.
In attendance: Writer/Director Emerald Fennell
 
FINESTKIND (USA) – Paramount+ 
Written/Directed by: Brian Helgeland 
Cast: Tommy Lee Jones, Ben Foster, Jenna Ortega, Toby Wallace 
Synopsis: Finestkind tells the story of two brothers (Ben Foster & Toby Wallace), raised in different worlds, who are reunited as adults over a fateful summer. Set against the backdrop of commercial fishing, the story takes on primal stakes when desperate circumstances force the brothers to strike a deal with a violent Boston crime gang. Along the way a young woman (Jenna Ortega) finds herself caught perilously in the middle. Sacrifices must be made and bonds between brothers, friends, lovers, and a father (Tommy Lee Jones) and his son are put to the ultimate test.
In attendance: Writer/Director Brian Helgeland
 
NOT AN ARTIST (USA) – Utopia Distribution 
Written by: Alexi Pappas, Jeremy Teicher, Matt Walsh 
Directed by: Alexi Pappas, Jeremy Teicher 
Cast: Ciara Bravo, Cleopatra Coleman, Haley Joel Osment, Alexi Pappas, Matt Walsh & RZA 
Synopsis: In an exclusive artist-in-residency program overseen by an enigmatic patron (RZA), artists in turmoil face a make-or-break ultimatum: unlock their full creative potential or abandon art forever. Yet, the unexpected intrusion of an outsider (Matt Walsh) jeopardizes the program’s delicate balance.
World Premiere
 
THE TRAP (UK) 
Written/Directed by: Lena Headey 
Staring Michelle Fairley, James Nelson Joyce 
Synopsis: Content in her life of solitude, Michelles’ simple world is interrupted by a stranger seeking to belong.
World Premiere
 
GRAPEFRUIT (USA)  
Written/Directed by: Chase Joliet 
Synopsis: After a devastating divorce, Travis is forced to move back into his childhood home with his eccentric, newly sober mother.
World Premiere
 
AUTUMN (Portugal) 
Written/Directed by: António Sequeira  
Synopsis: A bittersweet story about a small-town family adjusting to their new life, and some uncomfortable truths after their son leaves to attend university overseas.
World Premiere
 
FOR WHEN YOU GET LOST (USA) 
Written by: Jennifer Sorenson 
Directed by: Michelle Steffes 
Synopsis: In this coming-of-middle-age dark comedy, June Stevenson drags her estranged sisters on a road trip up the Pacific Coast in order to make amends with their difficult father before he dies. Along the way, she distracts herself with picturesque landmarks, craft breweries, and picturesque men in craft breweries, but ultimately, she must face the fact that there’s more to her family’s fractures than she thought. Inspired by a real road trip.
World Premiere
 
BOLT FROM THE BLUE (USA) 
Written/Directed by: Jack Martin 
Synopsis: An overlooked engineer is sent to Alaska to investigate an eccentric scientist’s claim that capturing lightning could be the next monumental source of renewable energy.
World Premiere
 
SOWETO BLAZE (South Africa) 
Written/Directed by: Brad Katzen 
Synopsis: A hyper-stylized stoner-comedy set amidst South Africa’s vibrant streets in Soweto: a small-time pot dealer’s dreams go up in smoke when his clueless friends sweep him up in a wacky kidnapping caper and their fiery hostage, a feisty young woman, flips the script on them with her own plans.
World Premiere
 
I’LL BE THERE (USA) 
Written by: Cindy McCreery 
Directed by: Andrew Shea 
Synopsis: A large, blended family is thrown together unexpectedly against the surreal and nostalgic backdrop of their childhood hero’s death.
World Premiere
 
THE BATTLE (Brazil) 
Written/Directed by: Vera Egito 
Synopsis: October 1968. During the Brazilian dictatorship, students and professors of the Left Student Movement face attacks by the Communist Hunting Command coming from across the street, in a pivotal night known as The Battle of the Students.
North American Premiere
 
THE PHILADELPHIA ELEVEN (USA) 
Directed by: Margo Guernsey 
Synopsis: In 1974, a group of women and their supporters organize their ordination as Episcopal priests in an act of civil disobedience and challenge the very essence of patriarchy within Christendom
 
EGGHEAD & TWINKIE (USA) 
Written/Directed by: Sarah Holland 
Synopsis:  After coming out to her parents, an Asian American teenage girl takes off on a road
trip to meet her online crush with the help of her nerdy best friend
 
The complete list of Festival programming, including over 100 films as well as hundreds of panels, will be announced in late September.

#### Austin Film Festival Announces First Wave of Films For 25th Year
 

	 

	Austin Film Festival (AFF), the premier film festival recognizing writers’ and filmmakers’ contributions to film, television, and new media, announced today the first wave of films to be included in their 25th-anniversary program, taking place October 25 to November 1.

	Included in this first announcement is Boy Erased, written and directed by Joel Edgerton and based on Garrard Conley’s memoir about a gay teenager forced to participate in a church-supported gay conversion program. The film stars Lucas Hedges, Russell Crowe, and Nicole Kidman.  AFF will also host the regional premiere of Can You Ever Forgive Me?, directed by Marielle Heller (The Diary of a Teenage Girl) and starring Melissa McCarthy as real-life controversial celebrity biographer Lee Israel.

	Also playing AFF this year is Little Woods, Nia DaCosta’s directorial debut starring Tessa Thompson and Lily James as estranged sisters in a North Dakota fracking boomtown and The Long Dumb Road, Hannah Fidell’s new road trip comedy starring Tony Revolori and Jason Mantzoukas. This year’s Cannes Palme D’or winner Shoplifters, directed by Hirokazu Koreeda, will also join the fest’s slate.

	AFF will host a variety of World Premieres, including horror/thriller The Black String, which stars Frankie Muniz as a lonely store clerk who is plagued by illness and nightmarish visions and believes he is the target of a sinister plot. Other world premieres so far announced include family cult drama Fishbowl, faith-grappling drama Speaking in Tongues, and high school football documentary Fathers of Football, directed by Austin local Bradley Beesley.

	As part of its continuing retrospective series, AFF will host a screening of Roger Corman’s 1957 cult classic Rock All Night, presented by Robert Rodriguez and Corman himself, already announced as AFF’s Extraordinary Contribution to Filmmaking honoree this year.

	The complete list of programming, including over 100 more films as well as hundreds of panels, will be announced in late September.

	 

	 

	AFF FIRST WAVE:

	 

	The Black String

	World Premiere

	Writers: Brian Hanson, Richard Handley

	Director: Brian Hanson

	Starring: Frankie Muniz, Cullen Douglas, Chelsea Edmundson

	After a lonely convenience store clerk goes on a blind date with a mysterious woman, his world begins to unravel in horrifying fashion. Plagued by illness and nightmarish visions, the clerk desperately searches the suburbs for this mysterious woman. His friends and family believe he’s losing his mind, but he believes he’s the target of a sinister occult plot.

	 

	Boy Erased

	Writer/Director: Joel Edgerton

	Starring: Lucas Hedges, Russell Crowe, Nicole Kidman, Joel Edgerton

	Jared (Hedges), the son of a Baptist pastor in a small American town, is outed to his parents (Kidman and Crowe) at age 19. Jared is faced with an ultimatum: attend a conversion therapy program – or be permanently exiled and shunned by his family, friends, and faith.

	 

	Can You Ever Forgive Me?

	Writers: Nicole Holofcener, Jeff Whitty

	Director: Marielle Heller

	Starring: Melissa McCarthy, Richard E. Grant, Julie Ann Emery

	The true story of best-selling celebrity biographer (and friend to cats) Lee Israel (McCarthy) who made her living in the 1970s and 80s profiling the likes of Katherine Hepburn, Tallulah Bankhead, Estee Lauder and journalist Dorothy Kilgallen.  When Lee is no longer able to get published because she has fallen out of step with current tastes, she turns her art form to deception, abetted by her loyal friend Jack (Grant).

	 

	Fathers of Football

	World Premiere

	Director: Bradley Beesley

	Fathers of Football follows the triumphs and struggles of life in a small Oklahoma town, where high school football is not only the brightest stage, but also the best ticket out.

	 

	Fishbowl

	World Premiere

	Writers: Stephen Kinigopoulos, Piero Iberti

	Directors: Stephen Kinigopoulos, Alexa Kinigopoulos

	Starring: Rick Kain, Belle Shickle, Emily Peachey, Caroline Coleman

	In a small town filled with secrets, a struggling family prepares for the Rapture.

	 

	Little Woods

	Writer/Director: Nia DaCosta

	Starring: Tessa Thompson, Lily James, Lance Reddick

	A modern Western that tells the story of two sisters, Ollie and Deb, who are driven to work outside the law to better their lives.

	 

	The Long Dumb Road

	Writers: Hannah Fidell, Carson Mell

	Director: Hannah Fidell

	Starring: Tony Revolori, Jason Mantzoukas, Taissa Farmiga, Ron Livingston,

	College-bound teenager Nat offers itinerant 30-something mechanic Richard a ride during a stop-over in small-town Texas

	 

	Rock All Night  (1957) presented by Roger Corman and Robert Rodriguez

	Writer: Charles B. Griffith

	Director: Roger Corman

	Cloud Nine, the local teen hangout, has been taken over by a pair of escaped killers, who hold the local teens hostage. The bartender realizes it’s up to him to save the kids.

	 

	Shoplifters

	Writer/Director: Hirokazu Koreeda

	Starring: Lily Franky, Ando Sakura, Matsuoka Mayu

	After one of their shoplifting sessions, Osamu and his son come across a little girl in the freezing cold. At first reluctant to shelter the girl, Osamu’s wife agrees to take care of her after learning of the hardships she faces. Although the family is poor, barely making enough money to survive through petty crime, they seem to live happily together until an unforeseen incident reveals hidden secrets, testing the bonds that unite them

	 

	Speaking in Tongues

	World Premiere

	Writers: Nathan Deming, Lawrie Doran

	Director: Nathan Deming

	A lonely college student grieving the loss of his mother finds purpose at a local mega church’s summer internship evangelizing the ‘lost.’ As the summer continues, his new faith is put to the test.

#### Austin Film Festival Announces Full 2017 Slate
 

	Austin Film Festival & Screenwriters Conference (AFF), the premier film festival recognizing the writers’ contributions to film, television, and new media, announced today the full schedule of films and panels for the 24th annual event, this October 26-November 2. AFF’s feature film slate includes over 25 World, North American and US Premieres, a robust retrospective series, and highly anticipated marquee titles, including Martin McDonagh’s Three Billboards Outside Ebbing, Missouri, WWII drama The Darkest Hour featuring Gary Oldman as Winston Churchill, The Upside starring Bryan Cranston and Kevin Hart, and Armie Hammer romance Call Me By Your Name.

	AFF has also announced Chappaquiddick as its Closing Night Film. A drama recounting Ted Kennedy’s infamous 1969 car accident resulting in the death of his campaign worker, Chappaquiddick will close out the Festival with writers Taylor Allen and Andrew Logan in attendance. Chappaquiddick will join already announced Opening Night Film Lady Bird with writer/director Greta Gerwig in attendance and Centerpiece Film The Current War with director Alfonso Gomez-Rejon in attendance.

	A staple of the Festival, AFF’s retrospective series this year will feature Philip D’Antoni’s 1973 drama The Seven-Ups presented by David Simon and George Pelecanos (The Deuce, The Wire), Jack Fisk’s 1981 film Raggedy Man—a tribute to Sam Shepard—presented by writer William D. Wittliff in partnership with the Wittliff Collections, and seminal 1987 action film Predator presented by Shane Black (Lethal Weapon, The Nice Guys) who is currently working on the film’s reboot. Additionally, already announced Extraordinary Contribution to Film awardee Walter Hill will present his cult classic The Warriors.

	In addition to the slate of 150+ films, AFF will present premieres and retrospectives of television programming, including the season 2 premiere of Hulu’s darkly comedic psychic drama Shut Eye with executive producers Mark Johnson, Melissa Bernstein, John Shiban and Amy Berg in attendance, the premiere of YouTube Red’s new comedy series Do You Want to See a Dead Body? with creator Rob Huebel in attendance, and the premiere of the Season Finale of HBO’s drama The Deuce with creators David Simon and George Pelecanos in attendance.

	Also confirmed to attend is Dan Rather, who will help present the World Premiere of the documentary Fail State, chronicling the rise of predatory for-profit colleges. Writer/producer Gale Anne Hurd (The Terminator, The Walking Dead) will also be in attendance for AFF’s screening of documentary Mankiller about barrier-breaking female Cherokee leader Wilma Mankiller.

	Other World Premieres include Wild Honey (Francis Stokes’ comedy about a phone sex operator searching for love), Coming to My Senses (a documentary following a man’s journey to regain his mobility after an accident), and Transformer (chronicling the transition of world-renowned body builder Matt Kroczaelski into Janae after being outed as transgender). Making its US Premiere at AFF is comedy Don’t Talk to Irene, which also won AFF’s Comedy Screenplay Award in 2013. Written and directed by Pat Mills, Irene premiered this month at Toronto International Film Festival to a receptive audience.

	Austin Film Festival also revealed today their full Screenwriters Conference schedule, which will take place the first four days of the Festival, October 26-29. The Conference features a roster of prominent screenwriters in film and television, including Kenneth Lonergan, Keenen Ivory Wayans, Noah Hawley, Courtney A. Kemp, Lindsay Doran, Misha Green, Michael Arndt, Mark Frost, Michael Green, Sarah Gubbins, Christopher Vogler, Scott Frank, Megan Amram, John August, Eric Heisserer, and many more.

	 

	Austin Film Festival’s 2017 slate:

	Marquee Features:

	Lady Bird – Opening Night Film

	Writer/Director: Greta Gerwig

	 

	The Current War – Centerpiece Film

	Writer: Michael Mitnick

	Director: Alfonso Gomez

	 

	Chappaquiddick – Closing Night Film

	Writers: Taylor Allen, Andrew Logan

	Director: John Curran

	 

	24 Hours to Live

	Writers: Zach Dean, Jim McClain, Ron Mita

	Director: Brian Smrz

	 

	42 Grams

	Director: Jack C. Newell

	 

	An Ordinary Man

	Writer/Director: Brad Silberling

	 

	The Boy Downstairs

	Writer/Director: Sophie Brooks

	 

	Blame

	Writers: Laurie Shephard, Quinn Shephard

	Director: Quinn Shephard

	 

	Call Me By Your Name

	Writers: James Ivory, Andre Aciman

	Director: Luca Guadagnino

	 

	Darkest Hour

	Writer: Anthony McCarten

	Director: Joe Wright

	 

	Endings: The Good, the Bad, and the Insanely Great – The Movie

	Special Presentation by Michael Arndt

	 

	Into the Night; Portraits of Life and Death

	Director: Helen Whitney

	 

	Please Stand By

	Writer: Michael Golamco

	Director: Ben Lewin

	 

	Permanent

	Writer/Director: Colette Burson

	 

	Mansfield 66/67

	Directors: P. David Ebersole, Todd Hughes

	 

	Three Billboards Outside Ebbing, Missouri

	Writer/Director: Martin McDonagh

	 

	The Upside

	Writers: Jon Hartmere,

	Director: Neil Burger

	 

	Marquee – TV Programming

	HBO’s The Deuce-Season Finale

	Writers: George Pelecanos, David Simon, Chris Yakaitis

	Director: Michelle MacLaren

	 

	YouTube Red’s Do You Want to See a Dead Body?

	Creator: Rob Huebel

	 

	Hulu’s Shut Eye

	Season 2 Premiere Episode: “We’re Not in Kansas Anymore”

	Executive Producer/Showrunner: John Shiban

	Executive Producers: Mark Johnson, Melissa Bernstein

	Writer: Amy Berg

	 

	New Form Original Premieres:

	Small Talk

	Creator: Becca Gleason

	Love Me Do

	Creator: Gaby Dunn

	Press Start

	Creators: Evan Beamer and Dave Childs

	 

	Retrospective Programming

	 Confessions of a Serial Killer (1985)-Presented by Mark Blair

	Writer/Director: Mark Blair

	 

	Predator (1987)–Presented by Shane Black

	Writers: Jim Thomas, John Thomas

	Director: John McTiernan

	 

	Raggedy Man (1981)-Presented by William D. Wittliff

	Writer: William D. Wittliff

	Director: Jack Fisk

	 

	The Seven-Ups (1973)-Presented by George Pelecanos and David Simon

	Writers: Albert Ruben, Alexander Jacobs, Sonny Grosso

	Director: Philip D’Antoni

	 

	The Warriors (1979)-Presented by Walter Hill

	Writers: Walter Hill, David Shaber, Sol Yurick (novel)

	Director: Walter Hill

	 

	Narrative Features:

	Amanda and Jack Go Glamping

	Writer/Director: Brandon Dickerson

	 

	An American in Texas

	Writers: Anthony Pedone, Stephen Floyd

	Director: Anthony Pedone

	 

	Beauty Mark

	Writer/Director: Harris Doran

	Cast: Laura Bell Bundy, Jeff Kober, Madison Iseman

	 

	Bleed. Scream. Beat!

	Writers: Aldo Miyashiro, Ãrika Villalobos, Abril Cárdenas

	Director: Aldo Miyashiro

	 

	Boost

	Writer/Director: Darren Curtis

	 

	Dabka

	Writer/Director: Bryan Buckley

	 

	Flock of Four

	Writer: Gregory Caruso, Michael Nader

	Director: Gregory Caruso

	 

	Here We Are

	Writer/Director: David Bellarosa

	 

	High & Outside: a baseball noir

	Writer: Dan O’Dair

	Director: Evald Johnson

	 

	Hollow in the Land

	Writer/Director: Scooter Corkle

	 

	In Blue

	Writers: Jan-Willem den Bok & Jaap van Heusden

	Director: Jaap van Heusden

	 

	Kafou

	Writers: Jasmuel Andri, Bruno Mourral, Gilbert Mirambeau

	Director: Bruno Mourral

	 

	Logndagen

	Writer/Director: Yaghoob Keshavarz Sarkar

	 

	Meerkat Moonship

	Writer/Director: Hanneke Schutte

	 

	Quality Problems

	Writer/Director: Brooke Purdy

	 

	Quest

	Writers: Santiago Rizzo & Darren Anderson

	Director: Santiago Rizzo

	 

	Southern Tale

	Writer/Director: Tel Royal

	 

	Space & Time

	Writer/Director: Shawn Gerrard

	 

	Sun Dogs

	Writer: Jennifer Morrison

	Director: Raoul

	 

	Tenn

	Writer: Stacey Miller

	Director: James Franco

	 

	House of Tomorrow

	Writer/Director: Peter Livolsi

	 

	Time Trap

	Writer: Mark Dennis

	Directors: Mark Dennis, Ben Foster

	 

	Comedy Vanguard Features

	Chasing the Blues

	Writer: Scott Smith, Kevin Guilfoile

	Director: Scott Smith

	 

	Don’t Talk To Irene

	Writer/Director: Pat Mills

	 

	Dr. Brinks & Dr. Brinks

	Writer: Josh Crockett, Jonathan Pappas

	Director: Josh Crockett

	 

	The Great Unwashed

	Writer: Louis Fonseca, Nick Horseman

	Director: Louis Fonseca

	 

	The Outdoorsman

	Writer: Ryan Gilmour

	Director: David Haskell

	 

	Shop of Little Pleasures

	Writer: Julia Frick, Alice Frick

	Director: Julia Frick

	 

	Wild Honey

	Writer/Director: Francis Stokes

	 

	Dark Matters Features

	 Bodies

	Writer: Joseph Baker

	Director: Tom Large

	 

	Bullitt County

	Writer/Director: David McCracken

	 

	Freddy/Eddy

	Writer/Director: Tini Tüllmann

	 

	Ruin Me

	Writer: Trysta A. Bissett, Preston DeFrancis

	Director: Preston DeFrancis

	 

	The Landing

	Writers/Directors: David Dodson and Mark Dodson

	 

	Touched

	Writer/Director: Karl R. Hearne

	 

	Documentary Feature

	 Augie

	Director: James Keach

	 

	Beauty and Ruin

	Writer/Director: Marc de Guerre

	 

	Coming to My Senses

	Director: Dominic Gill

	 

	Fail State

	Writers: Alexander Shebanow, Regina Sobel, Nicholas Adams

	Director: Alexander Shebanow

	 

	Mankiller

	Writer: Valerie Red-horse Mohl, Gale Anne Hurd

	Director: Valerie Red-horse Mohl

	 

	Mr. Fish: Cartooning From the Deep End

	Director: Pablo Bryant

	 

	Shot in the Dark

	Director: Dustin Nakao Haider

	 

	Transformer

	Writer/Director: Michael Del Monte

	Triumph: The Untold Story of Perry Wallace

	Writers: Rich Gentile, Eli Spielman, Bruce Johnson

	 

	What Haunts Us

	Writer: Mark Monroe

	Director: Paige Goldberg Tolmach

	 

	Family Series

	 Earth: One Amazing Day

	Writers: Frank Cottrell Boyce, Richard Dale, Geling Yan

	Directors: Richard Dale, Lixin Fan, Peter Webber

	 

	Into the Who Knows!

	Writers: Micah Barber, Tony Faia

	Director: Micah Barber

#### Austin Film Festival Announces Full 25th Anniversary Film & Conference Schedule
 

	Austin Film Festival & Writers Conference (AFF), the premier film festival recognizing the writers’ contributions to film, television, and new media, announced today the full schedule of films and panels for the 25th Anniversary festival, this October 25-November 1. AFF’s feature film slate includes 23 World, North American, and US Premieres, a robust retrospective series, and highly anticipated marquee titles, including Steve McQueen’s and Gillian Flynn’s modern-day thrillerWidows, Peter Farrelly’s dramedy period piece Green Book starring Mahershala Ali and Viggo Mortensen, Mike Leigh’s period piece Peterloo,  Mickey Rourke-starring boxing drama Tiger, Paul Dano’s Wildlife starring Jake Gyllenhaal and Carey Mulligan, and Julia Roberts and Lucas Hedges family drama Ben is Back bowing as AFF’s Centerpiece selection, with writer/director Peter Hedges in attendance.

	AFF also announced its 2018 television program. Included this year is comedy series Friends From College, launching on Netflix in 2019. Creators Francesca Delbanco and Nicholas Stoller will present a special preview screening of the Season 2 premiere episode. Creator Justin Marks and executive producer Jordan Horowitz will also be at hand at the Festival to present the season 2 premiere of their espionage spy thriller Counterpart, starring Academy Award® winner J.K. Simmons, premiering on Starz later this year. AFF will also showcase independent original series as part of its Scripted Digital Series competition.

	A staple of the Festival, AFF’s retrospective series this year will feature Tony Gilroy presenting his 1995 film Dolores Claiborne based on Stephen King’s novel, Graham Yost presenting  his 1994 action classic Speed, and writer Mick Garris in attendance for a special Halloween presentation of Hocus Pocus.  

	Other World Premieres include The Dancing Dogs of Dombrova (a comedy about estranged siblings traveling to Poland to track down the remains of the their grandmother’s childhood dog), F/11 and Be There (a documentary about famed photographer Burke Uzzle), The Amaranth (a thriller about a mysterious retirement community), A Girl Named C (Emily Kassie’s documentary about a family grappling with the discovery that their 11-year-old daughter was raped), and Waiting for the Miracle to Come (Lian Lunson’s whimsical drama starring Willie Nelson and Charlotte Rampling).

	Austin Film Festival also revealed today their full Writers Conference schedule, which will take place the first four days of the Festival, October 25-28. The Conference features a roster of prominent screenwriters in film and television, including Roger Corman, Tony Gilroy, Larry Wilmore, Megan Amram, John August, Wendy Calhoun, Nicole Holofcener, Ali LeRoi, Christopher Markus, Stephen McFeely, Nicole Perlman, Ed Solomon, Linda Woolverton, Graham Yost, and many more.

	The full Film and Conference schedule can be found at www.austinfilmfestival.com.

	 

	Austin Film Festival’s 2018 slate:

	 

	Marquee Features

	 

	And Breathe Normally

	Writer/Director: Isold Uggadottir

	 

	Ben is Back

	Writer/Director: Peter Hedges

	 

	Boy Erased

	Writer/Director: Joel Edgerton

	 

	Can You Ever Forgive Me?

	Writers: Nicole Holofcener, Jeff Whitty

	Director: Marielle Heller

	 

	El Chicano

	Writers: Ben Hernandez Bray, Joe Carnahan

	Director: Ben Hernandez Bray

	 

	Everybody Knows

	Writer/Director: Asghar Farhadi

	 

	The Favourite

	Writers: Deborah Davis, Tony McNamara

	Director: Yorgos Lanthimos

	 

	The Front Runner

	Writers: Matt Bai, Jay Carson, Jason Reitman

	Director: Jason Reitman

	 

	Fullsterkur

	Director: Todd Sansom

	 

	Green Book

	Writers: Nick Vallelonga, Brian Currie, Peter Farrelly

	Director: Peter Farrelly

	 

	Happy as Lazarro

	Writer/Director: Alice Rohrwacher

	 

	Little Woods

	Writer/Director: Nia DaCosta

	 

	The Long Dumb Road

	Writers: Hannah Fidell, Carson Mell

	Director: Hannah Fidell

	 

	Peterloo

	Writer/Director: Mike Leigh

	 

	Shoplifters

	Writer/Director: Hirokazu Koreeda

	 

	Tiger

	Writers: Michael Pugliese, Prem Singh

	Director: Alister Grierson

	 

	Widows

	Writers: Gillian Flynn & Steve McQueen

	Director: Steve McQueen

	 

	Wildlife

	Writers: Paul Dano, Zoe Kazan

	Director: Paul Dano

	 

	Worlds of Ursula K. LeGuin

	Writer/Director: Arwen Curry

	 

	Marquee Televison

	Counterpart Season 2 Episode 1 Premiere

	Creator: Justin Marks

	Executive Producer: Jordan Horowitz

	 

	Friends from College Season 2 Episode 1 Premiere

	Creators: Francesca Delbanco & Nicholas Stoller

	 

	Narrative Features

	 

	Above the Clouds

	Writer: Simon Lord

	Director: Leon Chambers

	 

	Clara

	Writers: Akash Sherman, James Ewasiuk

	Director: Akash Sherman

	 

	The Comet

	Writer: Torben Bech

	Director: Bård Røssevold

	 

	Delia & Sammy

	Writer/ Director: Therese Cayaba

	 

	Fishbowl

	Writers: Stephen Kinigopoulos, Piero Iberti        

	Director: Stephen Kinigopoulos, Alexa Kinigopoulos

	 

	Last Summer

	Writer/Director: Jon Jones

	 

	Laugh or Die

	Writers: Heikki Kujanpää, Mikko Reitala

	Director: Heikki Kujnapää

	 

	Love Goes Through Your Mind

	Writers: Shruti Swaminathan, Ronak Shah

	Director: Ronak Shah

	 

	Major Arcana

	Writer/Director: Josh Melrod

	 

	Speaking in Tongues

	Writers: Nathan Deming, Lawrie Doran

	Director: Nathan Deming

	 

	Undercliffe

	Writer: Bruce McLeod

	Director: Lisa Mulcahy

	 

	Comedy Vanguard Features

	 

	Antiquities

	Writers: Daniel Campbell, Graham Gordy

	Director: Daniel Campbell

	 

	The Dancing Dogs of Dombrova

	Writer: Michael Whatling

	Director: Zack Bernbaum

	 

	In Reality

	Writers: Ann Lupo, Esteban Pedraza, Aaron Pryka

	Director: Ann Lupo

	 

	Lost & Found

	Writer/Director: Liam O Mochain

	 

	Original Sin (Pecado Original)

	Writers: Jean Lee, Maia Nikiphoroff

	Director: Jean Lee

	 

	Simple Wedding

	Writers: Sara Zandieh, Stephanie Wu

	Director: Sara Zandieh

	 

	Dark Matters Features

	 

	Alive.

	Writers: Jules Vincent, Chuck McCue

	Director: Rob Grant

	 

	The Amaranth

	Writer: Eileen Shields

	Director: Albert Chi

	 

	Beyond the Night

	Writer/Director: Jason Noto

	 

	The Black String

	Writers: Brian Hanson, Richard Handley

	Director: Brian Hanson

	 

	The Dark Red

	Writers: Dan Bush, Conal Byrne

	Director: Dan Bush

	 

	Empathy, Inc.

	Writer: Mark Leidner

	Director: Yedidya Gorestman

	 

	Ghost Light

	Writer: John Stimpson, Geoffrey Taylor

	Director: John Stimpson

	 

	The Lake Vampire

	Writer/Director: Carl Zitelmann

	 

	Documentary Feature

	 

	A Girl Named C

	Director: Emily Kassie

	 

	Care to Laugh

	Director: Julie Getz

	 

	F/11 and Be There

	Director: Jethro Waters

	 

	Fathers of Football

	Director: Bradley Beesley

	 

	For The Birds

	Director: Richard Miron

	 

	Ghosthunter

	Director: Ben Lawrence

	 

	The Interpreters

	Directors: Andres Caballero, Sofian Khan

	 

	Long Time Coming: A 1955 Baseball Story

	Writers: Jon Strong, Ted Haddock, John King, Mike Quinn Jr.

	Director: Jon Strong

	 

	The Money Stone

	Director: Stuart Harmon

	 

	Surviving Bokator

	Writers: Mark Bochsler, Kevin Schjerning, Fernanda Rossi

	Director: Mark Bochsler

	 

	Turning Point

	Director: James Keach

	 

	Texas Independent Features

	 

	Also Starring Austin

	Writer: Mike Blizzard, Laura Colwell, Lala Morgan

	Director: Mike Blizzard

	 

	The Iron Orchard

	Writer: Gerry De Leon

	Director: Ty Roberts

	 

	Jules of Light and Dark

	Writer/Director: Daniel Laabs

	 

	Texas Cotton

	Writers: Tyler Russell, Jameel Khaja

	Director: Tyler Russell

	 

	Waiting for the Miracle to Come

	Writer/Director: Lian Lunson

#### AUSTIN FILM FESTIVAL ANNOUNCES INAUGURAL ENDERBY ENTERTAINMENT FILMMAKING FELLOWSHIP AWARD AND JURY ADVISORY PROGRAM
 
Austin Film Festival & Writers Conference (AFF), the premier film festival recognizing the writers’ contributions to film, television, theater, and new media, announced today the launch of their inaugural Enderby Entertainment Filmmaking Fellowship Award, as well as their inaugural Jury Advisory Program. For years, AFF has provided guidance and fellowship opportunities for writers through their vaunted Script Competitions.  Now, through their Film Competition, the Festival is delighted to  extend these opportunities and evolve their partnership with Enderby by providing the Filmmaking Fellowship Award, available to Narrative and Student Short Film Competition entrants.  “We’re honored to continue to nurture upcoming filmmakers and creative talent through this fellowship with the Austin Film Festival.  This award is designed to give candidates first-hand experience in global production and development, independent filmmaking, and distribution strategy to help build a solid foundation for young filmmakers starting out in the business.  We can’t wait to see the applicants for this inaugural year, and even though we’re all in a unique situation with this global pandemic, we will look to make it the best possible experience,” said Rick Dugdale, President and CEO of Enderby. The award will provide the winner with a trip including covered travel and lodging to Enderby’s Los Angeles offices, career guidance, and the opportunity to shadow executives and filmmakers on-site.
AFF also announced their Jury Advisory Program, which will facilitate advisory opportunities across all  nine of their competition categories.  Each selected Jury Winner per category and at least one additional selected in-competition filmmaker per competition category will have the opportunity for advisory sessions with members of the AFF jury, including the exciting industry heavyweights already signed on to participate.  AFF is delighted to welcome jury representatives from illustrious companies such as Pixar Animation Studios, ESPN Films, Participant, Powderkeg, Stage 13, Sony Pictures Animation, Rain Management Group, Writ-Large, and Verve.
“It’s a great joy even in these times to see amazing companies come aboard with such enthusiasm to support the next generation of talented filmmakers,” said Senior Film Program Director Casey Baron. Powderkeg’s VP of Development Kesila Childers has returned to judge for the second year in a row, “We are continually impressed with the level of talent AFF attracts and are excited to connect with the selected filmmakers to help them crystallize their vision and further define their voice,” she said.
“There is certainly a spectre of uncertainty upon our entire industry, so the opportunity for filmmakers to look forward to the prospect of a magical experience with the team at Enderby or insightful conversations with our fantastic Jury members are initiatives we’re very excited to launch.  We look forward to bringing back old friends and welcoming new partners very soon,” said the programmer.
More information on the fellowship award and jury program can be found at www.austinfilmfestival.com.

#### Austin Film Festival Announces Jason Segel & 2016 Retrospective Program
HAPPY GILMORE (1996)

	 

	Austin Film Festival (AFF), the premier film festival recognizing writers’ and filmmakers’ contributions to film, television, and new media, announced today its 2016 Retrospective Film Program. As an extension of its Writers Conference, AFF’s Retrospective series allows guest programmers to present works of their own or films that have inspired their careers. The 23rd annual Festival runs this October 13-20, featuring a slate of over 150 films, 175 panels, and almost 200 confirmed guest speakers.

	Jason Segel joins the slate as a panelist and guest programmer where he will present The Muppets, which he wrote, starred in, and executive produced. Additional guest programmers in the series include AFF Awardee Paul Feig presenting Peter Bogdanovich’s What’s Up, Doc?,  Tim Herlihy presenting the 20th anniversary of his cult classic Happy Gilmore, writer/producer duo Richard LaGravenese and Mark Johnson presenting A Little Princess, and Everybody Loves Raymond creator, Phil Rosenthal, presenting a special tribute to the late Gene Wilder.

	Segel will also join the 2016 Conference program for an in-depth conversation spotlighting his philosophy on storytelling, how he approaches his process, and themes that emerge in his work. Other speakers recently added to the Conference slate includeTony Hale (actor Veep), Jennifer Salke (President, NBC Entertainment), John Lee Hancock (writer/director The Blind Side),Michael McCullers (writer Austin Powers: The Spy Who Shagged Me), Tracy Oliver (writer/producer/actress The Misadventures of Awkward Black Girl), Robin Swicord (writer Little Women), Andrew Kevin Walker (writer Se7en), Bernie Su (creator The Lizzie Bennet Diaries), and The One I Love writer/director pair Charlie McDowell and Justin Lader.

	AFF’s full schedule will be released next week; more information, the full list of panelists, and confirmed programming can be found at www.austinfilmfestival.com.

#### Austin Film Festival Announces Marquee Titles & Full 2016 Lineup
HAPPY GILMORE

	 

	Austin Film Festival & Screenwriters Conference (AFF), the premier film festival recognizing the writers’ contributions to film, television, and new media, announced today the full schedule of films and panels for the 23rd annual Festival, this October 13-20. AFF’s feature film slate includes 20 World Premieres, a robust Retrospective series guest programmed by Jason Segel, Paul Feig, Phil Rosenthal, and others, and highly anticipated marquee titles La La Land (starring Ryan Gosling and Emma Stone) and Trespass Against Us (starring Michael Fassbender and Brendan Gleeson). AFF will also screen the upcoming Wakefield, starring Brian Cranston and Jennifer Garner, with writer/director Robin Swicord in attendance, and the animated feature Nerdland¸ starring Paul Rudd and Patton Oswalt, with writer Andrew Kevin Walker in attendance.

	Producer Frank Marshall (Indiana Jones, Back to the Future) joins director Ryan Suffern for the documentary screening of Finding Oscar, chronicling the search for two small children who offer the only living evidence that ties the Guatemalan government with the devastating Dos Erres Massacre. Marshall will also take part in a conversation that explores his journey as a producer, his philosophy on storytelling and his long time collaborations with Steven Spielberg and other distinguished writers and directors.

	Other films making their World Premiere in the 2016 slate are One Night (indie-romance with Anna Camp and writer/director Minhal Baig in attendance), The Writer’s Burrow (a Spanish thriller with the director and lead actor in attendance), The Big Flip—Stories from the Modern Household (a documentary that explores families with reversed gender roles), and Hot Air (an Austin-based comedy).

	Austin Film Festival also revealed today their full Screenwriters Conference schedule, which will take place the first four days of the Festival, October 13-16. The Conference features a roster of prominent screenwriters in film and television, including Jason Segel, Paul Feig, Marta Kauffman, Nancy Meyers, Scott Alexander, Michelle Ashford, Kent Alterman, Carter Bays, Wendy Calhoun, Aaron Covington, Katie Dippold, Stephen Falk, Bobby Farrelly, Will Gluck, Tony Hale, John Hamburg, John Lee Hancock, Tim Herlihy, Scott Neustadter and Michael H. Weber, Paula Pell, Nicole Perlman, Phil Rosenthal, Gary Whitta, Beau Willimon, James Wong, Alan Yang, and many more.

	The full Film and Conference schedule can be found at www.austinfilmfestival.com.

	 

	Austin Film Festival’s 2016 slate:

	 

	Marquee Features
	 

	Loving

	Writer/Director: Jeff Nichols
	 

	Crunch Time: Episodes 1-6

	Writers: Andrew Disney, Bradley Jackson

	Director: Andrew Disney

	World Premiere
	 

	Gimme Danger
	Director: Jim Jarmusch
	 

	Good Fortune
	Directors: Josh Tickell, Rebecca Tickell
	 

	La La Land
	Writer/Director: Damien Chazelle
	 

	Lion
	Writer: Luke Davies
	Director: Garth Davis
	 

	My Scientology Movie
	Director: John Dower
	 

	Nerdland
	Writer: Andrew Kevin Walker
	Director: Chris Prynoski
	 

	The Salesman
	Writer/Director: Asghar Farhadi
	 

	The Thinning
	Writers: Michael J. Gallagher, Steve Greene
	Director: Michael J. Gallagher
	 

	Trespass Against Us
	Writer: Alastair Siddons
	Director:  Adam Smith
	 

	Wakefield
	Writer/Director: Robin Swicord

	 

	Retrospective Programming:

	 

	Happy Gilmore (1996), presented by Tim Herlihy
	Writers: Tim Herlihy, Adam Sandler
	Director: Dennis Dugan
	 

	The Last Supper (1996), presented by Dan Rosen
	Writer: Dan Rosen|
	Director: Stacy Title
	 

	A Little Princess (1995), presented by Richard LaGravenese and Mark Johnson
	Writers: Elizabeth Chandler, Richard LaGravenese
	Director: Alfonso Cuaron
	 

	The Muppets (2011), presented by Jason Segel
	Writers: Jason Segel, Nicholas Stroller, Jim Henson
	Director: James Bobin
	 

	The Producers (1967), presented by Phil Rosenthal
	Writer/Director: Mel Brooks
	 

	What’s Up Doc? (1972), presented by Paul Feig
	Writers: Buck Henry, David Newman, Robert Benton, Peter Bogdanovich            
	Director: Peter Bogdanovich

	 

	Narrative Features

	 

	Blood Stripe
	Writers: Remy Auberjonois, Kate Nowlin
	Director: Remy Auberjonois
	 

	Boys in the Trees
	Writer/Director: Nicholas Verso
	US Premiere
	 

	Chronesthesia
	Director/Writer: Hayden Weal
	North American Premiere
	 

	Holding Patterns
	Writer/Director: Jake Goldberger
	World Premiere
	 

	No Retreat
	Writers: J.D. Singer Nicholas, Zafonte
	Director: Nicholas Zafonte
	World Premiere
	 

	Suburban Cowboy
	Writer: Ryan Colucci
	Directors: Ryan Colucci, Dragan Roganovic
	World Premiere
	 

	The Tiger Hunter
	Writers: Sameer Gardezi, Lena Khan
	Director: Lena Khan

	 

	Documentary Features
	 

	Berlin Rebel High School
	Writer/Director: Alexander Kleider
	World Premiere
	 

	Dr. Feelgood: Dealer or Healer?
	Writer: Mark Monroe
	Director: Eve Marson
	 

	The Harvest Run
	Writers/Directors: Steven Balvanz, Aaron McAdams
	World Premiere
	 

	Monogamish
	Director: Tao Ruspoli
	North American Premiere
	 

	My Life as a Film
	Writer/Director: Eva Vitija
	North American Premiere
	 

	ProGamer
	Director: Justin Agnew
	World Premiere
	 

	Santoalla
	Directors: Andrew Becker, Daniel Mehrer

	 

	Dark Matters Features
	 

	The Cliff
	Writers: Natxo Lopez, Andres Martorell, Helena Taberna
	Director: Helena Taberna
	 

	Electric Nostalgia
	Writer/Director: Jacob Leighton Burns
	 

	Found Footage 3D
	Writer/Director: Steven DeGennaro
	 

	Middle Man
	Writer/Director: Ned Crowley
	 

	The Man Who Was Thursday
	Writer/Director: Balazs Juszt
	North American Premiere
	 

	The Writer’s Burrow
	Writers: Francisco Conde, Kurro González
	Director: Kurro González
	World Premiere

	 

	Comedy Vanguard Features

	 

	5 Doctors
	Writers: Max Azulay, Matt Porter, Phil Primason
	Directors: Max Azulay, Matt Porter
	World Premiere
	 

	Brave New Jersey
	Writers: Michael Dowling, Jody Lambert
	Director: Jody Lambert
	World Premiere
	 

	Diani and Devine Meet the Apocalypse
	Writer/Directors: Etta Devine, Gabriel Diani
	World Premiere
	 

	The Golden Rut
	Writer/Directors: Nick and Josh Holden
	World Premiere
	 

	Hot Air
	Writers: Jeremy M. Goldstein and Derek Sieg
	Director: Derek Sieg
	World Premiere

	 

	Heart of Film Features

	 

	11:55
	Writers: Ari Issler, Ben Snyder, Victor Almanzar
	Directors: Ari Issler, Ben Snyder
	 

	An Acquired Taste
	Writer/ Director: Vanessa Lemaire
	 

	Almost Adults
	Writer: Adrianna DiLonardo
	Director: Sarah Rotella
	 

	American Wrestler: The Wizard
	Writer: Brian Rudnick
	Director: Alex Ranarivelo
	 

	The Big Flip—Stories from the Modern Home Front
	Writer/Director: Izzy Chan
	World Premiere
	 

	Chronically Metropolitan
	Writer: Nicholas Schutt
	Director: Xavier Manrique
	 

	Delinquent
	Writer/Director: Kieran Valla
	 

	Finding Sofia
	Writer/Director: Nico Casavecchia
	US Premiere
	 

	Finding Oscar
	Writers: Frank Marshall, Ryan Suffern
	Director: Ryan Suffern
	 

	One Night
	Writer/Director: Minhal Baig
	World Premiere
	 

	Pushing Dead
	Writer/Director: Tom E. Brown
	 

	Two Trains Runnin’
	Writer: Benjamin Hedin
	Director: Sam Pollard
	 

	The Viagra Chronicles
	Writer/Director: Chiara Sambuchi
	North American Premiere
	 

	Wrestling Alligators
	Writers: Udy Epstein, Tchavdar Georgiev, Andrew Shea
	Director: Andrew Shea

	 

	Texas Independent Features

	 

	The Big Spoon
	Writers: Mallory Culbert, Carlyn Hudson
	Director: Carlyn Hudson
	World Premiere
	 

	Canine Soldiers – The Militarization of Love
	Director: Nancy Schiesari
	World Premiere
	 

	Funniest
	Director: Katie Pengra, Dustin Svehlak
	World Premiere
	 

	Homestate
	Writers: David Hickey, Blaise Miller
	Director: David Hickey
	World Premiere
	 

	Quaker Oaths
	Writer/Director: Louisiana Kreutz
	Cast: Alex Dobrenko, Fede Rangel
	World Premiere

	 

	Stories from Abroad Features

	 

	The Load
	Writers: Alan Jonsson Gavicia, Arturo Ruiz Serrano
	Director: Alan Jonsson Gavicia
	 

	Long Live Death
	Writer: Erol Yesilkaya
	Director: Sebastian Marka
	 

	My Mother’s Wound
	Writers: Ozan Aciktan, Ozan Guven, Fethi Kantarci, Uygar Sirin, Mehmet Turgut, Funda Çetin
	Director: Ozan Aciktan

#### Austin Film Festival Announces Opening Night Film for 25th Anniversary
 

	Austin Film Festival & Writers Conference (AFF), the premier film festival recognizing the writers’ contributions to film, television, and new media, announced today that Natalie Portman drama Vox Lux will bow as the Opening Night Film for the fest’s 25th Anniversary, running October 25 through November 1. Austin Film Festival’s Opening Night Film is presented by Hiscox Insurance.

	Vox Lux begins in 1999 when teenage sisters Celeste and Eleanor survive a seismic, violent tragedy. The sisters compose and perform a song about their experience, making something lovely and cathartic out of catastrophe — while also catapulting Celeste to stardom. By 2017, the now 31-year-old Celeste is mother to a teenage daughter of her own and struggling to navigate a career fraught with scandals when another act of terrifying violence demands her attention. The film stars Natalie Portman, Raffey Cassidy, Stacy Martin, and Jude Law. Writer/director Brady Corbet will be in attendance to present the film and will also take part in a conversation as part of AFF’s Writers Conference.

	Corbet will be joining a slew of writers, directors, and actors confirmed to attend including Frankie Muniz (Malcolm in the Middle) for the World Premiere of thriller The Black String, Adrian Grenier (Entourage) and Zane Holtz (From Dusk Till Dawn: The Series) representing Beyond the Night, George Hardy (Troll 2) for the World Premiere ofTexas Cotton, and  Janel Parrish (Pretty Little Liars), representing boxing drama Tiger. AFF will also be hosting a team of Icelandic strongmen to present the Rogue Fitness-produced documentary Fullsterkur, chronicling the history and phenomenon of Iceland strength. Cast in attendance includes Hafthór Júlíus Björnsson (Game of Thrones),Magnus Ver Magnusson, Stefán Sölví Pétursson, and Annie Thorisdottir. All will be joining previously announced attendees Larry Wilmore, Tony Gilroy, Robert Rodriguez, Jason Reitman, Peter Hedges, and Roger Corman.

	For the full schedule of films, panels, workshops, and parties, visit www.austinfilmfestival.com.

#### Austin Film Festival Announces Partners and Judges for Fiction Podcast Script Competition & Conference Programming
 

	In order to further expand their legacy of supporting storytellers, Austin Film Festival, (AFF) is pleased to announce a distinguished panel of judges for its returning Fiction Podcast Script Competition, which includes development heads and creators of successful fiction podcasts such as THE BRIGHT SESSIONS and TUMANBAY. They look forward to connecting audiences with incredible new stories, as well as continuing to connect writers with our incredible judges through a medium that offers unprecedented access to audiences and limitless opportunities to launch new stories.

	Judges include:

		Chris Bannon, chief content officer for Stitcher and its growing network of original shows including hit podcasts HEAVEN’S GATE, KATIE COURIC, LEVAR BURTON READS and WOLVERINE: THE LONG NIGHT
	

		John Dryden, creator of the hit BBC podcast TUMANBAY and Peabody-winning writer/director of audio drama
	

		Jocelyn Gonzales, executive producer, STUDIO 360
	

		Lauren Shippen, writer/creator THE BRIGHT SESSIONS, Since its debut in November of 2015, the podcast has won numerous awards, and was named iTunes Best of 2016. Lauren was named one of Forbes 30 Under 30 in Media for 2018
	

		Tim Street, Vice President, Influence & Production, Authentic
	

	Authentic and Stitcher have officially signed on as sponsors of the competition which is open to scripts for any ongoing series intended for a purely acoustic medium. The final deadline to submit to the Competition is July 6. For more information about the Fiction Podcast Script Competition, click here.

	Shippen & Street will also be featured in an exciting slate of audio fiction programming that will take place during the Austin Film Festival’s Writers Conference, October 25 – 28. Along with representatives from Audible, and the writers/creators of the hit podcast, 36 QUESTIONS, Ellen Winter & Chris Littler, plus more to be announced soon! Programming will discuss the art of storytelling within an acoustic medium, as well as the address the nuts and bolts of creating a successful fiction podcast.

#### Austin Film Festival ANNOUNCES PARTNERS for FICTION PODCAST SCRIPT COMPETITION & PROGRAMMING
 

	Austin Film Festival, (AFF) is pleased to announce a distinguished panel of judges for its inaugural Fiction Podcast Script Competition:

		Jeffrey Cranor, the co-author of the novels Welcome to Night Vale and It Devours! He is also the co-creator of the podcasts Welcome to Night Vale and Within the Wires.
	

		Zack Akers and Skip Bronkie graduated from Tisch School of the Arts with a degree in Film & Television.  In Summer 2015, they co-founded Two-Up and released Limetown, which has received over 8 million listens and was an iTunes Best of 2015. 
	

		Kathy Merritt is VP of Content Strategies and Development for Public Radio International, where she oversees podcasting, special projects, and distributed radio programs. An award-winning producer, she develops new talent and production partners and most recently launched Playdate with Sarah Jones. 
	

		Ann Heppermann is the founder of The Sarah Awards, celebrating and rewarding radio drama for the 21st century, and hosts its fiction podcast Serendipity. She teaches audio fiction at Sarah Lawrence College in its writing program and is also a producer with Pineapple Street Media.
	

	“Our judges truly feel like partners in this initial year of the Competition,” says AFF’s Executive Director, Barbara Morgan. “Each is committed to helping launch great stories into the podcast medium, and has a proven capacity to do so.”

	Public Radio International (PRI) has officially signed on as the sponsor of the competition which is open until July 7.

	Akers & Bronkie will also be featured in a new slate of audio fiction programming that will take place during the Austin Film Festival’s Writers Conference, October 26 – 29.  Programming will discuss the art of storytelling within an acoustic medium, as well as the address the nuts and bolts of creating a successful fiction podcast.

#### Austin Film Festival Announces Second Wave and Closing Night for 25th Anniversary
 

	Austin Film Festival (AFF), the premier film festival recognizing writers’ and filmmakers’ contributions to film, television, and new media, announced today that The Front Runner will serve as the fest’s Closing Night selection. Directed by Academy Award®-nominee and AFF alum Jason Reitman (Juno, Up in the Air), The Front Runner stars Hugh Jackman as the charismatic politician Gary Hart, who was considered the overwhelming front runner for the 1988 Democratic presidential nomination when his campaign was sidelined by the story of an extramarital relationship with Donna Rice. The Front Runner will bow in Austin on November 1 with Reitman in attendance. 

	Additionally featured in AFF’s second wave announcement are The Favourite, the latest project by director Yorgos Lanthimos (The Lobster, The Killing of the Sacred Deer) starring Emma Stone and Rachel Weisz, and Everybody Knows from acclaimed Iranian director Asghar Farsadi (A Separation, The Salesman), starring Javier Bardem and Penelope Cruz.

	The Festival also announced four world premieres—British drama Undercliffe, supernatural thriller The Dark Red, directed by Dan Bush (The Signal), Indian American family dramaLove Goes Through Your Mind and The Money Stone, Stuart Harmon’s documentary about two boys coming of age among the gold mines of Ghana.

	The Festival will also be presenting Texas Cotton from local filmmaker Tyler Russell. Based on the short film of the same name that played at AFF in 2016, Texas Cotton follows an aging policeman (Troll 2’s George Hardy) convinced that a mysterious stranger arrested in his small Texas town is innocent.

	In addition to these features come a number of short films from emerging female voices that will premiere during the Festival this year.  AFF’s highly competitive and Oscar®-qualifying short film competition has helped boost the career of filmmakers like Jason Reitman and Maggie Carey and led to numerous Academy Award® nominations, including last year’s documentary short Heaven Is a Traffic Jam on the 405, which took home the Oscar® after premiering at AFF.

	 

	AFF Second Wave

	
	The Dark Red

	World Premiere

	Writers: Dan Bush, Conal Byrne

	Director: Dan Bush

	Starring: April Billingsley, Kelsey Scott, Rhoda Griffis

	A young woman is committed to a psychiatric hospital and claims her newborn was stolen by a dark cult.

	 

	Everybody Knows

	Writer/Director: Asghar Farhadi

	Starring: Javier Bardem, Penelope Cruz, Ricardo Darin

	Laura, a Spanish woman living in Buenos Aires, returns to her hometown outside Madrid with her two children to attend her sister's wedding. However, the trip is upset by unexpected events that bring secrets into the open.

	 

	The Favourite

	Writer/Director: Yorgos Lanthimos

	Starring: Emma Stone, Rachel Weisz, Olivia Colman

	Early 18th century. England is at war with the French. Nevertheless, duck racing and pineapple eating are thriving. A frail Queen Anne (Olivia Colman) occupies the throne and her close friend Lady Sarah (Rachel Weisz) governs the country in her stead while tending to Anne’s ill health and mercurial temper. When a new servant Abigail (Emma Stone) arrives, her charm endears her to Sarah. Sarah takes Abigail under her wing and Abigail sees a chance at a return to her aristocratic roots. As the politics of war become quite time consuming for Sarah, Abigail steps into the breach to fill in as the Queen’s companion. Their burgeoning friendship gives her a chance to fulfill her ambitions and she will not let woman, man, politics or rabbit stand in her way

	 

	The Front Runner

	Closing Night Film

	Writers: Matt Bai, Jay Carson, Jason Reitman

	Based on the book All the Truth is Out by Matt Bai

	Director: Jason Reitman

	Starring: Hugh Jackman, Vera Farmiga, J.K. Simmons, Alfred Molina

	Oscar® nominee Hugh Jackman stars as the charismatic politician Gary Hart for Academy Award®-nominated director Jason Reitman in the new thrilling drama The Front Runner.  The film follows the rise and fall of Senator Hart, who captured the imagination of young voters and was considered the overwhelming front runner for the 1988 Democratic presidential nomination when his campaign was sidelined by the story of an extramarital relationship with Donna Rice. As tabloid journalism and political journalism merged for the first time, Senator Hart was forced to drop out of the race – events that left a profound and lasting impact on American politics and the world stage. 

	 

	Love Goes Through Your Mind

	Writers: Shruti Swaminathan, Ronak Shah

	Director: Ronak Shah

	Starring: Ariela Barer, Azim Rizk

	An Indian-American family begins to implode under the pressures of a family member's untreated mental illness.

	 

	The Money Stone

	World Premiere

	Director: Stuart Harmon

	Deep under the jungles of Ghana, scores of children are driven by poverty to leave school and work in dangerous pits in search of gold.  Justice and Maxwell, two teens trapped in the deadly world of illegal mining who risk it all in search of a better future.

	 

	Texas Cotton

	Writers: Tyler Russell, Jameel Khaja

	Director: Tyler Russell

	Starring: George Hardy, Lew Temple, Jason Douglas, Gene Jones

	An aging policeman is convinced a mysterious stranger arrested in his small town is innocent. His investigation stirs up a hornet's nest.

	 

	Undercliffe

	Writer: Bruce McLeod

	Director: Lisa Mulcahy

	Starring: Laurie Kynaston, Mark Addy, Akbar Kurtha, Stephanie Hyam

	A young man wakes up beaten half to death in a wasteland, with no memories of what happened to him or who he is. As he investigates his own past, he discovers that he has left a trail of destruction in his wake.

	 

	Highlighted Shorts

	
	Candid

	Writer/Director: Gabrielle Shepard

	Faced with the memory of her late mother, an aspiring street photographer takes a surreal journey through the city as she reconciles her future and the relationship with her father.

	 

	Daily Bread

	Writers: Ruby Challenger, Jonathan Wald, Ella Carey

	Director: Ruby Challenger

	In a WWII internment camp in Indonesia, Jan acts out of desperation to save a little girl’s life, bringing dire consequences upon the whole camp.

	 

	Max & The Monster

	Writer/Director: Jenna Kanell

	Maxine struggles to regain normalcy after acquiring the company of a persistent monster whom no one else can see.

	 

	Mercury

	Writer: Gorana Jovanović

	Director: Kyla Simone Bruce

	Bambi drives her very pregnant best friend Al to the hospital to have her baby. Al's mood darkens as the inevitable and irreversible reality sinks in.

	 

	Moonwalk with Me

	Writer/Director: So Young Shelly Yo

	A Korean-American girl named Juno struggles to keep her drifting father grounded.

	 

	The Ride Home

	Writer/Director: Laura Adkin

	A young girl makes an unexpected connection with a couple who offer her a ride home after her painful and complicated decision to terminate her pregnancy.

#### Austin Film Festival Announces Second Wave of Films in 2016 Lineup
 

	Austin Film Festival (AFF), the premier film festival recognizing writers’ and filmmakers’ contributions to film, television, and new media, announced today the second wave of films included in the 2016 lineup, taking place this October 13-20.

	Included in this list is AFF’s Opening Night Film Loving with writer/director Jeff Nichols (Mud, Midnight Special) in attendance, as well as the Texas Premiere of upcoming drama Lion, starring Dev Patel and Nicole Kidman.

	The complete list of programming at the 23rd annual AFF, including short films, competition titles, and Conference panels, will be announced in mid-September.

	AFF SECOND WAVE:  *indicates in attendance

	Loving

	Opening Night Film
	Texas Premiere

	Writer/Director: Jeff Nichols*

	Cast: Ruth Negga, Joel Edgerton, Michael Shannon, Nick Kroll

	Joel Edgerton and Ruth Negga star in the true story of Richard and Mildred Loving, who waged a decade-long legal battle that led to the overturning of the state of Virginia’s law prohibiting interracial marriage.

	
	The Big Spoon

	World Premiere
	Writers: Mallory Culbert*, Carlyn Hudson*

	Director: Carlyn Hudson

	Cast: Zach Knighton*, Nick Stevenson*

	Long-term couple Mallory and Ben plan to enjoy a romantic weekend alone in Mallory’s house, but their plans are ruined when Elle, Mallory’s flighty roommate, shows up with a surprise lover. As tensions rise, each couple is forced to question the strength of their relationship.

	 

	The Harvest Run

	World Premiere

	Writers/Directors: Steven Balvanz*, Aaron McAdams*

	The Colby’s, a third generation farming family, gear up for the annual Harvest Run – a demanding seven-month journey that is essential to producing America’s annual yield of wheat and corn. Faced with the insurmountable hardships of the American economy and climate change, the year’s run proves more challenging than ever.

	 

	Holding Patterns

	World Premiere

	Writers/Director: Jake Goldberger*

	Cast: Freddie Highmore, Odeya Rush, Haley Joel Osment, Christopher Meloni

	Mid-twenties, unmotivated, and still living at home with his mother and stepfather, Charlie Brenner is given a surprising boost of confidence when he meets Amber (Odeya Rush,) a local barista. As they become closer, the line between friendship and intimacy is blurred, and the situation forces both of them to examine where they are in their respective lives. Charlie's situation is further complicated by the sudden appearance of his estranged father.

	 

	Lion

	Texas Premiere

	Writer: Luke Davies

	Director: Garth Davis

	Cast: Dev Patel, Nicole Kidman, Rooney Mara

	Adapted from the non-fiction book A Long Way Home, Lion follows the challenges a young Indian boy faces after taking a wrong train, being separated from his family, and being adopted by Australians. Twenty-five years later, armed only with sparse information and Google Earth, he sets out to find his lost family.

	 

	The Man Who Was Thursday

	North American Premiere

	Writer/Director: Balazs Juszt*

	In a mind-bending metaphysical thriller, disgraced local parish, Father Smith, is called to Rome for spiritual rehabilitation. Upon Smith’s arrival, his spiritual mentor, Charles, tasks him with a mission to go underground to ascertain the mysterious leader of an archaist group of renegades.

	 

	No Retreat
	World Premiere
	Writers: J.D. Singer, Nicholas Zafonte*

	Director: Nicholas Zafonte*
	Fifteen years after graduating college, two college friends reconnect at a weekend writers’ retreat. As they struggle to attempt one last shot at a creative lifestyle, the drama of old regrets, insecurity, and unfinished romantic business takes its toll.

	 

	Suburban Cowboy

	World Premiere

	Writer: Ryan Colucci*

	Directors: Ryan Colucci*, Dragan Roganovic

	In this gritty story based on real events, a Long Island drug dealer find himself in over his head once one of his soldiers robs a dealer with a connection to ruthless Serbian gangsters. Now responsible for the debt, he is forced to take drastic measures.

#### AUSTIN FILM FESTIVAL ANNOUNCES THE 2023 POLLY PLATT AWARD FOR PRODUCING, HEART OF FILM, AND NEW VOICE AWARDEES
Shelly Yo
 
AUSTIN FILM FESTIVAL (AFF) is celebrating 30 years of supporting storytellers’ contributions to film, television, and new media. Austin Film Festival is committed to supporting creatives at all levels, including our support for the WGA and SAG-AFTRA in their ongoing strike efforts.
AFF announced today three Awardees to be honored as part of its 30th Anniversary Festival and Writers Conference happening October 26 – November 2. The Polly Platt Award for Producing is given annually to producers with a keen sense of story and who have a history of fostering new talent. The 2023 awardee is prolific producer Lauren Shuler Donner.
Lauren Shuler Donner is a renowned film, TV, and theater producer, boasting an impressive array of many credits, including the X-Men franchise, Pretty in Pink, Free Willy, You’ve Got Mail, She’s The Man, Constantine, and The Secret Life of Bees. She has also been EP on five TV shows including Legion. She is currently developing several Broadway musicals based on her and her husband’s films. Lauren serves as Vice President for the Producers’ Guild of America, and is on the Board of The Motion Picture and TV Fund (MPTF), and LUPUSLA. While attending AFF, Donner will host a retrospective screening as well as “A Conversation With” panel to discuss her body of work.
James V. Hart will receive the Heart of Film Award, celebrating his many beloved contributions to film and television, and his invaluable service to the screenwriting community. Hart is the writer of acclaimed films Hook, Bram Stoker’s Dracula, and Contact. He will host a “On Writing” panel on the latter at the Writer’s Conference.
Hart’s other writing/producing credits include: Mary Shelley’s Frankenstein, Tuck Everlasting, Sahara, Lara Croft: Tombraider – The Cradle Of Life, August Rush, Epic, and the TV series The Hot Zone based on the best seller by Richard Preston. His renowned story mapping tool TheHartChart was launched at the 2015 Austin Film Festival.
AFF is honoring writer/director So Young Shelly Yo with the 2023 New Voice Award for her debut feature, Smoking Tigers, which is screening at the Festival as its regional premiere. Yo will be in attendance for a post-screening Q&A, as well as speaking at the Writers Conference. Yo is an alumni of AFF’s film competition, having screened her short films Moonwalk with Me and Soft Sounds of Peeling Fruit in Austin in 2018 and 2021 respectively. Smoking Tigers recently premiered at the Tribeca Film Festival, receiving multiple honors, including Best Screenplay, Best Actor, & Special Jury Mention for the Nora Ephron Prize.
The 2023 Writers Conference, happening October 26 – 29, will again present over 150 panels on the art, craft, and business of storytelling, featuring a slate of prominent industry professionals working in film, television, and new media. The creators of Yellowjackets, Ashley Lyle, Bart Nickerson, and Jonathan Lisco will be in attendance to discuss their creative process on panel “On Writing: Yellowjackets”. AFF will also host “A Conversation with” Nic Pizzolatto, creator of True Detective. Other confirmed panelists for this year’s Festival include Tracy Oliver (Girls Trip), Gavin O’Connor (Miracle), Dan Erickson (Severance), Pamela Ribon (Nimona), Michael Arndt (Little Miss Sunshine), and Karyn Kusama (Jennifer’s Body), with more panelist announcements to come.

#### AUSTIN FILM FESTIVAL ANNOUNCES UNIVERSAL CABLE PRODUCTIONS AS ANNUAL PITCH COMPETITION SPONSOR
 

	Austin Film Festival (AFF), the premiere film festival recognizing writers’ and filmmakers’ contributions to film, television and new media, announced today that Universal Cable Production (UCP) will present the fest’s annual Pitch Competition. UCP, part of NBCUniversal Cable Entertainment — a division of NBCUniversal, is the studio behind such hits as USA Network’s Emmy® and Golden Globe® Award-winning drama MR. ROBOT and Golden Globe® nominated THE SINNER, as well as the upcoming Amazon series HOMECOMING and Netflix’s UMBRELLA ACADEMY.  

	The UCP Pitch Competition will commence on Thursday, October 25 and conclude with the festival’s annual Finale Party on Saturday, October 27 at 7:30pm at Speakeasy (412 Congress Ave D). This unique event allows contestants 90 seconds to pitch their best ideas to a panel of judges made up of agents, producers, managers and screenwriters in a constructive and friendly environment. UCP’s Senior Vice President of Development, Kate Fenske, who developed the #1 new cable series of 2017, USA’sTHE SINNER, will join the Finale Party judging panel along with an impressive roster of writers and producers including:

		Wendy Calhoun – writer/producer, Warner Bros TV, “Station 19,” “Empire,” “Nashville,” “Justified.”
	

		Lindsay Doran – producer, “Stranger Than Fiction,” “Sense and Sensibility,” “Nanny McPhee,” “Dead Again;” executive producer “The Firm,” “Sabrina;” former President/COO of United Artists.
	

		Craig Mazin – co-host Scriptnotes; writer “Chernobyl,” “Identity Thief,” “The Hangover Parts II & III.”
	

	In addition to sponsoring the Pitch Competition, UCP will also host a pitch prep panel “My First Pitch” on Thursday, October 25 from 1:00pm to 2:15pm at St. David’s Episcopal Church. The panel will offer the audience tips on approaching their first pitch and how to present to a room full of executives. UCP’s Senior Vice President of Development, Elise Henderson, will be joined on the panel by some of the studio’s top producers with whom they have first-look or overall deals. Confirmed to share their experiences are:

	Patrick Macmanus – Macmanus, who has an overall deal with UCP to develop premium scripted programming for the studio, is currently the showrunner and executive producer of SYFY’s HAPPY! based on New York Times best-selling author Grant Morrison and Darick Robertson’s graphic novel of the same name. In addition, Macmanus is developing SLAUGHTERHOUSE-FIVE for Epix based on Kurt Vonnegut's seminal classic.

	Liz Sarnoff –  Emmy-nominated Sarnoff rose through the ranks on HBO’s “Deadwood” and ABC’s “Lost.” She went on to co-create Bad Robot’s Fox series “Alcatraz” and to executive produce “Marco Polo” for Netflix. Sarnoff is currently writing for the second season of HBO’s comedy series “Barry.” For her work on the first season of the breakout hit, Sarnoff received an Emmy nomination for writing the Loud, Fast, and Keep Going episode. She has an overall deal with UCP.

	Andrew Miller – Miller created and executive produced CW’s “The Secret Circle” and was co-executive producer on the FOX series “Backstrom,” starring Rainn Wilson. Additionally Miller has developed and written pilots for NBC, ABC, Showtime, Amazon and SYFY. He has also written or co-written several feature films including the Miramax romantic comedy, “Boys and Girls” starring Freddie Prinze Jr. and Vincenzo Natali’s sci-fi comedy, “Nothing,” in which he also starred. Miller has inked an overall deal with UCP.

	Macmanus, Sarnoff and Miller are joined on UCP’s overall deal roster along with Sam Esmail (MR. ROBOT and BRIARPATCH for USA Network and HOMECOMING for Amazon), Nick Antosca (THE ACT for Hulu and CHANNEL ZERO for SYFY), Gale Anne Hurd’s Valhalla Entertainment, Allison Miller (METROPOLIS), Steve Blackman (THE UMBRELLA ACADEMY for Netflix), Kyle Long (RUN, BAMBI, RUN), and Eli Horowitz and Micah Bloomberg (Amazon’s HOMECOMING). Meanwhile UCP’s first look deals include Charlize Theron’s Denver & Delilah; John Carpenter; Hypnotic (SUITS and the upcoming spinoff for USA Network, NIGHTFLYERS for SYFY, and IMPULSE for YouTube Premium), and Dark Horse Entertainment (THE UMBRELLA ACADEMY for Netflix).

	 

	The winner of the UCP Pitch Competition will be announced at The Pitch Finale Party.

#### AUSTIN FILM FESTIVAL ANNOUNCES UPLIFTING STORYTELLERS INITIATIVE
 
Austin Film Festival & Writers Conference (AFF), the premier film festival recognizing the writers’ contributions to film, television, and new media, announced today the launch of their diversity & inclusion module known as the Uplifting Storytellers Initiative as well as the inaugural Blackmagic Collective Emerging Filmmakers Fellowship Award.  This initiative is designed to promote diversity, equity, and inclusion within the entertainment industry by defining and executing skill-based, as well as career focused enrichment programs through the bevy of AFF’s competitions, Conference, and more.  The organization is focusing on actionable steps towards sustainable change, in an effort to support calls for increased representation across underrepresented communities. This includes a multifaceted approach including but not limited to increasing targeted fellowship opportunities within its Film and Script Competitions, and panel participation through year-round events and the Writers Conference.  AFF will also expand upon their Digital Storytelling Education Program into more schools across the local Austin and Texas area.
As part of the new initiative, the Festival also announced a vaunted Advisory Committee which will provide reinforcement to the initiative’s goals and direction as needed. Members of the committee includes the following industry heavyweights:
 
●       VJ Boyd (co-creator, Lincoln Rhyme: Hunt For The Bone Collector; writer/producer S.W.A.T, Justified, The Player, Justified: City Primeval)
●       Wendy Calhoun (Peabody Award Winner; writer/producer Empire, Prodigal Son, Station 19, Nashville, Revenge, Justified)
●       Noah Hawley (writer/producer Fargo, Legion, Bones)
●       Chuck Hayward (Co-Ep Ted Lasso; writer/producer WandaVision, Flatbush Misdemeanors)
●       Ali LeRoi (director The Obituary of Tunde Johnson; producer/director Survivor’s Remorse; showrunner/co-creator Everybody Hates Chris)
●       Jenny Marchick (Head of Development – Features, Dreamworks Animation)
●       Rebecca Windsor (VP & Head of Warner Bros. Television Workshop)
“As a born and bred Texan, I’m thrilled to join the Austin Film Festival’s freshest curation of opportunities for storytellers from all walks of life,” said Calhoun. “This generous community fosters creativity and fortifies new voices with a unique Lone Star swagger. By keeping the effort inclusive, innovative, and unapologetically weird, I trust that blockbuster seeds will take root to nourish the next generation of boldly original writers.” said the Peabody Award winner.
Emmy Award nominee Chuck Hayward also added, “I’m most excited for Uplifting Storytellers to reach beyond the typical Hollywood feeder patterns to find new talent. Circumventing some of the traditional barriers of entry to the industry will give access to a wave of exciting new voices and perspectives.”
Meanwhile, the brand new Blackmagic Collective (BMC) Emerging Filmmakers Fellowship Award is a stunning realization of the initiative’s goals.  Through this dynamic partnership, the winner of the award is invited to AFF in the of Fall 2022, and will receive a Blackmagic Design Pocket 6K Pro, guaranteed screening slot at the BMC Film Festival in Los Angeles, and a guaranteed seat in the Fellowship running from January 2023 – November 2023.  Furthermore, finalists (the top 10 films within the category) will receive exclusive automatic first look consideration for remaining Fellowship slots.  The Fellowship will be available to Narrative and Student Short entrants within AFF Film Competitions, and is specifically targeted at members of the BIPOC, LGBTQIA+, Female-Identifying, and Disabled communities.  All entrants of the Fellowship will be required to disclose information prior to entry.
“For 28 years, Austin Film Festival has inspired and championed the writer, giving recognition to creative voices from all walks of life. I am excited about the creation of AFF’s Uplifting Storytellers Initiative and Advisory Committee, as well as the inaugural Blackmagic Collective Emerging Filmmakers Fellowship Award. With our ongoing promise for increased representation across underrepresented communities, we welcome these initiatives to our long line of programs, fellowships, and awards that aim to bring sustained change within the entertainment industry.” said Barbara Morgan, Executive Director Austin Film Festival.
“The Blackmagic Collective mission is to help filmmakers, at all levels, gain the tools and contacts they need to succeed in the entertainment industry,” said Jenn Page, Executive Director of Blackmagic Collective. “Membership, as well as, all events, initiatives, and classes are always free to join, so there is no barrier to entry for any filmmaker. We are excited to partner with Austin Film Festival since they have a similar mission, to help spotlight filmmakers. Together, we will discover some of the most promising emerging filmmakers from this year’s submissions and join to support their careers with a year of mentorship and networking. Furthermore, we have officially launched our local Austin Blackmagic Collective chapter so we look forward to all the ways AFF & BMC can work together to help filmmakers all year long.”
The eight-day Festival & Conference returns to the Heart of Texas October 27th – November 3rd for its 29th edition.  For further information on the Uplifting Storytellers Initiative, visit https://bit.ly/37ymWTV.

#### Austin Film Festival Announces Winners of 2016 Audience & Courage Awards
 

	Austin Film Festival (AFF), the premier Festival to recognize the writer’s contribution to film, is pleased to announce its 2016 Jury Award winners, Hiscox Audience and Courage Award Winners, and the Screenplay Competition winners.

	 

	The following Jury Award winners were selected by category:
	 

		Narrative Feature presented by Seed&Spark: Boys in the Trees, written by Nicholas Verso
	

		Documentary Feature presented by POV: Santoalla, directed by Andrew Becker and Daniel Mehrer
	

		Comedy Vanguard Feature: Hot Air, written by Jeremy M. Goldstein and Derek Sieg
	

		Dark Matters Feature: The Cliff, written by Natxo Lopez, Andres Martorell, Helena Taberna
	

		Narrative Short: Lucy in My Eyes, written by Megan Park
	

		Narrative Student Short: The Art of Not Appearing, written by Pernille Rivedal Hellevik
	

		Documentary Short presented by IDA: Heaven is a Traffic Jam on the 405, directed by Frank Stiefel
	

		Animated Short: Hugo Bumfeldt, written by Eva Katinka Bognaar
	

		Scripted Digital Series presented by New Form Digital: Guest Appearances, created by Elizabeth Guest
	

	 

	After each Festival screening, audiences voted for the Hiscox Audience Awards, recognizing film favorites among the 2016 slate.

	 

	The following Hiscox Audience Award winners were selected by category:
	 

		Narrative Feature: Blood Stripe, written by Remy Auberjonois and Kate Nowlin
	

		Documentary Feature: Berlin Rebel High School, directed by Alexander Kleider
	

		Dark Matters Feature: Found Footage 3D, written by Steven DeGennaro
	

		Comedy Vanguard Feature: Brave New Jersey, written by Michael Dowling and Jody Lambert
	

		Narrative Short: Killing Thyme, written by Natalie Malla
	

		Documentary Short: Heaven is a Traffic Jam on the 405, directed by Frank Stiefel
	

		Animated Short: Moon of a Sleepless Night, written by Takeshi Yashiro
	

		Narrative Student Short: Red Apples, written by Ophelia Harutyunyan
	

		Scripted Digital Series: The Listening Box, written by Westin Ray
	

		Heart of Film: American Wrestler: The Wizard, written by Brian Rudnick
	

		Stories From Abroad: My Mother’s Wound, Ozan Aciktan, Ozan Guven, Fethi Kantarci, Uygar Sirin, Mehmet Turgut, and Funda Cetin
	

		Texas Independent: Homestate, written by David Hickey and Blaise Miller
	

		Marquee Feature: Lion, written by Luke Davies
	

	 

	One film was selected to receive the Hiscox Courage Award. Voted on by the audience, the Hiscox Courage Award is presented to the film that best embodies the virtue of courage and to the filmmaker who best embraced the risk to share the story. The 2016 Courage Award went to Heaven is a Traffic Jam on the 405.

	 

	The following Screenplay Competition winners were selected by category:

		Drama Screenplay Award presented by the Writers Guild of America, East: Static by Henry Jones
	

		Comedy Screenplay Award presented by Sony Pictures Animation: Dinner with Friends by Geeta Malik
	

		Sci-Fi Screenplay Award: Static by Henry Jones
	

		Enderby Entertainment Award: Static by Henry Jones
	

		Vertigo Entertainment Horror Award: Rock Point Draw by Jeremy David Lee
	

		AMC One-Hour Pilot Award: The Devil and the Deep by Kyle Bugg
	

		Sitcom Pilot Award: Losing It by Louise Rozett
	

		Short Screenplay Award: Futurehealth by Sarah Polhaus
	

		Scripted Digital Series Award presented by New Form Digital: Main Stream by JC Conklin
	

		One-Hour Spec Award: Fargo: The Hunt for the Cobra King by Sarah Beckett
	

		Sitcom Spec Award: Broad City: Short Term Effort by Greg Wayne
	

	 

	Three-time screenplay winner Static has been acquired by Inkubate, Max Borenstein’s (Minority Report (TV), Godzilla, Kong: Skull Island) new banner focused on character-driven genre material in film and television.  Inkubate plans to package the script and then pursue setting it up at a studio or with independent financing. Static is described as a grounded, visionary sci-fi thriller.

#### Austin Film Festival Reveals Programming & Talent For Inaugural Playwriting Track
 

	Austin Film Festival (AFF), the premier film festival recognizing writers’ and filmmakers’ contributions to film, television, and new media, announced today new programming for its inaugural Playwriting Track. Held during AFF’s Writers Conference, this October 13-16, the Playwriting Track will feature discussions that delve into the art and craft of dramatic writing and how these techniques can serve to inform storytelling for both the stage and screen.

	As part of the track, playwright and screenwriter Beau Willimon will present a staged script reading of his unproduced play War Story which follows two soldiers, two bankers, a war overseas and a war at home. The play explores how people navigate the battlefields of their past while confronting an uncertain future.

	An AFF Alum and confirmed 2016 Panelist, Willimon earned an Academy Award® nomination for his work on The Ides of March, adapted from his play Farragut North, and made his first foray into television as the creator and showrunner of the Emmy and Golden Globe winning House of Cards. Through his company Westward Productions, he is currently producing several films. 

	"AFF is one of the few festivals in the country that focuses on writing, and it's wonderful that they're expanding their program to include playwriting,” commented Willimon. “There's been a close relationship between theater and film since the invention of cinema. Like many of my peers, I began my career in the theater and have worked with many theater artists on my film and TV projects. I'm honored to be participating in this inaugural expansion of AFF's staged reading series."

	Additional playwright and film/television hybrids confirmed for the Conference include Stephen Falk (creator You’re the Worst),Monica Macer (writer Nashville), Melanie Marnich (writer The Affair), Mark Medoff (writer Children of a Lesser God), Elizabeth Meriwether (creator The New Girl), Nicole Perlman (writer Guardians of the Galaxy), Edward Ricourt (writer Jessica Jones),Jose Rivera (writer The Motorcycle Diaries), Tom Szentgyorgyi (writer The Mentalist), Alexander Woo (writer True Blood),Linda Woolverton (writer The Lion King), and others. The Playwriting Track will play host to panels such as “Shakespeare Inspired”, “Stage to Screen”, “Playwrights in the Writers Room”, “Dialogue”, “Subtext and Beats”, “Breaking in as a Playwright”, and more.

	AFF also unveiled a new Playwriting Competition, to open in the 2017 season. An extension of its renowned Screenplay Competition which has been responsible for launching numerous writing careers, AFF will accept full-length stage plays and provide aspiring playwrights exposure to a wide array of theatre professionals. Writers who place in the competition and seek to transition into film and television will be given access to special programming and networking opportunities through the annual Writers Conference. More information and specifics will be available when the competition opens in early 2017.

	AFF’s 2016 Writers Conference will be held October 13-16, with the Film Festival continuing through October 20. The full schedule will be released mid-September; more information and confirmed programming can be found at www.austinfilmfestival.com.

#### Austin Film Festival to Honor DEDE GARDNER and STEPHEN MERCHANT Who Will Attend the 2022 Festival October 27 – November 3
Stephen MerchantPhoto by Jeff Vespa/@portraits
 
Austin Film Festival & Writers Conference (AFF), the premier festival that champions the writers’ contributions to film, television, and new media, announced today two distinguished awardees to be honored at this year’s festival from October 27 – November 3. Academy Award-winning producer Dede Gardner will receive AFF’s Polly Platt Award for Producing, and Emmy, BAFTA and Golden Globe winner Stephen Merchant will receive AFF’s Outstanding Television Writer Award.
Gardner is an Academy Award-winning producer and co-president of the production company, Plan B Entertainment. Throughout her career she has produced both Academy Award and Golden Globe-nominated and winning films, including Lee Isaac Chung’s Minari, Barry Jenkins’ If Beale Street Could Talk and Moonlight, Adam McKay’s The Big Short and Vice, Ava DuVernay’s Selma, Steve McQueen’s 12 Years a Slave and Terrence Malick’s Palme d’Or winner The Tree of Life. Gardner’s recent features include Gaz Alazraki’s Father of the Bride and Miranda July’s Kajillionaire, as well as the forthcoming features Blonde, She Said, Women Talking and Landscape With Invisible Hand. Her recent television releases include the HBO/Sky limited series “The Third Day,” created by Dennis Kelly, the Amazon Prime series “The Underground Railroad,” created by Barry Jenkins and “Outer Range” created by Brian Watkins.
In addition to accepting the Polly Platt Award for Producing during this year’s Writers Conference, Gardner will participate in a special screening of Women Talking. The new film by Oscar-nominated writer and director Sarah Polley. Based on the best-selling novel by Miriam Toews, Women Talking follows a group of women in an isolated religious colony as they struggle to reconcile their faith with a series of sexual assaults committed by the colony’s men.
Polley will also attend the Festival to present Gardner’s award and participate in a post-screening discussion.
Stephen Merchant is an Emmy, BAFTA and Golden Globe-winning actor, comedian, writer, director and producer and one of the most versatile talents in TV and film. He first shot to prominence as co-creator (alongside Ricky Gervais) of BBC’s “The Office” and “Extras,” both of which were critically acclaimed, earning multiple comedy series awards, including three BAFTA Awards, two British Comedy Awards, two Golden Globe Awards, a Primetime Emmy Award, and a Peabody Award. Merchant also served as an executive producer on the long-running US adaptation of “The Office,” which received five Primetime Emmy Awards and 42 nominations during its run on NBC. Merchant also received a British Comedy Award for “Best TV Comedy Actor” for his role in “Extras,” which he also co-created and executive produced alongside Gervais. In 2004, they won the “Writers’ Guild of Great Britain Award” for the series. In 2013, he served as a star, co-creator, co-writer and director of HBO’s “Hello Ladies,” a sitcom based on his live stand-up show of the same name. The series ended with a feature-length HBO special and received two nominations at the 67th Primetime Emmy Awards.
Merchant currently serves as creator, executive producer, writer, director and star of BBC/Amazon’s “The Outlaws,” which premieres its second season on August 5. He co-created the series with Elgin James, which follows a group of misfit lawbreakers in a community service group.
Gardner and Merchant will be recognized at the 2022 Awards Luncheon on Saturday, October 29, and will participate in Festival and Conference programming. Additional panelists confirmed to speak at the Writers Conference, held the first four days of the Festival, October 27-30 include Max Borenstein (“Winning Time”), Nkechi Okoro Carroll (“All American”), Edward Neumeier (RoboCop), Vanessa Taylor (The Shape of Water), and many more.

#### Austin Film Festival to Honor Larry Wilmore at 25th Annual Festival
 

	Austin Film Festival & Writers Conference (AFF), the premier festival that champions the writers’ contributions to film, television, and new media, announced Emmy® Award winner Larry Wilmore as the recipient of its 2018 Outstanding Television Writer Award at the 25th Annual Austin Film Festival this October 25 – November 1.

	Wilmore has been a television producer, actor, comedian, and writer for more than 25 years. He’s written for In Living Color, The PJ’s (which he co-created with star Eddie Murphy), The Office (where he appeared as Mr. Brown, the diversity consultant) and The Fresh Prince of Bel-Air. In 2001, Wilmore created The Bernie Mac Show which ran for five seasons on FOX and earned him an Emmy Award in 2002 for “Outstanding Writing for a Comedy Series” as well as a 2001 Peabody Award. Recently, Wilmore helped launch ABC’s Black-ish as an executive producer and he also serves as the co-creator and consulting producer on HBO’s Insecure which he developed with star Issa Rae.

	On camera, Wilmore is known for his memorable appearances as the “Senior Black Correspondent” on The Daily Show with Jon Stewart and the host of Comedy Central’s critically praised The Nightly Show with Larry Wilmore, which debuted in January 2015 and ran for nearly two years.

	Wilmore will join previously announced awardees Roger Corman (Extraordinary Contribution to Filmmaking), Tony Gilroy (Distinguished Screenwriter), and Daniel Petrie, Jr.(Heart of Film) at the 25thannual Awards Luncheon on Saturday, October 27th. Awardees join already confirmed panelists for this year’s Writers Conference, includingMegan Amram, John August, Lindsey Beer, Wendy Calhoun, Mary Coleman, Lindsay Doran, Lee Eisenberg, Nicole Holofcener, Rick Jaffa, Christopher Markus, Stephen McFeely, Nicole Perlman, Amanda Silver, and Linda Woolverton. The full list can be found at www.austinfilmfestival.com.

#### Austin Film Festival’s On Story Premieres Season 8 on Public Television
 

	Austin Film Festival (AFF) is delighted to announce that its original series, Austin Film Festival’s On Story®, premieres its 8th season nationwide in April 2018 on public television stations. Available in more than 70% of U.S. markets, including New York, Los Angeles, Dallas, San Francisco, D.C., and Houston, On Story gives viewers an inside look at the creative process behind some of our most popular and beloved films and television shows. 

	This season’s 20 all-new episodes feature in-depth and entertaining conversations with Greta Gerwig (Lady Bird), Mark Frost (Twin Peaks), Robert Townsend (Hollywood Shuffle), Gale Anne Hurd (The Terminator), Walter Hill (The Warriors), Scott Frank (Godless), and many others.

	“On Story is an encyclopedia of all the hard-earned knowledge you wish were taught in school. Before now, you could only get this from experience," says Oscar®-nominated screenwriter Eric Heisserer, featured in this year’s season with an episode on the journey of bringing blockbuster and award-winning filmArrival to the screen.

	Each On Story episode traces a theme – reinventing classic stories, writing culturally groundbreaking comedies, dramatizing true life stories for the screen, creating a cult favorite show, crafting fairy tales, and more – sometimes highlighting the topic with a specially selected short film previously screened at Austin Film Festival. 

	Every year, Austin Film Festival hosts almost two hundred conversations between writers, TV creators, and filmmakers that simultaneously inform, enlighten, and entertain. This season will bring you the best of these conversations.

	On Story producer and writer Maya Perez says, "Getting to hear these artists talk about how they do what they do—their creative processes, behind-the-scenes decisions behind our favorite TV shows, analyzing and offering new insight into beloved movies—is such a gift, and it thrills me that through On Storyprogramming we get to share these recorded interviews with audiences around the world for free."

	In addition to the nationally distributed weekly television series, On Story content is available through the following:

		One-hour weekly radio program via PRI that includes such guests as Issa Rae (Insecure) and Alec Berg (Barry, Silicon Valley)
	

		Three books published by University of Texas Press: On Story – Screenwriters and Their Craft, On Story – Screenwriters and Filmmakers on Their Iconic Films, and the forthcoming On Story – The Golden Ages of Television to be released this October, coinciding with the 25th Anniversary of Austin Film Festival
	

		Free podcasts; and
	

		Archives from 24 years of the festival, housed at The Wittliff Collections at Texas State University.
	

	 

	On Story is co-produced by AFF Co-Founder and Executive Director Barbara Morgan and filmmakers Miguel Alvarez and Maya Perez and is presented by KLRU.  The series is funded by the Alice Kleberg Reynolds Foundation and distributed by the National Educational Telecommunications Association (NETA). Past episodes and more information can be found at www.onstory.tv.

	Check local public television listings to find out when On Story airs in your city.  The On Story radio series is available via Public Radio International.

#### Austin Jewish Film Festival – AMERICA – Interview with Writer Director Ofir Raul Graizer
Award-winning Israeli filmmaker Ofir Raul Graizer was at this weekend’s closing night for the US Premiere of his film, AMERICA.  Ofir talked with our Gadi Elkon about the film, his team and so much more!

An Israeli man returns to Israel after 10 years in America. An encounter with a childhood friend and his future wife will change everyone’s lives. A story set between a flower shop and an ancient monastery, a swimming pool and the Mediterranean Sea, life and death – and somewhere in the middle.
AMERICA is a visually-stunning intimate exploration of the deepest of friendships coming together thru tragic cautious.  The film is also Ofir Raul Graizer’s second feature film following the success of THE CAKEMAKER.  Ofir talked with Gadi about the music/sound design, the vibrant color scheme, the flower/water motifs, and even shared a major influence on his film.
Interview with Filmmaker Ofir Raul Graizer:

The film can still be seen via the Film Festival, AJFF – AMERICA

#### Austin Jewish Film Festival – EXODUS 91 – Interview with Filmmaker Micah Smith
Opening the Austin Jewish Film Festival is OpenDor Media’s EXODUS 91.  The hybrid-documentary tells the riveting story behind the infamous Operation Solomon.  Filmmaker Micah Smith talked with our Gadi Elkon about this powerful film and it’s US PREMIERE!

Exodus 91 tells the incredible story of Operation Solomon, Israel’s airlift of the Ethiopian Jewish community. Using documentary footage and reenactments, this feature-length film follows the Israeli ambassador to Ethiopia, Asher Naim, as he navigates the treacherous world of bureaucracy and politics in a region racked by civil war.
Part historical drama, part documentary, the film blurs the lines between past and present to look beyond the euphoric salvation of Ethiopian Jewry. It portrays the transformation of an individual whose calm diplomatic demeanor fades as he confronts endless obstacles while orchestrating the perilous rescue mission. On a more universal level, the film explores challenging questions surrounding cultural identity, the politics of immigration, and the hardships that remain for these immigrants, and the others that followed, to this day.
Micah talked with Gadi about the film’s hybrid documentary style, the impactful musical score, the cast, and so much more!
Interview with Filmmaker Micah Smith:

Exodus 91 is having it’s US Premiere tonight at the Austin Jewish Film Festival.
For more info about OpenDor Media.

#### Austin Jewish Film Festival – Interview with Iconic Israeli Actor Lior Ashkenazi
Israeli acting-legend Lior Ashkenazi’s feature film directorial debut is the wonderful adaptation of PERFECT STRANGERS.  Lior talked with our Gadi Elkon about sitting in the director’s chair, some of his iconic roles and so much more!

Seven childhood friends with a lot of shared history and experiences, and a mutual death from their past, meet for dinner to watch a rare lunar eclipse. Their standard bourgeois encounter takes an unexpected turn when they start playing a game that will change the course of their lives forever: each text message, call or notification they receive on their phones is revealed for all to see. Betrayals, lies, secrets and unresolved issues dating back 20 years simmer to the surface and put their long standing friendships to the test.
Three-time Ophir (Israeli Oscars) winner Lior Ashkenazi’s directorial debut is the raucous adaptation of the film PERFECT STRANGERS. The movie is one of the closing films for the Austin Jewish Film Festival.
Lior and Gadi talked about making his debut, many of his roles, Israeli film scene and even discussed some of the exciting projects coming in the near future.
Here is our Interview with Director Lior Ashkenazi:

Perfect Strangers screens at AJFF this upcoming Sunday the 13th.
For more information on AJFF – PERFECT STRANGERS.

#### AUSTIN JEWISH FILM FESTIVAL REVEALS LINEUP FOR 17TH ANNIVERSARY
 
The Austin Jewish Film Festival, (AJFF), announced today the full slate of screenings to be included in the 2019 festival, taking place November 2nd – 8th. AJFF, now in its 17th year, exists to highlight incredible filmmaking and to make cross-cultural alliances throughout the Austin community, building bridges with thoughtful engagement and entertaining audiences through the medium of Jewish films and Jewish filmmakers. AJFF has also launched a new website at austinjff.org, part of their revised marketing and messaging for the festival with an all-inclusive campaign, “For Jew and You Too.”
“This festival is for everyone, even those who aren’t Jewish,” said David Finkel, co-director of the festival. “If you love great films and rich storytelling, and are the least bit curious about Jewish culture, come to AJFF. Unlike a bar mitzvah you don’t need a formal invitation. You’re invited!  As we say, the festival is ‘For Jew and You Too!’”
With a focus on playfulness and inclusiveness, AJFF has taken a significant step to raise awareness of the festival in Austin and beyond. The “For Jew and You Too” campaign is extending the festival’s reach to attract more people, both within and outside of the Jewish community, especially when it comes to targeting a younger audience.
The festival, started in 2002 by David Goldblatt, with Cindy Pinto coming on board soon after, was created to expand the Jewish conversation through the medium of film throughout Central Texas. Both are now on the Executive Board and continue to support the festival, building bridges throughout the community with films that offer thoughtful engagement and entertainment for audiences of all ages. The festival seeks to promote cultural understanding and tolerance while presenting the best Jewish films from the U.S. and around the world. Cynthia Winer and David Finkel, current co-directors of the festival, work with numerous professionals in the community, who generously donate their time and energy.
This year AJFF is excited to bring a lineup of compelling foreign, independent and U.S. films that will fascinate and inspire. Engaging programs and speakers are planned for several of the films. The week-long festivities kick off on Saturday, November 2, with a showing of director Marcus H. Rosenmüller’s film, “The Keeper” and a premiere party at the prestigious Long Center Rollins Theater. All other films will be showcased at the Regal Arbor @ Great Hills. Badges, passes and tickets as well as details of all films and programs are available on the AJFF website at austinjff.org.
 
AJFF Features
Opening Night Film
The Keeper
Director: Marcus H. Rosenmüller
 
Ask Dr. Ruth – free screening
Director: Ryan White
 
Beyond the Bolex
Director: Alyssa Bolsey
There will be a Skype program following the film with director Alyssa Bolsey
 
Golda’s Balcony
Director: Scott Schwartz
Q&A following the film with producer David Fishelson
 
Hidden Face
Director: Eyal Datz
Q&A following the film with film subjects Dr. Baruch and Shira Schmidt
 
Joseph Pulitzer: Voice of the People
Director: Oren Rudavsky
 
The Mover 
Director: Davis Simanis, Jr.
The Mover has just been announced as the Latvian entry for the Foreign Language Oscar
 
On the Map
Director: Dani Menkin
Q&A and live auction of basketball signed by film subjects following the film with filmmaker Dani Menkin
 
The Other Story
Director: Avi Neshor
 
Picture of His Life
Director: Dani Menkin & Yonatan Nir
Q&A following the film with filmmaker Dani Menkin
 
Shoelaces – A 2018 AJFF Audience Favorite
Director: Jacob Goldwasser
 
The Unorthodox
Director: Eliran Malka
 
Upside Down Tree
Director: Ariel Cohen
 
Closing Night Film
Tel Aviv on Fire
Director: Sameh Zoabi
There will be a program following the film with co-screenwriter Dan Kleinman
 
Watch for upcoming news about the launch of the AJFF Monthly Film Series in partnership with Shalom Austin, coming in early 2020.
For new announcements and information on how to attend, visit austinjff.org and follow the festival on Twitter, Facebook, Instagram  #AustinJFF19 and #4JewAndYou2

#### Austin’s All Genders Lifestyles and Identities Film Festival Announces 2019 Film Lineup
 
The All Genders, Lifestyles, and Identities Film Festival (aGLIFF) today announced the official selections for the film festival’s 32nd edition. Entertaining documentaries bookend this year’s  aGLIFF with David Charles Rodrigues’ GAY CHORUS DEEP SOUTH opening the film festival, and Nick Zeig-Owens’ TRIXIE MATTEL: MOVING PARTS, chosen as the Closing Night selection. aGLIFF, Austin’s longest running film festival, will showcase 28 feature-length films (15 narrative, 13 documentary), and 56 short films (50 narrative, 6 documentary), offer 28 Southwest premieres among its official selections, celebrate the careers of 3 beloved honorees (previously announced), bring back some favorites for encore screenings, and surprise Austin with another highly anticipated Secret Screening. aGLIFF screens exclusively at Alamo Drafthouse Lamar (1120 S. Lamar Blvd.) in Austin, Texas on August 22-25.
aGLIFF Artistic Director Jim Brunzell, said, “aGLIFF has always had a strong ‘familial’ quality to it, with filmmakers making films that address subjects and issues we all deal with, or touch emotions that reach everyone – not just those under the LGBTQ+ umbrella. This year’s edition once again exemplifies that feeling, and our honoree lineup highlights the quality of the filmmakers we have been fortunate to have at aGLIFF, as well as simply enjoy and appreciate their work on the big screen. This is a film festival where the filmmakers – from features to shorts, narrative to docs, and everything in between – truly support each other and seem to return year-after-year to touch base and screen new works for the film-going and the filmmaking community here in Austin and Texas.”
With the members of Austin’s Gay Men’s Chorus in attendance, Rodrigues’ GAY CHORUS DEEP SOUTH will open aGLIFF on Thursday, August 22. The film follows the San Francisco Gay Men’s Chorus’s tour of American Deep South churches and concert halls against the backdrop of the 2016 election aftermath and continued attacks on the rights of LGBTQ+. Along the way, they tackle complex issues, including gender expectations, disparity within the community for POC individuals, and the challenges faced by transgender people. And, in the process, the choir even learns to reconsider some of their preconceived notions about life in the South.
Zeig-Owens’ TRIXIE MATTEL: MOVING PARTS will serve as the Closing Night selection on Sunday, August 25. The film profiles the drag superstar, shining a spotlight on her unique makeup, her country folk musical talents, her comedy web series UNHhhh, and her two memorable runs on RuPaul’s Drag Race. The film follows the performer/personality after her win on RuPaul’s Drag Race All Stars, as she begins a tour to promote her new album and to engage with friends. As her star rises, the world around her becomes heightened and intense, with fans clamoring for her attention while her comedic partner suffers from a mental health breakdown. Director Nick Zeig-Owens will be in attendance and participate in a post-screening Q&A.
Previously announced, LGBTQ+ film and television veterans Rose Troche and Jim Fall will both receive aGLIFF’s Tribute Award, joining Lisa Donato, who will be honored as this year’s aGLIFF Breakthrough Award recipient. Fall will be presented with his Tribute Award prior to a 20th Anniversary screening of TRICK on Saturday, August 24, and Troche will receive her Tribute Award prior to a 25th Anniversary screening of GO FISH, on Sunday, August 25. aGLIFF will also present a rare screening of Troche’s film, BEDROOMS AND HALLWAYS (1998). Donato’s aGLIFF Breakthrough Award presentation will take place on Friday, August 23. The presentation will feature select screenings of her short films, including FOXY TROT, THE NEWS TODAY, SPUNKLE, and THERE YOU ARE, as well as select clips from SIGNATURE MOVE, which she co-wrote, and her upcoming feature directorial debut GOSSAMER FOLDS.
This year’s Narrative Feature Film Competition will include; Santiago Loza’s BRIEF STORY FROM THE GREEN PLANET, about a transgender woman, reeling from the grief of losing the woman who raised her, her grandmother, finds out her former caretaker had been hiding an extraterrestrial being in her basement for many years; Lisa Zi Ziang’s directorial debut, A DOG BARKING AT THE MOON, about a Chinese family struggling to cope with the secret of a father’s barely-hidden homosexuality; Swarnavel Eswaran’s CATAMARAN (KATTUMARUM) which revolves around the Tsunami-affected lives of a middle-aged man, who is now taking care of his orphaned niece Anandhi, who, while trying to arrange a groom for his niece, discovers she is a lesbian; Cedric Le Gallo, and Maxime Govare’s THE SHINY SHRIMPS, which follows the learning curve of a champion Olympic swimmer, who is forced to become the reluctant coach a flamboyant and outrageous water polo team in training for the Gay Games in Croatia after publicly utter a homophobic slur; James Sweeney’s STRAIGHT UP, about a (probably) gay man and a straight woman trying to become a couple following his string of dating failures; and Neelu Bhuman’s TRANSFINITE,  a sci-fi omnibus feature film composed of seven standalone magical realistic short stories where supernatural trans and queer people from various cultures use their powers to protect, love, teach, fight and thrive.
The Documentary Competition includes; Megan Rossman’s THE ARCHIVETTES, about the women who co-founded the Lesbian Herstory Archives, the world’s largest collection of materials by and about lesbians; Michael Barnette’s CHANGING THE GAME, which follows the lives of three transgender high school athletes, each of who lives in different parts of the US, and who are on different parts of their athletic and transition journeys; Caroline Berler’s DYKES, CAMERA, ACTION!, which takes a look at the history of lesbian filmmaking and lesbian depictions onscreen; Daniel Karslake’s FOR THEY KNOW NOW WHAT THEY DO, which examines the efforts by politicians and religious conservatives to retract the human rights of America’s LGBTQ citizens under the guise of religious freedom by looking at four American families caught in the crosshairs of scripture, sexuality, and identity; Gabrielle Zilkha’s QUEERING THE SCRIPT, a sparkling celebration of queer fangirls and the shows they love; Jeanie Finlay’s SEAHORSE, about a transgender man with aspirations of fatherhood, who decides to pursue biological paternity by carrying his child to term himself; and Isabelle Dupuis, and Timothy Geraghty’s THE UNICORN, which is a feature length documentary about outsider musician Peter Grudzien, the one-man musical force behind The Unicorn, possibly the first gay country album.
Additional highlights include aGLIFF encores of Tracy Frazier’s BECOMING LESLIE, the hit SXSW documentary about a cross-dressing, homeless man named Leslie Cochran, one of the most beloved yet polarizing cult figures of Austin, Texas, and Alex Thompson’s SAINT FRANCES, about a woman who becomes a reluctant nanny to the daughter of lesbian parents. The film was a winner of SXSW’s 2019 Audience Award & a Special Jury Recognition for “Breakthrough Voice.” Brad Michael Elmore’s BIT stars Supergirl’s Natalie Maines as a trans teen being seduced by an alluring group of glamorous vampires – with Maines scheduled to attend aGLIFF. Also of note – this year’s Secret Screening selection – a perennial aGLIFF hit, has confirmed the attendance of the film’s director and special guests.
Film festival passes are on-sale now. VIP badges are $300, Film badges start at $125, and Student passes are $50. Individual Tickets are $12-$30. For more information aGLIFF, go to http://agliff.org. To purchase passes or tickets, go to: http://agliff.org/badgesandtickets/
 
The 2019 aGLIFF official selections:
OPENING NIGHT SELECTION                                           
GAY CHORUS DEEP SOUTH                                              
Director: David Charles Rodrigues
Country: USA, Running Time: 98 min
In the wake of the 2016 election and a series of attacks against LGBTQ+ liberties in the American south, the San Francisco Gay Men’s Chorus decides that their best weapon against hatred is their music. GAY CHORUS DEEP SOUTH documents their tour of American Deep South churches and concert halls and plays like a beautiful song of love and tolerance for trying times. Along the way, they tackle complex LGBTQ+ issues, including gender expectations, disparity within the community for POC individuals, and the challenges faced by transgender people. And, in the process, the choir even learns to reconsider some of their preconceived notions about life in the South. Featuring touching music and beautiful cinematography, GAY CHORUS DEEP SOUTH is the perfect booster shot of hope, optimism, and understanding.
CLOSING NIGHT SELECTION
TRIXIE MATTEL: MOVING PARTS              
Director: Nick Zeig-Owens
Country: USA, Running Time: 90 min
Her unique makeup, her sincere country folk musical talents, her hilarious comedy web series ‘UNHhhh,’ and her two memorable runs on RuPaul’s Drag Race: all of these things shape Trixie Mattel into the drag superstar that she is today. Following her win on RuPaul’s Drag Race All Stars, Trixie begins a tour to promote her new album and to engage with friends. As her star rises, the world around her becomes heightened and intense, with fans clamoring for her attention while her comedic partner suffers from a mental health breakdown. The true charm of Trixie Mattel lies in watching such a buoyant yet surprisingly grounded performer navigate the strange world of drag entertainment with a smile on her face and a song in her heart.
NARRATIVE FILM COMPETITION
 
A BRIEF STORY FROM THE GREEN PLANET
Director: Santiago Loza
Countries: Argentina/Germany/Brazil/Spain, Running Time: 74 min
Tania, a transgender woman, reeling from the grief of losing the woman who raised her, her grandmother, finds out her former caretaker had been hiding an extraterrestrial being in her basement for many years. Tania and her friends begin a journey across Argentina to return the being to the place where Tania’s grandmother believed the entity landed. As the group travels, their world and emotional states become increasingly heightened and more unrealistic with little explanation. Directed by Santiago Loza, one of the most interesting aspects of Brief Story is the way science-fiction and magical realism blend to focus on emotional growth amongst trans and queer identity. This feature won the Teddy Award for Best LGBTQ-themed feature at the 2019 Berlin Film Festival. Fantastical and gorgeous, this work is sure to spark conversation about the types of narratives and stories we can tell with and about LGBTQ+ characters.
A DOG BARKING AT THE MOON
Director: Lisa Zi Ziang
Countries: China/Spain, Running Time: 107 min
In this emotional debut, writer/director Lisa Zi Ziang explores different points in the lives of a Chinese family as they struggle to cope with the secret of a father’s barely-hidden homosexuality, a mother’s indoctrination into a cult, and a daughter’s resentment towards both her parents. As the non-linear story comes together, each character becomes more difficult to understand as new information recasts events in both the past and present in different lights. A Golden Teddy Jury Award-winner at this year’s Berlin Film Festival about cultural taboo, heteronormativity, and the emotionally difficult bonds held in family, this feature offers compassion to each character to depict a family in constant crisis because of the expectations of others.
CATAMARAN (KATTUMARAM)                              
Director: Swarnavel Eswaran
Country: India, Running Time: 72 min
CATAMARAN revolves around the Tsunami-affected lives of the middle-aged Singaram, who is now taking care of his orphaned niece Anandhi, who is a teacher, and nephew Mani, who are the children of his elder and younger sisters, respectively. As the fisherman Singaram works hard to provide for his family, he also tries to arrange a groom for his niece, who rejects the many alliances he suggests. Once on an impulse, when he proposes to his niece, she is shocked. Singaram soon comes to know that she is in love with a fellow female teacher, Kavita. As Singaram comes to terms with his niece’s sexual orientation, he is ostracized by his community because of her sexual transgression. The patriarchal Singaram’s ego is deflated, and he empathizes with the plight of the village barber, the transwoman Alankaram.
THE SHINY SHRIMPS                                                           Southwest Premiere             
Directors: Cedric Le Gallo, Maxime Govare
Country: France, Running Time: 100 min
When champion Olympic swimmer, Matthias utters a homophobic slur on national television, he is forced to become the reluctant coach of the Shiny Shrimps, a flamboyant and outrageous water polo team in training for the Gay Games in Croatia. Part road-trip saga, part inspirational sports movie, and part celebration of athletes who come in all levels of fabulosity, this dizzy and fizzy comedy reminds us that we’re all in the same pool, just trying to stay afloat.
STRAIGHT UP                                                                       Southwest Premiere
Director: James Sweeney
Country: USA, Running Time: 95 min
Meet Todd. Favorite film: LEGALLY BLONDE. Strong opinions about decorative pillows. Dislikes bodily fluids. Currently experiencing a sexual identity crisis. Having still not met his soul mate while dating men and fearing he’ll spend his life alone, Todd throws himself into the heterosexual dating pool. Enter Rory. Aspiring actress. Hates cats. Biting wit and a great vocabulary. An intellectual match made in heaven! But can a (probably) gay man and a straight woman add up to a truly happy couple? Quick-witted (and with even quicker dialogue) and with an excellent cast that includes How to Get Away with Murder’s Katie Findlay as Rory, Tracie Thoms (Rent), Randall Park (Fresh Off the Boat), Betsy Brandt (Breaking Bad), and Brendan Scannell (Bonding), “Straight Up” channels the spirit of a Nora Ephron romantic comedy while shaking up the genre’s tropes and staples in the process.
TRANSFINITE                                                                        Southwest Premiere
Director: Neelu Bhuman
Countries: India/UK/USA, Running Time: 70 min
TRANSFINITE is a sci-fi omnibus feature film composed of seven standalone magical realistic short stories where supernatural trans and queer people from various cultures use their powers to protect, love, teach, fight and thrive.
 
DOCUMENTARY FILM COMPETITION
 
THE ARCHIVETTES                                                              Southwest Premiere
Director: Megan Rossman
Country: USA, Running Time: 60 min
“Our history was disappearing as quickly as we were making it.” With that realization, Deborah Edel and Joan Nestle co-founded the Lesbian Herstory Archives, the world’s largest collection of materials by and about lesbians. For more than 40 years, through many of the major milestones in LGBTQ+ history, the all-volunteer organization has literally rescued history from the trash. Now the co-founders are in their mid-70s, and the group faces a number of challenges: A transfer of leadership. The rise of digital technology. A renewed call to activism in a politically charged moment. THE ARCHIVETTES is a documentary film that explores how this group came together to combat lesbian invisibility and create “a place that says yes.”
CHANGING THE GAME
Director: Michael Barnette
Country: UK, Running Time: 90 min
Following the lives of three transgender high school athletes, each of who lives in different parts of the US, and who are on different parts of their athletic and transition journeys, CHANGING THE GAME explores the challenges faced and perseverance demonstrated by trans athletes. In a world that forces them to push harder than their cisgender teammates and opponents to overcome discriminatory policies and verbally abusive spectators, these athletes show their courage and their resilience every time they step on to the field.
DYKES, CAMERA, ACTION!
Director: Caroline Berler
Country: Canada, Running Time: 60 min
Lesbians didn’t always get to see themselves on screen. But between Stonewall, the feminist movement, and the experimental cinema of the 1970s, they built visibility, and transformed the social imagination about queerness. Filmmakers Barbara Hammer, Su Friedrich, Rose Troche, Cheryl Dunye, Yoruba Richen, Desiree Akhavan, Vicky Du, film critic B. Ruby Rich, Jenni Olson, and others share moving and often hilarious stories from their lives and discuss how they’ve expressed queer identity through film. DYKES, CAMERA, ACTION! is a history of queer cinema from the women who made it happen.
FOR THEY KNOW NOW WHAT THEY DO
Director: Daniel Karslake
Countries: Germany/USA, Running Time: 90 min
When the Supreme Court legalized marriage equality across the nation in 2015, many assumed that the fight for LGBTQ rights was won. But politicians and religious conservatives launched a state-by-state campaign to retract the human rights of America’s LGBTQ citizens under the guise of religious freedom. Introducing four American families caught in the crosshairs of scripture, sexuality, and identity, this documentary weaves together clips from the national news and the church pulpit, alongside family photos and intimate testimonies to show the undeniable connection between the personal and the political. These individual experiences of rejection and validation, tragedy and triumph include Ryan Robertson, who was encouraged by his Christian family to attend conversion therapy; Sarah McBride, the transgender student body president who went on to work at the White House; Vico Báez Febo, whose Catholic grandmother locked him out of the house when a neighbor outed him; and Elliot Porcher, a young trans man who endured self-harm before his parents’ acceptance enabled him to come to terms with his gender.
QUEERING THE SCRIPT                                          
Director: Gabrielle Zilkha
Country: Canada, Running Time: 90 min
“I learned about myself through this show. I saw myself in this character,” explains an enthusiastic fan in QUEERING THE SCRIPT, a sparkling celebration of queer fangirls and the shows they love. Queerness on television has moved from subtext in series such as “Xena: Warrior Princess,” to all-out multi season relationships between women, as seen on “Buffy the Vampire Slayer,” “Lost Girl,” and “Carmilla.” But things still aren’t perfect. In 2016, a record number of queer women died on fictional shows, which broke the hearts of queer fans and launched a successful fight for better, more diverse LGTBQ2S+ representation. Stars such as Ilene Chaiken, Stephanie Beatriz, Lucy Lawless and Angelica Ross join with the voices of numerous kickass fangirls in this fast-paced history of queer women’s representation of contemporary television.
SEAHORSE
Director: Jeanie Finlay
Country: UK, Running Time: 89 min
When Freddy, a transgender man with aspirations of fatherhood, decides to pursue biological paternity by carrying his child to term himself, he is faced with several unique obstacles. During his journey to parenthood, he has to come to grip with how he defines himself, how society views biological childbirth for transgender people, and how the loved ones in his life have their own hang ups with their views on parenthood and gender roles. This touching and nuanced documentary by director Jeanie Finlay (“Game of Thrones: The Last Watch”) tackles head-on the frustrations, the anxiety, and ultimately, the joy that Freddy experiences on the road to conceiving and giving birth to his child.
THE UNICORN
Directors: Isabelle Dupuis, Timothy Geraghty
Country: USA, Running Time: 92 min
THE UNICORN is a feature length documentary about outsider musician Peter Grudzien, the one-man musical force behind The Unicorn, possibly the first gay country album. But country doesn’t begin to describe the dizzying range of music included on this 1974 album. Peter composed, performed and recorded The Unicorn entirely in his childhood home in Queens, NY. He sold the 500 pressed copies out of a suitcase on the streets of New York. “The Unicorn” also follows Peter as he navigates mental illness and the chaos of his family to ultimately find refuge in the creative world of music. “The Unicorn” won Best International Competition at the prestigious Buenos Aires International Festival of Independent Cinema (BAFICI) earlier, this year.
RETROSPECTIVE AND ANNIVERSARY FILMS
 
BEDROOMS & HALLWAYS (1998)
Director: Rose Troche
Country: UK, Running Time: 92 min
A lonely young gay man joins a self-help group after a friend urges him to improve his social life. There he meets an Irishman who has just come out of a long-term relationship, and they discover that the Irishman’s ex-partner was the high school love of the lonely man. The two men soon find themselves drawn to one another. Written by Robert Farrar, the film stars Kevin McKidd, James Purefoy, Tom Hollander, Julie Graham, Simon Callow and Hugo Weaving.
 
GO FISH (1994) 25th anniversary
Director: Rose Troche
Country: USA, Running Time: 84 min
Shot in tactile black-and-white, Rose Troche’s sweet and sexy low-budget indie smash stars Guinevere Turner as Max, a Chicago student who comes out of a long dry spell to chance on a date with Ely (V.S. Brodie), who, as it turns out, isn’t exactly on the market. Along with sustaining the suspense of when and where these two will finally tumble into bed, Troche crafts a comedy of manners which knowingly documents the mating rituals of the queer world.
TOUNGES UNTIED (1989) 30th anniversary
Director: Marlon T. Riggs
Country: USA, Running Time: 55 min
The seminal documentary on Black gay life, Emmy Award-winning director Marlon T. Riggs’ 1989 TONGUES UNTIED uses poetry, personal testimony, rap and performance (featuring poet Essex Hemphill and others), to describe the homophobia and racism that confront Black gay men. The stories are fierce examples of homophobia and racism: the man refused entry to a gay bar because of his color; the college student left bleeding on the sidewalk after a gay-bashing; the loneliness and isolation of the drag queen. Yet they also affirm the black gay male experience: protest marches, smoky bars, “snap diva,” humorous “musicology” and Vogue dancers.
TRICK (1999) 20th Anniversary
Director: Jim Fall
Country: USA, Running Time: 89 min
TRICK follows the misadventures of two young gay men, trying to find a place to hook-up, one night in 1990’s Manhattan. It’s lust at first sight when Gabriel (Christian Campbell), an aspiring Broadway musical writer, meets Mark (John Paul Pitoc), a sexy go-go dancer. After picking each other up on the subway, the duo spends the rest of the night trying to be alone, only to have their plans thwarted at every turn. There’s Gabriel’s annoying best friend Katherine (Tori Spelling), his selfish roommate Rich (Brad Beyer), the piano-bar crooner Perry (Steve Hayes), and a jealous drag queen (Clinton Leupp as Miss Coco Peru). Although they encounter several mishaps in a wild night that leaves the pair physically unsatisfied, when the sun rises, so does the possibility of a budding relationship.
Lisa Donato Breakthrough Artist Award Presentation
 
FOXY TROT (2018)
Director: Lisa Donato
Country: USA, Running Time: 15 min
THE NEWS TODAY (2017)
Director: Lisa Donato
Country: USA, Running Time: 12 min
SPUNKLE (2016)
Director: Lisa Donato
Country: USA, Running Time: 13 min
THERE YOU ARE (2019)
Director: Lisa Donato
Country: USA, Running Time: 17 min
aGLIFF ENCORES
 
BECOMING LESLIE
Director: Tracy Frazier
Country: USA, Running Time: 84 min
BECOMING LESLIE chronicles life on the streets as seen through the eyes of a cross-dressing, homeless man named Leslie Cochran, one of the most beloved yet polarizing cult figures of Austin, Texas. Told with unapologetic humor, Leslie’s bizarre meteoric rise to iconic status is starkly contrasted with living life on his own terms in a changing world. After selling out screenings at this year’s SXSW, aGLIFF is proud to bring the return of BECOMING LESLIE back for an encore screening. (Please note, the 2019 Awards Ceremony will take place before the screening.)
SAINT FRANCES
Director: Alex Thompson
Country: USA, Running Time: 98 min
After her decision to end an unwanted pregnancy, 34-year-old Bridget reluctantly agrees to nanny the bright and rambunctious Frances, forming an unexpected bond with her and her affluent lesbian parents, Maya and Annie. Unaccustomed to the emotional flexibility required to be part of someone else’s family, Bridget learns to make peace with her precocious new charge as she becomes embroiled in a growing tension between the two moms. Winner of SXSW’s 2019 Audience Award & a Special Jury Recognition for “Breakthrough Voice,” aGLIFF is delighted to bring SAINT FRANCES back for an encore screening.
ADDITIONAL NARRATIVE FILMS
 
BEFORE YOU KNOW IT
Director: Hannah Pearl Utt
Country: USA, Running Time: 98 min
In this quirky Sundance favorite, director Hannah Pearl Utt (who also co-wrote and stars) infuses tenderness and complex emotion into the absurd misadventures of Rachel and Jackie, sisters living a dysfunctional life in New York City. If only Rachel didn’t have to take care of her extended family living above their small theater in Greenwich Village, maybe she could finally take a woman out on a second date. Between attempting to stage her playwright father Mel’s potential comeback production and constantly monitoring actress/hot mess Jackie, not to mention keeping an eye on Jackie’s precocious 12-year-old daughter Dodge.
BIT                                                                                          Southwest Premiere
Director: Brad Michael Elmore
Country: USA, Running Time: 90 min
As soon as she graduates from her small-town high school, trans teen Laurel (Nicole Maines) immediately sets her sights on Los Angeles. She meets a mysterious group of girls — vampires, looking to recruit her into their glamorous, alluring world, where they have complete agency over their lives. But as Laurel becomes entrenched in their ways, she begins to doubt whether she’s ready to become one of them. A pulsing soundtrack, impossibly cool style, sharp wit, and a little camp breathe life into this fresh take on blood-thirsty ladies of the night.
END OF THE CENTURY
Director: Lucio Castro
Country: Argentina, Running Time: 84 min
In his assured feature debut, director Lucio Castro uses a brief encounter between two men, Javi and Ocho, as they begin to explore the nature of sex within a complicated relationship. Shifting forward and backward in time, this narrative slowly unfolds to reveal itself to be a portrait of a relationship that looks very different with each change and the ways relationships can evolve over time. Sexy and emotionally revealing, END OF THE CENTURY questions the structures around relationships and intimacy that LGBTQ+ people have been taught, while always maintaining a focus on the connection between these Javi and Ocho as they keep finding each other in Barcelona, decades apart.
THIS IS NOT BERLIN
Director: Hari Sama
Country: Mexico, Running Time: 112 min
1986. Mexico City. Seventeen-year-old Carlos doesn’t fit in anywhere: not in his family nor with the friends he has chosen in school. But everything changes when he is invited to a mythical nightclub where he discovers the underground nightlife scene: post punk, sexual liberty, and drugs that challenges the relationship with his best friend Gera and lets him find his passion for art.
VITA & VIRGINIA
Director: Chanya Button
Countries: Ireland/UK, Running Time: 110 min
Set amidst the bohemian high society of 1920s England, VITA & VIRGINIA tells the scintillating true story of a literary love affair that fueled the imagination of one of the 20th century’s most celebrated writers. Vita Sackville-West (Gemma Arterton) is the brash, aristocratic wife of a diplomat who refuses to be constrained by her marriage, defiantly courting scandal through her affairs with women. When she meets the brilliant but troubled Virginia Woolf (Elizabeth Debicki), she is immediately attracted to the famed novelist’s eccentric genius and enigmatic allure. So begins an intense, passionate relationship marked by all-consuming desire, intellectual gamesmanship, and destructive jealousy that will leave both women profoundly transformed and inspire the writing of one of Woolf’s greatest works.
ADDITIONAL DOCUMENTARY FILMS
 
BURN THE HOUSE DOWN                                                  Southwest Premiere
Directors: Giselle Bailey, Nneka Onuorah
Country: France, Running Time: 44 min
Produced by Vice Media, BURN DOWN THE HOUSE documents the lead up to the next great Kiddy Smile (Let a Bitch Know, Be Honest) concert, with diverse, opinionated, and passionate members of Paris’ tight-knit ballroom community reflecting on issues of race, queer identity, immigrant culture, visibility, and free expression in contemporary France. The success of ballroom and figures like Smile, Ninja, Algerian lesbian Habibitch, and Afro Trap DJ Lazy Flow proves that conquering of the social labels previously used to limit them is part of the path to fierce embrace of their own fabulous power.
SID & JUDY                                                                            Southwest Premiere
Director: Stephen Kijak
Country: USA, Running Time:100 min
When Judy Garland met Sid Luft, she was at a career crossroads, having just left MGM after decades under contract. Professionally, he steered her to the Palladium, to their acclaimed remake of A STAR IS BORN, and to her legendary CBS variety show. Offstage, their tempestuous romance changed them both forever. With fascinating archival material and rousing footage of stellar Garland vocal performances, acclaimed documentarian Stephen Kijak captures the ups and downs of Sid and Judy’s singular story.
SHORTS PROGRAMS
 
DRAMATIC SHORTS
(TRT: 100 min)
INVOLUNTARY ACTIVIST                                                    Southwest Premiere
Director: Mikael Bundsen
Country: UK, Running Time: 20 min
MASKS
Director: Mahaliyah Ayla O
Country: USA, Running Time: 22 min
MILLER & SON                                                                      Southwest Premiere
Director: Asher Jelinsky
Country: USA, Running Time: 21 min
PONYBOI                                                                               Southwest Premiere
Directors: River Gallo, Sade Clacken Joseph
Country: USA, Running Time: 21 min
SKIN
Director: Audrey Rosenberg
Country: USA, Running Time: 16 min
COMEDY SHORTS
(TRT: 85 min)
ENGAGED                                                                             Southwest Premiere
Director: David Scala
Country: USA, Running Time: 17 min
GIRLS WEEKEND
Director: Kyra Sedgwick
Country: USA, Running Time: 11 min
I KNOW HER                                                                          Southwest Premiere
Director: Fawzia Mizra
Country: USA, Running Time: 3 min
MATT & DAN: ZOMBIE EX                                                   Southwest Premiere
Director: Will Gordh
Country: Canada, Running Time: 5 min
MICHAEL & MICHAEL ARE GAY: DINNER WITH STRAIGHTS
Directors: Annika Kurnick, Ian Alda                                        Southwest Premiere
Country: USA, Running Time: 9 min
SACREES NONNES
Directors: Anissa Baddiaf, Edwige Bellin Du Coteau, Lucie Fillon, Perrine Lemonnier, Zacharia Mekideche, Léa Mouraud, Armelle Roy
Country: France, Running Time: 5 min
SWEATER                                                                              Southwest Premiere
Director: Nick Borenstein
Country: USA, Running Time: 5 min
THESE THEMS                                                                      Southwest Premiere
Director: Jett Garrison
Country: USA, Running Time: 30 min
DOCUMENTARY SHORTS 
(TRT: 91 min)
A GREAT RIDE
Director: Deborah Craig
Country: USA, Running Time: 33 min
HAVE WE MET BEFORE?
Director: Oliver Mason
Country: UK, Running Time: 12 min
MACK WRESTLES
Directors: Taylor Hess, Erin Sanger
Country: USA, Running Time: 26 min
VERASPHERE: A LOVE STORY IN COSTUME
Director: Robert James                                                          Southwest Premiere
Country: USA, Running Time: 20 min
FAMILY/YOUTH SHORTS
(TRT: 83 min)
 
BLACK BUTTERFLY
Directors: Wide Angle Youth Media Video Team
Country: USA, Running Time: 5 min
BUBBLE                                                                                 Southwest Premiere
Director: Alyssa Lerner
Country: USA, Running Time: 18 min
EGGHEAD & TWINKIE                                                         World Premiere
Director: Sarah Holland
Country: USA, Running Time: 9 min
THE ONE YOU NEVER FORGET
Director: Morgan Jon Fox
Country: USA, Running Time: 8 min
OUT: A SELF PORTRAIT                                                     Southwest Premiere
Director: Danny Curley
Country: USA, Running Time: 5 min
OUT OF IT                                                                             Southwest Premiere
Director: Katy Erin
Country: USA, Running Time: 10 min
DISENGAGEMENT                                                                World Premiere
Director: Queer Youth Media Project
Country: USA, Running Time: 4 min
I’M G—-                                                                                  World Premiere
Director: Queer Youth Media Project
Country: USA, Running Time: 4 min
THE SERENADE
Director: Adelina Anthony
Country: USA, Running Time: 11 min
THIS IS A TEENAGE LOVE LETTER                                   Southwest Premiere
Director: Tessa Hill
Country: Canada, Running Time: 7 min
INTERNATIONAL SHORTS 
(TRT: 86 min)
BACCHUS
Director: Rikke Alma Krogshave Planeta
Country: Denmark, Running Time: 5 min
CLOTHES & BLOW
Director: Sam Peter Jackson
Country: UK, Running Time: 23 min
DELIVERY BOY
Director: Hugo Kenzo
Country: Hong Kong, Running Time: 15 min
LISTEN
Director: Jake Graf
Country: UK, Running Time: 4 min
OF ASKA (UR ASKA)                                                           North American Premiere
Director: Myra Sofia Hild
Country: Denmark, Running Time: 7 min
TREACLE
Director: Rosie Westhoff
Country: UK, Running Time: 18 min
VERTICAL LINES
Director: Kyle Reaume
Country: Canada, Running Time: 14 min
LATE NIGHT & SEXY SHORTS 
(TRT: 109 min)
CATCALLS
Director: Kate Dolan
Country: Ireland, Running Time: 8 min
CLEANSE                                                                               World Premiere
Director: Maggie Burger
Country: USA, Running Time: 12 min
CONVERSION THERAPIST                                                  U.S. Premiere
Director: Bears Rebecca Fonte
Country: USA, Running Time: 20 min
DOCKING
Director: Trevor Anderson
Country: Canada, Running Time: 5 min
JEREMIAH
Director: Kenya Gillespie
Country: USA, Running Time: 9 min
KIKO’S SAINTS
Director: Manuel Marmier
Country: France, Running Time: 26 min
THE SUMMER HOUSE                                                          Southwest Premiere
Director: Luke Willis
Country: USA, Running Time: 14 min
TOUCHSCREEN                                                                    Southwest Premiere
Director: Arthur Halpern
Country: USA, Running Time: 15 min
TAKE A CHANCE ON ME SHORTS 
(TRT: 82 min)
ANGEL & OPAL                                                                    Southwest Premiere
Director: Jack Truman
Country: USA, Running Time: 6 min
AUSENCIA (ENGLISH)
Director: Victor Alex Perez
Country: USA, Running Time: 4 min
DRESS UP LIKE MRS. DOUBTFIRE                                    Southwest Premiere
Director: Will Zang
Country: USA, Running Time: 12 min
MISDIRECTION
Director: Carly Usdin
Country: USA, Running Time: 13 min
MOMSTER                                                                             Southwest Premiere
Director: Drew Denny
Country: USA, Running Time: 10 min
MORE THAN HE KNOWS                                                     Southwest Premiere
Director: Chris McNeany
Country: USA, Running Time: 13 min
NEXT LEVEL SHIT                                                                Southwest Premiere
Director: Gary Jaffe
Country: USA, Running Time: 11 min
STEPDADDY
Director: Lisa Steen
Country: USA, Running Time: 8 min
TENTATRICE                                                                         North American Premiere
Directors: Kristen Boisnier, Rachel Casassus, Léa Peiranod, Joana Sacco, Marine Sailard, Bertrand Sanabria, Marion Torcheux
Country: France, Running Time: 5 min
SHORTS SCREENING PRIOR TO FEATURES
BIRTHDAY GIRL
Director: Jim Fall
Country: USA, Running Time: 6 min
BREAST FRIENDS
Director: Eleanor Rogers
Country: Ireland, Running Time: 18 min
(Screens prior to VITA & VIRGINIA)

#### Austin’s Cine Las Americas 2023 Announces Films and Events for 25th Anniversary Edition in June
 
The Austin-based Cine Las Americas International Film Festival (CLAIFF) announced the film and events lineup for next month’s 25th Anniversary edition, featuring more in-theater screenings and programs than ever before, and filmmaker awards totaling $8K in cash prizes. Taking place June 7-11, CLAIFF opens with Eva Longoria’s film festival favorite, Flamin’ Hot, and will close with Claudia Sainte-Luce comedy Amor y matemáticas (Love and Mathematics).
Cine Las Americas is set to take place at AFS Cinema (6259 Middle Fiskville Rd.), Galaxy Theatre (6700 Middle Fiskville Rd.), and Austin PBS (Clayton Lane/Wilhelmina Delco Dr.), including two days of free-to-the-public screenings at Galaxy Theatre on Saturday, 6/10 and Sunday, 6/11.
Special events include an Opening Night Celebration at AFS Cinema, a Filmmaker Happy Hour The Brewtorium and Videos Musicales at Nepantia, USA, where the audience will get to move and groove and choose the best video of the night on Friday, June 9, a grand “Happy Birthday, Cine” celebration at PBS Austin on Saturday, June 10, and then a special Closing Night Gathering to toast 25 years of Cine Las Americas at Knomad Bar.
As it has for a quarter century, Cine Las Americas will serve as one of the primary showcases in the United States for films and videos from Latin America (North, Central, South America, and the Caribbean) and the Iberian Peninsula. The film festival celebrates films and videos made by or about Latinx in the U.S. or the rest of the world, with films and videos by or about indigenous groups of the Americas also featured. CLAIFF also features inclusiveness in the programming among the films representing over 15 countries throughout Ibero-America.
The film festival was recently awarded a substantial Thrive Grant, which supports and develops arts organizations and cultural institutions that are deeply rooted in and reflective of those key constituencies within the city of Austin.
This year’s CLAIFF competition slate features new voices in Latin cinema while the Showcase films feature works from established filmmakers representing over 24 nations, the largest number of countries ever represented in the film festival. For the first time in Cine Las Americas’ history, all films in the narrative competition are directed by women and 2 out of the 3 documentary competition films are directed by women. Another first taking place during this year’s edition is the fact that both the Opening and Closing night selections are directed by women.
Cine Las Americas Board of Directors President John Estrada, said, “In a city like Austin which is home to multiple nationally recognized film festivals, the fact that we are one of those pillars of film festival exhibition standing side-by-side with them as we celebrate 25 years of being a major platforming the states for films from Latin America and the Iberian Peninsula is truly something to celebrate.”
CLAIFF Lead Programmer Ernie Quiroz, added, “We are thrilled that this year’s 25th anniversary edition is all the more special due to it being such a thoroughly female filmmaker-dominated lineup. This year’s group of films also is incredibly exciting with a strong current of thrillers and illuminating documentaries running throughout it. Our audiences are in for several great nights at the movie theater!”
Opening Night will feature Eva Longoria’s Flamin’ Hot. The film, which returns to Austin after its successful debut earlier in the year at SXSW, is based on the inspiring true story of the Frito-Lay custodian who utilized his knowledge of his Mexican American heritage and community to thwart corporate saboteurs and turn Flamin’ Hot Cheetos into the iconic global pop culture phenomenon we all know and love. On Closing Night, Claudia Sainte-Luce comedy Amor y matemáticas (Love and Mathematics). A movie that looks at the attempt to regain something lost during your life while reinventing yourself, the Mexican comedy follows a former teenage star-turned suburbanite who, once was a member of a beloved boy band, but is now a less than satisfied middle-aged married man and father of an infant son. He’s all but laughed at by those to whom he pitches his ideas and music now, until a chance meeting with a neighbor who is a superfan of his old band might spark a chance for his dried-up career to flourish again.
CLAIFF Showcase films includes Ariel Escalante Meza’s Domingo y la niebla (Domingo and the Mist). The Costa Rica entry for the Academy Awards follows a widower who owns a piece of land which is coveted to build a new highway. After all his neighbors leave due to intimidation by thugs, he stays, knowing the land hides a special and mystical secret. Matías Bize’s thriller El Castigo (The Punishment) focuses on a couple’s crisis playing out in real time as they search for their missing 7-year-old son, who they had left by the side of the road near a forest as punishment. Teodora Ana Mihai’s thriller La Civil won the Un Certain Regard Prize of Courage at the Cannes Film Festival. The film traces the transformation of a housewife and mom into a vengeful militant as she deals with kidnappers in Northern Mexico who have taken her daughter. Marcelo Gomes’ Paloma centers on a farm worker and transgender woman who fights back against a local priest’s prejudice to fulfill her most cherished dream: a traditional wedding in a church with her boyfriend.
Among the narrative feature films in competition are Marie Clements’ drama Bones of Crows about a Cree code talker’s efforts to survive her traumatic past in Canada’s school system to continue her family’s fight against systemic starvation, racism, and sexual abuse; Clara Cullen’s Manuela, about a Latina nanny with a dubious history, finds an unlikely connection with the defiant two-year-old she’s hired to look after. When the child’s mother goes missing, Manuela is faced with an impossible decision. Lorena Padilla’s dramedy Martínez follows the title character, a man forced to retire after 40 years, who must train his goofball replacement under the eye of his office frenemy. Meanwhile, the death of a neighbor he barely knew throws his life into more upheaval and pushes him out of his long-held apathy.
Documentary feature-length films in competition are; Bernardo Ruiz’ El Equipo (The Team), about the unlikely meeting of legendary forensic scientist Clyde Snow and a group of Argentinean students during Argentina’s dictatorship that grew into a groundbreaking force in the global movement for truth and justice; Gisela Delgadillo’s Kenya delivers a raw and deeply affecting portrait of a trans woman and an insider’s view of the impact that violence has on the community, and how complex life is for them. The film begins shortly after Kenya witnesses her friend Paola being murdered by a client and follows her journey as she approaches her friend’s loved ones and then embarks on a lengthy battle for justice, backed up by her “sisters.” Miwene: Reclaiming the Amazon, directed by Keith Heyward, Jennifer Berglund, Gange Anita Yeti Enomenga, and Obe Beatriz Nenquimo Nihua, filmed over the course of 11 years, as a young Waorani woman living deep within the Amazon rainforest makes the transition from a quiet teenager into a confident young mother at a critical turning point for her culture and the rainforest itself.
Once again, CLAIFF will present the Femme Frontera Filmmaker Showcase, which shares stories of beautiful, haunting, and hopeful tales from the U.S.- Mexico border, Mexico, Taiwan, India, and the United States. Once again, the popular Emergencia celebration of young filmmakers on the rise and their variety of works will shine a light on films made by filmmakers 19 and under. This series of short films compliments the film festival’s ongoing mission of promoting cross-cultural understanding by expanding the regions of the country that are represented in this year’s programs, and foregrounding youth and educator voices in support of inclusive and culturally responsive educational opportunities for all. Cine Las Americas’ signature programming track, “Hecho en Tejas,” supported by HEB (one of the premiere sponsors for the film festival), which showcases local filmmaking talent with varied backgrounds via films and videos shot and/or produced in Texas, also returns with a series of inspired shorts. The presentation will take place at the Austin PBS studios with a reception and Red Carpet entrances on Saturday, June 10.
Cine Las Americas is supported by the National Endowment for the Arts, Texas Commission on the Arts, and the Cultural Arts Division of the City of Austin Economic Department.
Early Bird Badges are available through May 17 for $90 (following that date, $125). For more information about Cine Las Americas, visit https://cinelasamericas.org/.
 
2023 Cine Las Americas Official Selections
 
OPENING NIGHT SELECTION
Flamin’ Hot
Director: Eva Longoria
Country: United States; Running Time: 99 min
Flamin’ Hot is the inspiring true story of Richard Montañez (Jesse Garcia) who as a Frito-Lay janitor disrupted the food industry by channeling his Mexican American heritage to turn Flamin’ Hot Cheetos from a snack into an iconic global pop culture phenomenon.
CLOSING NIGHT SELECTION
Amor y matemáticas (Love and Mathematics)
Director: Claudia Sainte-Luce
Country: Mexico; Running Time: 85 min
Having known fame as a former boy band member, Billy now lives a monotonous existence as a married man in a suburban Mexican city. Yet, an encounter with an ex-fan will make him confront his life decisions.
SHOWCASE: NARRATIVE FEATURES
Chile ‘76
Director: Manuela Martelli
Countries: Chile/Argentina/Qatar; Running Time: 95 min
Chile, 1976. Carmen heads off to her beach house. When the family priest asks her to take care of a young man he is sheltering in secret, Carmen steps onto unexplored territories, away from the quiet life she is used to.
Domingo y la niebla (Domingo and the Mist)
Director: Ariel Escalante Meza
Countries: Costa Rica/Qatar; Running Time: 92 min
In the tropical mountains of Costa Rica, widower Domingo owns a piece of land which is coveted to build a new highway. When the contractors send in thugs to intimidate the community, the neighbors leave one by one, but Domingo refuses to give in, especially as the land hides a special and mystical secret.
El Castigo (The Punishment)
Director: Matías Bize
Countries: Chile/Argentina; Running Time: 85 min
Ana is driving, her face serious and angry. Mateo, her husband, asks her to turn around, returning to the place in the forest where they have left their 7-year-old son. It’s only been two minutes, but he’s gone.
Finde
Director: Nano Garay Santaló
Country: Argentina; Running Time: 85 min
Agos and Santi are stressed due to the pandemic and decide to rent a country house for a weekend. Upon arrival, the hosts inform them they will remain in the house and will treat them like a five-star hotel would do, but they’re hiding other intentions.
Girasoles silvestres (Wild Flowers)
Director: Jaime Rosales
Country: Spain; Running Time: 107 min
Julia, age 22 and mother of two children, falls in love with Óscar. They start an intense and tortuous relationship full of ups and downs. Soon, Julia begins to doubt Óscar’s suitability as a male role model for her children. A violent incident will lead Julia to leave Óscar and look for a better future.
La civil
Director: Teodora Ana Mihai
Countries: Mexico/Belgium/Romania; Running Time: 145 min
Cielo’s teenage daughter, Laura, is kidnapped in Northern Mexico. Despite paying several ransoms, Laura is not returned. When the authorities offer no support in the search, Cielo takes matters into her own hands and transforms from housewife into vengeful militant.
La hija de todas las rabias (Daughter of Rage)
Director: Laura Baumeister
Countries: Nicaragua/Mexico/Netherlands/Germany/France/Norway; Running Time: 87 min
Nicaragua, today. 11-year-old Maria lives with her mother Lilibeth at the edge of a garbage dump. Their future depends on selling a litter of purebred puppies to a local thug. When the deal falls through, Lilibeth must go to the city and drops Maria off at a recycling center where she must stay and work. But days pass and she doesn’t return. Maria feels lost, bewildered, and angry. One night, Maria meets Tadeo, an imaginative new friend who is determined to help her to reunite with her mother.
La jauría
Director: Andrés Ramírez Pulido
Countries: Colombia/France; Running Time: 86 min
Eliú, a country boy, is incarcerated in an experimental young offenders institution, deep in the heart of the Colombian tropical forest, for a crime he committed with his friend El Mono. Every day, the teenagers perform hard manual labour and endure intense group therapy, under the menacing gaze of the camp guard Godoy. One day, El Mono is transferred to the same center and with him comes the past that Eliú is trying to escape.
Land of Gold
Director: Nardeep Khurmi
Country: United States; Running Time: 105 min
When Kiran Singh (Nardeep Khurmi), a 1st Gen Punjabi-American truck driver and expectant father, hears pounding coming from inside his truck’s trailer, he finds Elena (Caroline Valencia), a young Mexican American girl stowed away onboard. Kiran’s already tumultuous life takes a drastic turn as he seeks to reunite her with her family. As the pair ride across the changing American landscape, Kiran faces what it means to be a father while Elena learns how to trust again. They connect through family, dreams of the future, and a healthy debate over God’s existence, all while the ghosts of the past, racially charged encounters, and the threat of I.C.E. linger over their journey.
No quiero ser polvo (I Don’t Want to be Dust)
Director: Iván Löwenberg
Countries: Mexico/Argentina; Running Time: 85 min
Bego decided to decline her life plans to attend to household duties. She lives bored and afraid of being inconsequential, but this may change when the meditation group she attends announces a great cataclysm: 3 days of darkness.
Nuestros días más felices (Our Happiest Days)
Director: Sol Berruezo Pichon-Rivière
Country: Argentina; Running Time: 100 min
Agatha (74) and Leonidas (36) maintain an absorbing mother-son relationship: Agatha never fell in love again and Leonidas does not dare to build a life outside the doors of the family home. One day, Agatha suddenly wakes up in the body of a little girl: as herself, but at the age of seven. The only possible solution after having cut off all ties with the outside world for fear of giving explanations, will be to call Elisa (38), Agatha’s eldest daughter, who despite having become independent a long time ago, will return to the family home to repair wounds that remain open.
Paloma
Director: Marcelo Gomes
Countries: Brazil/Portugal; Running Time: 104 min
On a hot summer day, Paloma decides to fulfill her most cherished dream: a traditional wedding in a church with her boyfriend Zé. She is a devoted mother, a hard-working farmhand in a papaya plantation and has been saving to afford the celebration. The priest’s refusal to marry her and Zé will force Paloma to confront the rural society. She suffers violence, betrayal, prejudice, and injustice but nothing shakes the faith and determination of this transgender woman.
SHOWCASE – DOCUMENTARY FEATURES
The Illusion of Abundance
Directors: Erika Gonzalez Ramirez, Matthieu Lietaert
Countries: Colombia/Honduras/Peru/Belgium/Brazil/Germany/Indigenous; Running Time: 60 min
Three Latin American women share a common goal: Carolina, Bertha and Maxima are leading today’s environmental fight against modern conquistadors. Whereas governments and corporations, trapped in a global race towards unlimited growth, need to get the cheapest raw materials, these three women tell us a story of tireless courage: how to keep fighting to protect nature when your life is at risk? When police repression, corporate harassment, injuries or even death threats are part of your daily routine?
NARRATIVE FEATURES – COMPETITION
Bones of Crows
Director: Marie Clements
Country: Canada; Running Time: 129 min
Removed from their family home and forced into Canada’s residential school system, Cree musical prodigy Aline and her siblings are plunged into a struggle for survival. Bones of Crows is Aline’s journey from child to matriarch, a moving multi-generational epic of resilience, survival, and the pursuit of justice.
Manuela
Director: Clara Cullen
Countries: Argentina/United States; Running Time: 90 min
Manuela, a Latin American immigrant, walks through the empty streets of Los Angeles, scouring the area for work. Manuela arrives at a job interview at a large house in an affluent neighborhood. She’s greeted by a cold businesswoman looking for a nanny for her daughter, Alma. After getting the job, Manuela meets Alma, who is initially resistant to her. Alma’s mother, Ellen, is never around. She occasionally talks to them through the security camera. While Ellen is gone on a business trip, Manuela, and Alma swim in the pool, clean the house, and form a maternal bond. The days go by, and they still haven’t heard from Ellen. Manuela takes on more and more of a motherly role, even wearing Ellen’s clothes. One day, she learns that her entire world as she knows it has just changed and she must make a huge decision.
Martínez
Director: Lorena Padilla
Country: Mexico; Running Time: 93 min
Martinez, a lonely accountant who really prizes his daily monotony, is pushed by his hierarchy to retire. While his life stability is threatened, his neighbor, a woman of his age, is found dead in her home after several days. Although he has never met her, her death will make him realize that his life is still ahead of him.
DOCUMENTARY FEATURES – COMPETITION
El Equipo (The Team)
Director: Bernardo Ruiz
Countries: Argentina/Mexico/United States; Running Time: 81 min
In 1984, an unlikely meeting between Dr. Clyde Snow, a legendary American forensic scientist, and a group of Argentine students would ultimately change the course of forensic science and human rights forever.
Kenya
Director: Gisela Delgadillo
Country: Mexico; Running Time: 90 min
After witnessing the murder of her friend, Kenya, a trans woman and sex worker, embarks on a path of struggle and search for justice that leads her to face the fear and pain of seeing herself reflected in that tragic ending.
Miwene: Reclaiming the Amazon
Directors: Keith Heyward, Jennifer Berglund, Gange Anita Yeti Enomenga, Obe Beatriz Nenquimo Nihua
Country: Ecuador; Running Time: 106 min
Steeped in the long oral tradition of Waorani storytelling, Gange Yeti shares her own coming-of-age story as a young Waorani woman living deep within the Amazon rainforest. Following Gange and her community for over 11 years, the film captures her transition from a quiet teenager into a confident young mother at a critical turning point for her culture and rainforest. As the granddaughter of one of the last Waorani elders who lived in complete isolation before outside contact, Gange is determined to capture her grandmother’s unique experience while she still can – balancing school, motherhood, and tradition along the way.
NARRATIVE SHORTS – COMPETITION
La Torta
Director: Carlos Novella
Country: Venezuela; Running Time: 19 min
A confectioner prepares the cake for a party to which she hopes to be invited.
Llueven las flores, los piratas y el tesoro de la bruja
Director: Faustino Alanís
Country: Mexico; Running Time: 17 min
Cat, Pin and Matchstick, three children who live in a tenement, spend their days imagining a fantastic world to escape the violence and monsters that haunt them.
Naquele Dia Escuro
Director: Daniel Guarda
Country: Brazil; Running Time: 30 min
Fabio is a young trans man mourning the end of a love affair. Louise is ill and away from her family. Amid a polarized and bigoted society, he is her caregiver while she becomes his rock. Now they have each other to learn to say goodbye.
Una Eva Más
Director: Daniela Hernández
Countries: Chile/Venezuela; Running Time: 21 min
Eva migrates to Santiago chasing the dream of being an actress, and among all the prospects of the city, she will need more than luck to make it.
Votamos
Director: Santiago Requejo
Country: Spain; Running Time: 13 min
What begins as an ordinary board in a traditional apartment building to vote on the renewal of the elevator, turns into an unexpected debate about the limits of pacific coexistence.
DOCUMENTARY SHORTS – COMPETITION
El Ojo Comienza En La Mano (The Eye Begins in the Hand)
Director: Yehuda Sharim
Country: United States; Running Time: 16 min
El Ojo Comienza En La Mano is a tribute to campesino histories in rural CA through the artwork of an artist largely absent from critical conversations on Chicanx art, Ruben A. Sanchez, as well as an unsentimental reckoning with the fate of many cultural workers that struggle between paying rent and/or creative endeavors.
Imelda Is Not Alone
Director: Paula Heredia
Countries: El Salvador/United States; Running Time: 30 min
Imelda, an abused teenager, faces decades in prison after being accused of having an abortion. Her only hope for freedom is a citizen’s movement that dares to defend women who are persecuted under El Salvador’s total ban on abortion.
Pemón
Director: Brandon Pestano
Countries: UK/Brazil; Running Time: 15 min
Driven from his ancestral home, Juvencio Gómez fights to keep his culture, language, and stories alive.
Tres Almas en Busca de un Abrazo (Three Souls in Search of an Embrace)
Directors: Tom Donohue, Greg Shaya
Country: USA; Running Time: 15 min
Three handicapped dancers train to compete in one of the most exclusive venues, the World Tango Championship in Buenos Aires.
Who She Is
Directors: Jordan Dresser, Sophie Barksdale
Country: USA; Running Time: 38 min
Say my name and I will live forever…. Sheila. Lela. These are the women hidden within the statistics of the Missing and Murdered Indigenous Women epidemic. Meet them. See them. Say their names. They are “Who She Is”.
HECHO EN TEJAS SHORTS
A Life in Technicolor
Director: Alex Ramirez
Country: United States; Running Time: 19 min
El Gato Feo
Director: Daniel Fabelo
Country: United States; Running Time: 15 min
La Cosecha
Director: Samuel Díaz Fernández
Country: United States; Running Time: 13 min
**In Tow
Director: Sharon Arteaga
Country: United States; Running Time: 21 min
**-NOT IN COMPETITION
Raúl R Salinas and the poetry of liberation: un trip
Director: Anne Lewis, Laura Varela
Country: United States; Running Time: 25 min
Sin lágrimas para llorar
Director: Luis Fernando Puente
Country: United States; Running Time: 13 min
7TH ANNUAL FEMME FRONTERA SHOWCASE LINE-UP
Barter
Directors: Ziba Karamali, Emad Arad
A short about a family whose fundamental relationships have been replaced with a chain of anomalous ones. A film that, despite most of the well-known Iranian shorts and features, not only talks about Iran but also about a subject that involves every society.
Blue Veil
Director: Shireen Alihaji
In the wake of 9/11 and after losing her mother, Amina, a Muslim teenager, struggles with the gaze of Islamophobia from surveillance to the 24-hour news cycle until she discovers and begins sampling her mother’s record collection.
Homesick     
Director: Valeria Contreras
Homesick is a modern-day tale of two star-crossed lovers, separated by a global pandemic and the U.S.-Mexico Border. This film focuses on the love and bond that unites people and communities across borders—and the heartbreak that exists when that unity is broken.
La Bi-Vencia 
Directors: Mariana Gongora-Reyes, Analaura Cardenas
Drawing on images from a non-existent border between Santa Elena, Chihuahua, and Big Bend National Park in Texas. La Bi-vencia explores the reunion of a ghost town next to the Rio Grande that was abandoned after 9/11.
Lioness
Director: Molly E. Smith
Barricaded in a motel room, a mother’s determination and primal instincts kick in to protect her child’s innocence.
Mommyland
Director: Aijian Chen
A young woman wakes up to find herself lying on a small glowing island, an amusement park called Mommyland, exploring various rides such as a roller coaster, carousel, and distorted mirrors, which all remind her of her fears and anxieties about pregnancy.
Seeds
Directors: Morningstar Angeline, Ajuawak Kapashesit
Without parents to guide them, Loretta and Raven reflect on the love their parents modeled and the grief of their loss. While one finds catharsis in their mother’s old VHS camera the other struggles with a potential pregnancy.
Shipping Them 
Director: Ryan Rox
A non-binary day-dreamer pines for the life of the girl next door, but soon finds out the grass isn’t always greener on the other side.
PANORAMA SHORTS
Little Red Drone
Director: Michael Kirchoff
Country: USA; Running Time: 15 min
A lonely boy discovers that true friendship can be found in the most unexpected places
Alejandro Jimenez: The Ground I Stand On
Directors: Raúl Paz Pastrana, Alan Domínguez
Country: USA; Running Time: 12 min
The Ground I Stand On is a lyrical and meditative documentary short that explores the work and creative process of Alejandro Jiménez – Mexico’s 2021 Slam Poetry champion, whose life experience as a U.S. immigrant farmworker has shaped his unique vision of the power of poetry and its connection to a collective past.
Metal Belt
Director: Blackhorse Lowe
Country: USA; Running Time: 14 min
Peyote Western set in 1860’s New Mexico territory. Metal Belt recounts a story about the native slave trade in the southwest and one Navajo woman’s fight for freedom and her spiritual journey home.
Paralelos
Director: Paula Scalona
Country: Mexico; Running Time: 14 min
Gloria and Erick tell us the story of their life, a life that despite being full of obstacles and limitations, has led them to the top, reaching their goals and fulfilling their dreams. Paralelos is the untold story of what it means to be a Paralympian.
Art as Means of Breath
Director: Celi Mitidieri
Country: United States; Running Time: 6 min
The community leader and artist Yoleidy Rosario-Hernandez explores the connections between art and ancestry in the journey to find themselves.
John Leguizamo Live at Rikers
Director: Elena Francesca Engel
Country: USA; Running Time: 26min
John Leguizamo visits Rikers Island Correctional Facility to perform his one-man Broadway show Ghetto Klown for an audience of over 400 inmates. Following his performance, Leguizamo holds group discussions with justice-involved young men awaiting trial or sentencing. By sharing his personal journey of adversity and self-awareness, he encourages them to reflect openly and honestly about their own lives. This short documentary interweaves excerpts from Leguizamo’s performance and those discussions, bringing attention to the serious challenges and human side of incarceration.
EMERGENCIA – ALL AGES
Alexei Sinyavin – Speedcuber
Director: Aaron Anidjar
Country: United States; Running Time: 5 min
Better Late Than Never
Director: Estevan Evaristo Garcia
Country: United States; Running Time: 2 min
Don’t Froget
Director: Mariana McKenzie
Country: United States; Running Time: 1 min
Entre Faros No Hay Competidores (No Competition Between Lighthouses)
Director: Cira Garza
Country: United States; Running Time: 3 min
Game Night
Director: Cadence Grace Barreda
Country: United States; Running Time: 3 min
Prosperity of Tomorrow
Director: Diego Rodriguez
Country: United States; Running Time: 7 min
Spiral
Director: Isabella Wren Tealey
Country: United States; Running Time: 18 min
EMERGENCIA – 14+
Fototaxia
Director: Juan Castro
Country: Spain; Running Time: 5 min
Towerfall
Director: Bjorgvin Arnarson
Country: United States; Running Time: 9 min

#### Austin’s Cine Las Americas 2024 Announces Filmmaker Awards
The Strike
 
Austin’s Cine Las Americas announced the filmmaker award winners following the conclusion of a hugely successful 26th Anniversary edition of the Cine Las Americas International Film Festival (CLAIFF). Leading the list of films winning jury prizes were Itandehui Jansen’s Itu Ninu (Where the Cornfields Are) (Best Narrative Feature), and Juan Mejía Botero’s Igualada (Best Documentary Feature). Films taking the Audience Awards were topped by Laura González’s Milonga (Narrative Feature), JoeBill Muñoz and Lucas Guilkey’s The Strike (Documentary Feature).
Cine Las Americas Executive Director Gabriel Orneles, said, “This year’s edition of CLAIFF kicked off our next quarter century with the great films and enthusiasm from our audiences that have made us a must-see Austin event for the past 25 years. Our award winners were wonderful representatives of the films and filmmakers Cine Las Americas is known for celebrating and oftentimes introducing to audiences here. As we continue to grow, we receive reminders with each screening and interaction with our filmmakers and film fans, why this film festival has become such an important part of the cultural fabric in a city that continues to be a central hub for filmmaking here in Texas and the Southwest.”
Regarding the selection of Itandehui Jansen’s Itu Ninu (Where the Cornfields Are) for the Best Narrative Feature Jury Prize, Jury member Doug Pullen (Director of El Paso Community Foundation’s Plaza Classic Film Festival), cited the Jansen’s edgy yet contemplative sci-fi drama for its masterful imagery and inventive use of indigenous language as the only real means of communication connecting two “climate migrants” with nature and each other.
On the documentary side, the jury described Juan Mejía Botero’s Igualada as “a crucial film that can inspire audiences worldwide with the principles of justice and equality for the most vulnerable communities. The exposure and visibility given to the Afro-descendant community is a great success, given the history of inequality that permeates Latin America. The film’s subject, Colombia’s first Afro-Colombian vice-president Francia Márquez was followed for an impressive length of time. She will no doubt change the future of politics within Colombia and South America.”
Jury prize winners in the Shorts Competition included Nüll García’s Malegro Verte (Good t’see ya) (Best Narrative Short), of which the jury said, “Beautifully acted, written and directed, this film shows how a simple interaction can completely change your life in an instant.” Also chosen by the jury was Medhin Tewolde Serrano Nyanga (Best Documentary Short). Of that film, they remarked, “Nyanga is a unique and creative retelling of a slave in colonial times dreaming of escape. It is a powerful and emotional journey about the desire to be free.”
In the Hecho En Tejas Competition, Sebastian Valdivieso’s Maria took the Jury Prize, about which the jury said, “Benefitting from wonderful performances and subtle yet powerful visual storytelling, Maria reminds us of the potency and emotional complexity that great filmmaking and great filmmakers bring to their audience. It is a tender and authentic film which, like many great films, tackles universal themes through a highly specific experience.” Samuel Díaz Fernández’s Floodplain won the Hecho En Tejas Audience Award.
The jury prize for Best Music Video went to Flaminguettes’ Masa by Jarina De Marco ft. Calacote & mediopicky. The Audience award for Best Music Video went to Pain Lopez and Cesar Safra’s La Danza by Novalima. Milena Mendonça Decourt’s Quem Sabe? (May be?) won the Jury prize for Best Emergencia Youth Film, and Gael Paolo Garza’s Onions received the Audience Award in the Emergencia Youth Film Competition.
Opening Night featured Alejandra Vasquez and Sam Osborn’s festival favorite Going Varsity in Mariachi. Screening at AFS Cinema, which included a mariachi performance outside the theater prior to the screening. Cine Las Americas’ signature programming track, “Hecho en Tejas,” showcasing local filmmaking talent with varied backgrounds via films and videos shot and/or produced in Texas, was, once again, a big hit with the film fans including filmmakers on the Red Carpet and a well-attended screening at Austin’s PBS Media Center Studio. Cine Las Americas’ other popular programming tracks shined as well. Femme Frontera Filmmaker Showcase and the popular Emergencia celebration of young filmmakers under 19 highlighted the film festival’s ongoing mission of promoting cross-cultural understanding by expanding the regions of the country that are represented in this year’s programs, and foregrounding youth and educator voices in support of inclusive and culturally responsive educational opportunities for all.
Cine Las Americas is supported by the National Endowment for the Arts, Texas Commission on the Arts, and the Cultural Arts Division of the City of Austin Economic Department. For more information about Cine Las Americas, visit https://cinelasamericas.org/.
 
Cine Las Americas International Film Festival 2024 Filmmaker Award Winners

NARRATIVE FEATURE COMPETITION
JURY AWARD FOR BEST NARRATIVE FEATURE
Itu Ninu (Where the Cornfields Are)                                                                            
Director:  Itandehui Jansen
Countries: Mexico/United Kingdom
AUDIENCE AWARD FOR BEST NARRATIVE FEATURE
Milonga                       
Director: Laura González
Countries: Uruguay/Argentina
DOCUMENTARY FEATURE COMPETITION
JURY AWARD FOR BEST DOCUMENTARY FEATURE
Igualada
Director: Juan Mejía Botero
Countries: Colombia/Mexico
AUDIENCE AWARD FOR BEST DOCUMENTARY FEATURE
The Strike
Directors: JoeBill Muñoz, Lucas Guilkey
Country: United States
SHORTS COMPETITION
JURY AWARD FOR BEST NARRATIVE SHORT
Malegro Verte (Good t’see ya)
Director: Nüll García
Country: Spain
JURY AWARD FOR BEST DOCUMENTARY SHORT
Nyanga
Director: Medhin Tewolde Serrano
Countries: Mexico
HECHO EN TEJAS COMPETITION
JURY AWARD FOR BEST HECHO EN TEJAS FILM
Maria
Director: Sebastian Valdivieso
Countries: United States/Ecuador
AUDIENCE AWARD FOR BEST HECHO EN TEJAS FILM
Floodplain
Director: Samuel Díaz Fernández
Country: United States
MUSIC VIDEO COMPETITION
JURY AWARD FOR BEST MUSIC VIDEO
Masa
Director: Flaminguettes
Artist: Jarina De Marco ft. Calacote & mediopicky
Country: Mexico
AUDIENCE AWARD FOR BEST MUSIC VIDEO
La Danza 
Directors: Pain Lopez, Cesar Safra
Artist: Novalima
Country: Peru
EMERGENCIA YOUTH FILM COMPETITION
JURY AWARD FOR BEST EMERGENCIA YOUTH FILM
Quem Sabe? (May be?)           
Director: Milena Mendonça Decourt
Country: Brazil
AUDIENCE AWARD FOR BEST EMERGENCIA YOUTH FILM
Onions
Director: Gael Paolo Garza
Country: United States

#### Austin’s Cine Las Americas Announces Virtual Film Showcase For July
 
Cine Las Americas announced the film lineup for the CLA2020 Virtual Showcase presented by the Cine Las Americas International Film Festival (CLAIFF) & the Emma S. Barrientos Mexican American Cultural Center (ESB-MACC). Taking place on consecutive weekends, July 16-19 and July 23-26, the virtual event will present 49 films (7 features, 32 shorts, and 10 music videos) hailing from 12 different countries. The films represent the works of some 60 directors with over 30 being female, as well as films from Indigenous filmmakers, LGBTQ+ filmmakers and POC filmmakers.
Following the postponement of the 23rd edition of Cine Las Americas International Film Festival until a future date due to the coronavirus pandemic, Austin’s signature film festival celebrating films made by and/or about Latinxs and Indigenous peoples of the Americas immediately began the process to find alternative ways to give films that would have been featured at the film festival this year a featured platform. CLA Executive Director Jean Anne Lauer said, “This presentation of a virtual showcase of films is a testament to the dedication of our staff to find a way forward and continue to foster connections between our Latinx filmmakers as well as those of Indigenous heritage and Texas audiences – even if we can’t do so in person. While this special event will mark the final in my tenure with the organization, I’m incredibly honored to have worked with dedicated board, staff, volunteers, and supporters over the past 12 years, and look forward to a bright future for Cine Las Americas.”
Last month, CLA began working with the Los Angeles Latino International Film Festival (LALIFF) to cross-promote films and start the process of building a relationship between the organizations to create an all-important bridge and support system for their films between the two filmmaking hubs of Austin and Los Angeles. During that announcement, CLA Lead Program Associate Ernie Quiroz said, “During a time when a common refrain is ‘We’re All in This Together,’ we are embracing that idea and looking to form and sustain alliances with organizations that share our desire to promote filmmakers’ work, and of course, share our love of film with our communities.”
The CLA2020 Virtual Showcase co-presented by the ESB-MACC and in partnership with LALIFF, the Texas Archive of the Moving Image (TAMI) and other entities, is the next step in the organization’s retooling and re-imagining, and expansion of its efforts on behalf of Latinx filmmakers and those of Indigenous heritage. CLA programmer Florencia Choto says the organization and its staff feel that CLA is an essential platform for those filmmakers, and that belief has galvanized and fueled their mission to connect the Austin and Texan audiences with these works despite the challenges presented by both COVID-19 and the nation’s upheaval due to protests across the country. Fellow programmer Alan McLane Alejos added, “Being part of a great festival that stands for stories from the Americas and its Indigenous communities, is one of the reasons to continue programming and showcasing the best films and to support the filmmakers during these uncertain times. The movies that are part of the digital edition keep providing a glimpse of the complex and yet magical world we live in.”
Narrative feature competition films include Patricia Velásquez Guzmán’s Costa Rican and Chilean drama APEGO (ATTACHMENT) about an architect facing a career and family crossroads, Fernando Zuber’s Argentinian film CIEGOS, about the physical and emotional journey a 13-year-old boy takes with his blind father to his hometown, and Dainara Toffoli’s Brazilian drama MAR DE DENTRO (THE SEA WITHIN), about a professional woman dealing with an unplanned pregnancy.
Documentary feature competition films include Claudia Escobar’s U.S and Mexican co-production, DEAR HOMELAND, which tells the story of Mexican singer/songwriter Diana Gameros coming of age in the United States while finding her voice as an artist, Eliza Capai’s Brazilian documentary ESPERO TUA (RE)VOLTA (YOUR TURN), which looks at the Brazilian student movement from the protests of 2013 until the election of the new president, Jair Bolsonaro, in 2018, and Simón Uribe’s Colombian film SUSPENSIÓN (SUSPENSION), which focuses on the project of a modern road seeking to overcome the imposing geography of the Andes.
All films and videos presented in the CLA2020 Virtual Showcase will be offered free of charge, with prior registration, and all will be eligible for Audience Awards in their respective categories. For more information for access to the CLA2020 Virtual Showcase and additional details, visit https://cinelasamericas.org/.
 
CLA2020 Virtual Showcase films and descriptions
 
NARRATIVE FEATURE COMPETITION
 
APEGO (ATTACHMENT)
Director: Patricia Velásquez Guzmán
Countries: Costa Rica/Chile, Running Time: 80 min
Ana is a divorced architect with two daughters. There is a possibility for Ana in her work: a project that would mean moving to Mexico along with professional advance. In the middle of the separation of her parents, and her dad’s cancer diagnosis, Ana will have to make decisions that will affect her entire family.
CIEGOS
Director: Fernando Zuber
Country: Argentina, Running Time: 82 min
This is a story about a journey between a father and a son. The father is blind, his son can see. They return to the father’s childhood home in the countryside where Paraguay and Argentina seem to blend. That house and that forest are the last of his visual memories. The son is starting his life and going through puberty. His mission will be to guide his father but the journey will lead to enduring and unforeseen discoveries for both of them.
MAR DE DENTRO (THE SEA WITHIN)
Director: Dainara Toffoli
Country: Brazil, Running Time: 97 min
Manuela is a successful professional who has to deal with the transformation of her body and her routine when she finds herself pregnant. In the midst of these challenges, fate strikes again, affecting her destiny. Despite never contemplating motherhood, when the baby is born, she has to learn to be a mother.
 
DOCUMENTARY FEATURE COMPETITION
 
DEAR HOMELAND
Director: Claudia Escobar
Countries: United States/Mexico, Running Time: 58 min
DEAR HOMELAND tells the story of Mexican singer/songwriter Diana Gameros coming of age in the United States while finding her voice as an artist. Told in large part through her hauntingly beautiful music, her 20-year journey takes her from Ciudad Juárez to San Francisco, where we watch Diana assert herself not only as a musician, but as an immigrant and advocate for immigrant rights. Through music, she finds the courage to share her own story of being undocumented — channeling her fears and the weight of her separation from her family into powerful songs.
ESPERO TUA (RE)VOLTA (YOUR TURN)
Director: Eliza Capai
Country: Brazil, Running Time: 93 min
When Brazil’s economic and social crisis deepened in the last decade, students protested and occupied hundreds of schools, demanding better public education and the end of austerity measures. Inspired by the collective voice of the movement itself, the documentary is narrated by three high school students, who represent central points of their struggle.
SUSPENSIÓN (SUSPENSION)
Director: Simón Uribe
Country: Colombia, Running Time: 73 min
With more than two dozen curves per mile, the San Francisco-Mocoa highway, where the Andes meet the Amazon jungle, may be the most dangerous road in the world. Shrines dot the route, marking the spots where many have died. In addition to the hair-raising blind turns, it is frequently beset by landslides and catastrophic flooding. Beautifully photographed, geographer Simón Uribe’s SUSPENSIÓN is a mesmerizing cinematic portrait of a deadly road… when disaster strikes.
NARRATIVE SHORTS COMPETITION
 
AMA
Director: Kim Elizondo Navarro
Country: Cuba, Running Time: 13 min
After a long life as a faithful housewife, Cuca (70) faces the death of her husband. The news brings with it the arrival of family and neighbors to her home, forcing her to pause her mourning and attend to the formality of the event. After the rituals, in the privacy of her room, Cuca is shaken by the absence of her husband and faces her solitude for the first time.
LITTLE CHIEF
Director: Erica Tremblay
Country: United States, Running Time: 12 min
The lives of a Native woman and nine-year-old boy intersect over the course of a school day on a reservation in Oklahoma.
LUGAR ALGUM (NO PLACE)
Director: Gabriel Amaral
Country: Brazil, Running Time: 23 min
When Nego discovers that the cacau farm he lives and works on is going to be sold, he must face not only the loss of his home and job, but also the daily contact he has with the land he cherishes so much.
THE HISTORY OF MONSTERS
Director: Juan Pablo Arias Muñoz
Country: United States, Running Time: 20 min
Haunted every night by monsters of unknown origin, an isolated woman finds a stranger in the woods and struggles between her safety and her sexual desires.
ZAPATOS DE TACÓN CUBANO (CUBAN HEEL SHOES)
Director: Julio Mas Alcaraz
Country: Spain, Running Time: 17 min
Paco and Jose are two teenage boys living in a marginal neighborhood of Madrid, a place hostile to each of their dreams. With serious family problems, and surrounded by an aggressive, macho, homophobic environment, they must lead a double life to hide the beginning of a romantic relationship and their passion for flamenco dance.
DOCUMENTARY SHORTS COMPETITION
 
BLACKFEET BOXING: NOT INVISIBLE
Directors: Kristen Lappas, Tom Rinaldi
Country: United States, Running Time: 29 min
A boxing gym on the Blackfeet Indian Reservation teaches young girls how to defend themselves in response to over 100 Native American girls and women from Montana having disappeared, been murdered, or their status remains unknown in the past two years.
DOMINIQUE
Directors: Tatiana Issa, Guto Barra
Country: Brazil, Running Time: 19 min
On a small island at the mouth of the Amazon River called Cotijuba, we are invited to meet Dominique, whose mother raised all by herself her three transgender daughters. On the way to visit her mother, Dominique reminisces about her life as a survivor of prostitution and police brutality due to unconditional love, understanding, and affection.
LA CACHERA
Director: Felipe Holguin Caro
Country: Colombia, Running Time: 14 min
When a couple fights publicly, leave each other and eventually reconcile as if nothing happened, the neighbors organize them a “Cachera”; a bizarre serenade to ridicule them with sharp verses, trumpets, sticks and pans, in the middle of the night.
LA EMINENCIA (THE EXPERT)
Directors: Carlota Coronado, Clara Roca
Country: Spain, Running Time: 22 min
Everything is born with a riddle. A riddle with a very simple answer, but for many people the answer is not so obvious. Why?
YAKONNHÉHKWEN (IT SUSTAINS HER)
Director: Tyotsi’tsyatyerenhton Candace Maracle
Country: Haudenosaunee Territory, Running Time: 17 min
Yakonnhéhkwen is a Kenyen’kéha word meaning “it sustains her.” Ann found healing in the rare traditional Iroquoian art form of black ash basketry. She also became keenly aware that her ancestors were there to show her the way. This is a short film about the depression that brought her to brink of suicide and her journey home, back to her culture and learning to truly value herself as an Onkwehonwe woman and artist.
 
HECHO EN TEJAS COMPETITION
 
CLEANSE
Director: M. Burger
Country: United States, Running Time: 12 min
A lonely energy healer continues to push her body and her spiritual health to the brink when she is confronted with an especially physically and spiritually trying healing session in this experimental, horror short film.
DELIA’S POZOLE
Director: April M. Sánchez
Country: United States, Running Time: 12 min
Delia is forced to spend a weekend with her estranged grandfather when her mother must leave on a last-minute trip for work. Tensions arise when Abuelo insists Delia must eat his homemade menudo, even though Delia is a vegan! Delia and Abuelo come together and bond over their shared love of food. Together they create a new cookbook inspired by their favorite family recipes.
GLOSSOLALIA
Director: Justin A. Rodriguez
Country: United States, Running Time: 12 min
Darkness follows a television faith healer while he’s striving to be the best in Texas.
OUR HOME HERE
Director: Angela Chen
Country: United States, Running Time: 17 min
Parallel stories of broken relationships between parents and their children striving for the American Dream all revolving around one explosive night at a fast food joint in Texas.
SIGUE EL SOL (FOLLOW THE SUN)
Director: JoeBill Muñoz
Countries: United States/Mexico, Running Time: 27 min
FOLLOW THE SUN is an observational style documentary that captures the everyday moments of a migrant shelter in Mexico City filled with losses, triumphs, and excruciating moments of waiting. FOLLOW THE SUN invites you to understand life in limbo.
TARCILA: INDIGENOUS SOLUTIONS TO CLIMATE CHANGE FROM PERU
Director: Sarah Kuck
Countries: United States/Peru, Running Time: 19 min
TARCILA is a short documentary that introduces viewers to activist Tarcila Rivera Zea, a Quechua elder fighting for indigenous rights in Peru. Zea’s lifelong efforts to empower her people are growing increasingly crucial, as the weather becomes unreliable and climate change raises the stakes. Tarcila focuses on solutions, highlighting what’s working for indigenous farmers. Zea is the hero of this story, her journey shows the potential power of including women in the response to climate change.
WHEN YOU CLEAN A STRANGER’S HOME
Director: Sharon Arteaga
Countries: United States, Running Time: 6 min
A cinematic essay where Abby, a first-generation high school student, describes what she and her mom learn about people when cleaning their homes. House decor and items left around convey a privilege that unveils Abby’s imagination, jealousy, and frustrations.
WHERE THERE IS DARKNESS
Directors: Sean Bloomfield, Cimela Kidonakis
Country: United States, Running Time: 103 min
Having devoted his life to helping the less fortunate, Fr. Rene Robert was regarded as a “living saint” in the tight-knit community of St. Augustine, Florida. In April 2016, when Fr. Rene failed to show up at a church service, local residents joined law enforcement in searching for the beloved priest. The true crime documentary WHERE THERE IS DARKNESS follows the nationwide search for Fr. Rene, which resulted in a series of shocking revelations and the discovery of a 20-year-old letter in which Fr. Rene seemed to foretell his own fate.
MUSIC VIDEO COMPETITION
 
COLORS
Director: Kristian Mercado
Music by: Black Pumas
Country: United States, Running Time: 5 min
Incredible music video from Black Pumas, the Austin-based duo which is Eric Burton and Mexican-American Adrian Quesada.
ÉCHALE SÁVILA
Director: Caitlin Díaz
Music by: Sávila
Country: United States, Running Time: 14 min
Told through the lens of the maternal experience, ÉCHALE SÁVILA follows the band Sávila on an ancestral journey, unraveling truths within themselves along the way. Through this video Sávila seeks to answer questions such as, “How do we break the cycle of suffering? How do we honor historical trauma? And how can we use it to heal and empower?”
EL VACILE
Director: David Lombana
Music by: Systema Solar
Country: Colombia, Running Time: 4 min
Get together, dance and sing from different parts of the country and the world connected by the universal language of music. One of the objectives of our Caribbean group is to showcase the importance of making music to share, to unite and to celebrate life.
FAM
Director: Gabi Padilla
Music by: Gabi Padilla
Country: United States, Running Time: 5 min
FAM explores themes including how distance between family members impacts relationships over time, how death can unite and divide family, and how my own family has personally helped support and build me up to become the person I am. The video features vocalist Santhya as well as my sibling, Mother, and Father: Mar, Yolanda, and Juan Padilla.
MUJERES
Director: Ikaika Cofer
Muisc by: Y la Bamba
Country: United States, Running Time: 4 min
This song was written to empower my mother, myself and all women, the queer community, those who have and continue to struggle to be heard. This song along with this video is to validate our paths and power.
NO ME QUIERES
Director: J/Blue
Music by: La Reyna Tropical
Country: United States, Running Time: 4 min
NO ME QUIERES focuses on our friend Diana Diaz: a first generation Afro-Mexicanx from Costa Chica, Oaxaca and the beauty and heartbreak in her relationship as a queer woman of color.
RUNNING
Director: Leo Aguirre
Music by: Nicotine
Country: United States, Running Time: 6 min
Nicotine’s song RUNNING paints a vivid portrait of her past and presents the internal struggles associated with departing from home. Her longing and perseverance clash, creating a lucid dream in which her emotions are vividly externalized.
SINCA MISA (TOP LESS)
Directors: Gretel Marin y Krudas/ Krudxs Cubensi
Music by: Krudas/ Krudxs Cubensi
Country: Cuba, Running Time: 5 min
Feminist manifesto about the demand for equity and the freedom of women and queer people to be happy in this macho world. It’s a communal anthem about the enjoyment and acceptance of our diversity.
TÉ DE MALVÓN
Director: Roberto Trejo Reyes
Music by: La Bruja de Texcoco
Country: Mexico, Running Time: 7 min
The Witch reveals herself after performing for her followers at a small bar, then releases her spell on them.
“EMERGENCIA” YOUTH FILM COMPETITION part 1
VIEWERSHIP: ALL AGES
 
BLOCK MAKES A DIFFERENCE
Director: Kristen Quintanilla with SAY Sí
Country: United States, Running Time: 5 min
Music video produced by SAY Sí media arts schools for the song “Block Makes a Difference” that was created by theatre students for their showcase No Filters.
DISSONANT
Director: Jake Cortez with SAY Sí
Country: United States, Running Time: 4 min
A young teenager struggles with identity issues when celebrating their birthday at home.
DOUBLE VIDA
Director: Sharleny Gonzalez with Reel 2 Reel
Countries: Dominican Republic/United States, Running Time: 2 min
Two countries, one teen and her journey discovering that home does not need to be a place.
HERMANAS MAYORES: NUNCA MUY GRIS (SENIOR SISTERS: NEVER TOO GREY)
Director: Ahtziri Gonzalez, Ana Navarro, Jennifer Cordova with The Representation Project
Country: United States, Running Time: 6 min
Late-life depression affects about 6 million Americans ages 65 and older. This hidden yet common reality is shared through the stories of Maria and Ofelia, who reflect on their own journeys with depression and the role that their local community senior center has played in making them feel less alone.
LILLY GOES FISHING
Directors: The Burn Family
Country: Canada, Running Time: 8 min
When Lilly, a giant orange monster, embarks on an adventure at a lakeside fishing camp with her friend Fluffle, no one suspects the mysterious secret she will discover in the depths of the lake.
NEW BEGINNINGS
Director: Justin Castro with SAY Sí
Country: United States, Running Time: 3 min
A story that explores school challenges from the perspective of a hearing impaired middle schooler.
OUT OF THE SHADOWS
Directors: Abigail Spillane, Aidan Pavia, Bradley Nicosia, Emily de Leon, Emily Gutierrez, Ethan Jones, Jasmin Lara, Louvriel Barrios, Nathan Hammerschmitt, Ryan Murage, Samuel Marchant with Reel 2 Reel
Country: United States, Running Time: 4 min
Where there is light, there will be shadows. A group of young animators explore their relationships with their shadow side.
THE AMERICAN DREAM
Director: Janetzy Cruz with Youth Programs at BAVC
Countries: United States, Running Time: 4 min
A Mexican immigrant reflects about how he fought and decided to come to the United States for a better life. While living in the United States, he comes to his own definition of the American Dream.
TO MY BROTHER
Director: Karla Mejia with Reel 2 Reel
Country: United States, Running Time: 3 min
A young woman celebrates the connection she has with her brother through the art of photography.
TWO BROTHERS
Director: Ollie Rodriguez with SAY Sí
Country: United States, Running Time: 4 min
When two brothers visit their mother’s grave they find someone from their past who will reveal a secret from their childhood.
VIDA DE VIDA
Director: Viggo Williams with Baycat Academy
Country: United States, Running Time: 3 min
This documentary highlights how Bay Area artist and jewelry designer Vida Vazquez is creating a more diverse and inclusive art industry.
 
“EMERGENCIA” YOUTH FILM COMPETITION part 2
VIEWERSHIP: AGES 14+
 
ALÉJATE (MOVE AWAY)
Director: Joaquim Macho Albiol
Country: Spain, Running Time: 6 min
Alex is enjoying his favorite movie when suddenly something breaks into his house. Someone’s trying to hurt his mother. Despite being something completely unknown, our protagonist will do everything possible to protect her. It is then that we discover what that monster represents, which escapes Alex’s innocence.
CONVALESCE
Director: Kacey Foss with SAY Sí
Country: United States, Running Time: 18 min
CONVALESCE is about a teenager who is suffering from a mental illness that distorts his reality.
HOME: JOSELYN’S STORY
Directors: Isabel Lozano, Leonie Sarath, Griselda Martinez, Susana Torres, Nattaly Gomez with The Representation Project
Country: United States, Running Time: 8 min
Joselyn immigrated to the United States from Honduras when she was 9 years old. Now as a mother herself, Joselyn reflects on the decision her mother made to move to the United States in order to have a better life.
LUNA
Director: Emily Clarissa Barba with Mustang Filmwerks
Country: United States, Running Time: 6 min
Luna, a Hispanic-American high school student, is tormented by the looming threat of the deportation of her undocumented father. Trapped by her fear, she lives her life under increasing pressure to protect her family as her father works for their future.
TY
Director: Carlo Rodriguez with SAY Sí
Country: United States, Running Time: 13 min
Suffering from Asperger’s syndrome, Ty withdrew from elementary and middle school by staying home with his mother. Now, he’s ready to attend high school regardless of the obstacles he will need to face.

#### Austin’s Cine Las Americas Film Festival 2021 Announces Call for Entries and New Executive Director
 
Call for Entries opened today for the 23rd edition of Cine Las Americas International Film Festival (CLAIFF), which will take place June 9-13, 2021. The Austin-based film festival will return with a virtual presentation following the success of this year’s special Virtual Showcase.
In the film festival’s first year under the stewardship of new Executive Director Gabriel Ornelas, CLAIFF will continue its mission to showcase films and videos from Latin America (North, Central, South America, and the Caribbean) and the Iberian Peninsula. Films and videos made by or about Latinx in the U.S. or the rest of the world, as well as films and videos by or about indigenous groups of the Americas are also featured.
This year, Cine Las Americas took on the challenge of a year beset with challenges due to the COVID-19 pandemic to both offer the Virtual Showcase, as well as taking the first steps to begin building a relationship with the Los Angeles International Film festival (LALIFF) finding ways to further assist in the support and promotion of its filmmakers by forging a bridge between the filmmaking communities of Austin and Los Angeles. 2021 will see a continuation of those efforts to the benefit of CLAIFF filmmakers.
Ornelas, said, “If we have learned anything this year, it is that filmmakers need the support of a community of film professionals, film audiences, and organizations like Cine Las Americas to not simply give them a place – whether it be in theaters or online – to screen and present their films, but to also actively and concretely encourage the development of their art and their careers. How we watch movies has always been and will always be changing and evolving, and just as we did this year, we look forward to taking on the challenges and seeking the best ways to connect the artists that make our films to the people that want to see them.”
Submissions can be made at https://filmfreeway.com/CLAIFF and https://festhome.com/f/cine-las-americas.
For more information about Cine Las Americas, visit https://cinelasamericas.org/.
Program Sections
New Releases (Non-competitive section)
First and Second Dramatic (Narrative) Features in Competition
Documentary Features in Competition
Dramatic Shorts in Competition
Documentary Shorts in Competition
Hecho en Tejas Films in Competition
Music Videos (eligible for an Audience Award)
VR 360˚ Video (Non-competitive section)
Panorama: Non-competitive section for Features and Shorts
Special Screenings: Classics, Retrospectives, and a Co-Sponsored Programs
Emergencia Youth Films (eligible for an Audience Award)
Awards & Prizes
Jury Awards
First or Second Narrative Feature ($1000)
Documentary Feature ($1000)
Narrative Short ($500)
Documentary Short ($500)
Texas Archive of the Moving Image (TAMI) Award (Best Made in Texas Film) ($500)
Audience Awards
Best First or Second Narrative Feature ($1000)
Best Documentary Feature ($1000)
Best Hecho en Tejas Film ($500)
Best Music Video ($500)
Best Emergencia Youth Film
Submission Deadlines
Regular: February 19, 2021
Late: March 12, 2021

#### Austin’s Cine Las Americas International Film Festival Announces Film Line Up For May 2024
 
The Austin-based Cine Las Americas International Film Festival (CLAIFF) announced the film and events lineup for its 26th Anniversary edition. Taking place May 15-19, CLAIFF opens with Alejandra Vasquez & Sam Osborn’s Going Varsity in Mariachi and will close with Lone Scherfig’s La Contadora de Peliculas (The Movie Teller).
Cine Las Americas will once again present screenings at AFS Cinema (6259 Middle Fiskville Rd.), and Austin PBS (Clayton Lane/Wilhelmina Delco Dr.), with additional special events at We Luv Video (100 North Loop Blvd E), and Nepantla Art Gallery (1209 East Cesar Chavez Street).
As it has for over a quarter century, Cine Las Americas will serve as one of the primary showcases in the United States for films and videos from Latin America (North, Central, South America, and the Caribbean) and the Iberian Peninsula. The film festival celebrates films and videos made by or about Latinx in the U.S. or the rest of the world, with films and videos by or about indigenous groups of the Americas also featured. CLAIFF also features inclusiveness in the programming among the films representing over 15 countries throughout Ibero-America.
Cine Las Americas Executive Director Gabriel Orneles, said, “As we kick off Cine Las Americas’ second quarter century, we are delighted to present screenings with several filmmakers in attendance to encourage that connection between artist and audience. This is a unique film festival that brings together people from several different countries, cultures, and life experiences, whether that means the stories on screen, or literally the people themselves. We are also thrilled to have COPA Airlines join us for the first time, as we continue to make our world that much smaller by bringing more international filmmakers to Austin.”
Opening Night will feature Alejandra Vasquez and Sam Osborn’s festival favorite Going Varsity in Mariachi. Screening on Wednesday, May 15 at AFS Cinema, the documentary follows Edinburg North High School’s Mariachi Oro as they compete for a state championship. With a fiery passion for the music, their coach guides the varsity band through a steep competition season and a fraught year in their adolescent lives. Closing Night will feature Lone Scherfig’s La Contadora de Peliculas (The Movie Teller). The film stars Academy Award® nominee Bérénice Bejo, BAFTA nominee Daniel Brühl, and multiple-time Goya Award winner Antonio de la Torre in a 1960s set story of a young girl with a very special gift – an almost uncanny ability to retell films. The girl’s extraordinary talent will spread throughout the village, changing the fate of her family at the same time that the country is being transformed forever.
Cine Las Americas’ signature programming track, “Hecho en Tejas,” supported by HEB, Austin PBS, and the Texas Film Commission, which showcases local filmmaking talent with varied backgrounds via films and videos shot and/or produced in Texas, returns with a series of inspired shorts during a special presentation taking place at the Austin PBS studios on Saturday, May 18 with a reception and Red Carpet entrances celebrating all the attending filmmakers.
Among the narrative feature films in competition are Nadia Zoe’ A Little Family Drama where a family reunites to revive a cherished tradition in honor of their late grandfather, but as they come together, long-held secrets threaten to unravel their close-knit bonds. Itandehui Jansen’s Itu Ninu (Where the Corn Fields Are) set in the not-so-distant future of 2084, follows two climate migrants under constant surveillance who find freedom through the clandestine system of writing notes and letters. language and Laura González’ Milonga focuses on a woman grieving the loss of her husband and becoming estranged from her only family until she meets a divorcee, with whom she shares her passion for tango. The film will make its North American Premiere at Cine Las Americas.
Documentary feature-length films in competition are Palu Abadia’s Catapum: No tengo dónde caer (Catapum: Nowhere to Fall), a powerful story of three women across three generations who discover strength in Bullerengue, an ancestral musical tradition, using it to resist, heal, and celebrate life. Juan Mejía Botero’s Igualada looks at a presidential campaign launched by a Black woman in Colombia. JoeBill Muñoz and Lucas Guilkey’s The Strikeexplores what happened during an infamous hunger strike that took place in 2013 at Pelican Bay, one of the most infamous prisons in US history.
Cine Las Americas’ other popular programming tracks return as well. Femme Frontera Filmmaker Showcase returns with stories of beautiful, haunting, and hopeful tales curated by the Latine-led film organization. Also returning is the popular Emergencia celebration of young filmmakers under 19 and their variety of works. This series of short films compliments the film festival’s ongoing mission of promoting cross-cultural understanding by expanding the regions of the country that are represented in this year’s programs, and foregrounding youth and educator voices in support of inclusive and culturally responsive educational opportunities for all.
Attending filmmakers will include Gabriella A. Moses (Director, Boca Chica), Noelia Lacayo (Director, Comunidad), Lucy Morales (Director, DelMar), Iliana Sosa (Director,  God Save Texas: La Frontera), Abby Garcia (Film Subject, Going Varsity in Mariachi), Donnick Cary (Writer/Producer, Hail To the Breadsticks), Nina Barbier (Director, Healing of the Dragonfly), Diane Kessler (Producer, Healing of the Dragonfly), Juan Yepes (Igualada), Core Ruiz (Director, I’m Gonna Disappear), Raquel Herrera (Cast, I’m Gonna Disappear), JoeBill Muñoz and Lucas Guilkey(Co-Directors, The Strike), Alex Wolff and Joe Rocha (Co-Directors, Taco Mafia).
Cine Las Americas is supported by the National Endowment for the Arts, Texas Commission on the Arts, and the Cultural Arts Division of the City of Austin Economic Department. For more information about Cine Las Americas, visit https://cinelasamericas.org/.
2024 Cine Las Americas Official Selections
 
OPENING NIGHT SELECTION
Going Varsity in Mariachi
Directors: Sam Osborn, Alejandra Vasquez
Country: United States; Running Time: 104 min
In a South Texas high school auditorium, trumpets ring out, thick guitarrón strings thrum, and violin bow hairs snap and swing wildly through the air. This is the world of competitive scholastic mariachi. This energetic documentary captures the highs and lows of Edinburg North High School’s Mariachi Oro as a green team strives for state championship. With tough love, finely tuned empathy, and a fiery passion for the music, Coach Abel Acuña guides the varsity band through a steep competition season and a fraught year in their adolescent lives. Team captains Abby, Marlena, and Bella prove the value of the skills taught in the band room as they navigate life’s challenges on and off the stage with grace, immutable work ethic, and total charm.
CLOSING NIGHT SELECTION
La Contadora de Películas (The Movie Teller)
Director: Lone Scherfig
Countries: Spain/Chile/France; Running Time: 116 min
The 1960s. María Margarita is the youngest of four siblings from a family living in a mining town in the Atacama Desert in Chile. Their most special time of the week is Sunday, when they all go to the cinema to enjoy stories that transport them to other worlds. The girl’s parents soon realise that the young girl has a very special gift, an almost uncanny ability to retell films. The girl’s extraordinary talent will spread throughout the village, changing the fate of her family at the same time that the country is being transformed forever. With standout performances from Academy Award® nominee Bérénice Bejo, BAFTA nominee Daniel Brühl, and multiple-time Goya Award winner Antonio de la Torre, The Movie Teller is a celebration of our capacity to defy even the harshest circumstances, to find love, community, inspiration, and hope where there seems to be none.
NARRATIVE FEATURES – COMPETITION
A Little Family Drama
Director: Nadia Zoe
Country: United States; Running Time: 87 min
The Sepulveda family reunites to revive a cherished tradition in honor of their late grandfather. But as they come together, long-held secrets and simmering tensions threaten to unravel their close-knit bonds. The biggest revelation: matriarch Anselma’s risky move to help her grandson Matias puts their family restaurant and livelihood at stake, forcing them all to reassess their roles within the family.
Itu Ninu (Where the Corn Fields Are)
Director: Itandehui Jansen
Countries: Mexico/United Kingdom; Running Time: 72 min
In the not-so-distant future of 2084, Ángel finds himself trapped as a climate migrant in an unspecified smart city, under constant surveillance. Amidst a bleak and oppressive existence, Ángel makes a living by cultivating plants, preserving the fading wisdom of seeds. Within this desolate landscape he crosses paths with Sofia, another climate migrant who works at a recycling facility. Fate intertwines their lives when a chance encounter reveals an unexpected connection: a shared language. Fueling Ángel’s longing for human connection and a glimmer of hope, he reaches out to Sofia. Aware of the omnipresent digital monitoring, Ángel decides to communicate with her through the timeless medium of pen and paper, fostering an intimate, clandestine bond. As their secret correspondence unfolds, a friendship grows between Ángel and Sofia as does their desire for liberation from excessive control.
Milonga                                                                                  North American Premiere
Director: Laura González
Countries: Uruguay/Argentina; Running Time: 106 min
Rosa still lives by her husband’s rules despite the fact that he died six months ago. Her worsening relationship with her son has left her estranged from her only family. When she meets Juan, a divorcee, with whom she shares her passion for tango, she starts to rediscover herself and something starts to change. But before she can move on she’s confronted with some uncomfortable truths.
DOCUMENTARY FEATURES – COMPETITION
Catapum: No tengo dónde caer (Catapum: Nowhere to Fall)
Director: Palu Abadia
Countries: Colombia/United States; Running Time: 72 min
From the Colombian coast to New York City, Catapum: No tengo dónde caer is a powerful story of three women across three generations who discover strength in Bullerengue, an ancestral musical tradition, using it to resist, heal, and celebrate life. Their daily routines, the landscapes they inhabit, and the songs they carry reveal the depth of their experiences, interwoven with the cultural richness of Bullerengue. Themes such as oral tradition, race, community, immigration, and identity emerge within this context. As their individual stories unfold, they converge into a collective memory, offering a narrative of the Colombian armed conflict that honors the universal healing and reconciling power of music.
Igualada
Director: Juan Mejía Botero
Countries: Colombia/Mexico, United States; Running Time: 81 min
In Colombia, a nation marred by profound racial and socio-economic disparities, a Black woman from a rural background challenges the status quo by launching a presidential campaign.
The Strike
Directors: JoeBill Muñoz, Lucas Guilkey
Country: United States; Running Time: 86 min
Amidst the redwood trees on the California-Oregon border sits one of the most infamous prisons in US history – Pelican Bay. For decades, it held mostly Black and Brown men alone in tiny cells for indefinite periods based on questionable evidence. Then one day in 2013, 30,000 prisoners went on hunger strike. The Strike weaves together, thread-by-thread, a half century of personal and criminal justice history into a single, compelling narrative around the drama of the 2013 hunger strike to end indefinite isolation.
SHOWCASE: NARRATIVE FEATURES
Até que a Música Pare (Until the Music is Over)
Director: Cristiane Oliveira
Countries: Brazil/Italy; Running Time: 97 min
Chiara is the matriarch of an Italian-descendant family torn apart. After her youngest son moves out, she decides to go along with her husband Alfredo on his trips as a salesman to the bars of Serra Gaöcha. Their trust in each other breaks down when Chiara finds out about Alfredo’s life on the road and he realizes she hides something. A turtle and a deck of cards will put their 50-year relationship to the test.
Bajo Terapia (Under Therapy)
Director: Gerardo Herrero
Country: Spain; Running Time: 93 min
Three married couples undergoing therapy are summoned by their female psychologist to a meeting. The psychologist won’t be attending the reunion herself, but she will give to them instructions about what they must do. Thus, to the sound of a trumpet (literally), the six protagonists will gradually air their dirty laundry concerning their relationships and bring up issues like taking care of the kids, the different home tasks, money, jealousy and sex, until it all leads to a most unexpected and equally shocking end.
Boca Chica
Director: Gabriella A. Moses
Country: Dominican Republic; Running Time: 97 min
Desi, a 12-year old girl, spends her days dreaming on the beaches of Boca Chica of becoming a famous singer, but her goal is threatened by the insidious future that awaits some of the girls in her town. A future that is perpetruated by some of those closest to her. Only her music can save her. Juxtaposing the realities and expectations of a young girls in the Dominican Republic, Boca Chica shines a light on the insidious child sex trade and the lives it seeks to destroy.
El Otro Hijo (The Other Son)
Director: Juan Sebastián Quebrada
Countries: Colombia/Argentina/France; Running Time: 86 min
Federico and his brother Simón live their adolescence to the fullest until the day Simón dies when he falls from a balcony at a party. While his family environment crumbles before his eyes, Federico tries to live his last weeks of school normally. Unable to mourn, he grows closer to Laura, his brother’s ex-girlfriend, with whom he seems to find relief and, above all, love. Together, not only will they live a story far from everything they imagined, but they will finally be able to begin their mourning.
El Viento Que Arrasa (A Ravaging Wind)
Director: Paula Hernández
Countries: Argentina/Uruguay; Running Time: 94 min
Trapped in a destiny she did not choose, Leni joins her father, Reverend Pearson, in his Evangelical mission. The car is having trouble working, so they need to stop in Gringo´s car repair shop, a man dramatically opposed to faith, who lives with Tapioca, a teenager under his guard. Time drags, a storm is coming and Reverend Pearson is getting obsessed with saving Tapioca´s soul. Leni sees in the power Pearson is exerting on the young man, echoes of her own story. She confronts him for the first time, believing her life will start at that very moment, accepting her destiny.
La Extorsión (The Extortion)
Director: Martino Zaidelis
Countries: Argentina/United States; Running Time: 106 min
Alejandro is an experienced airline pilot. He loves his profession but is hiding a secret: a medical condition that would mean immediate retirement. Intelligence Service agents discover it and they start blackmailing him, demanding he take some mysterious bags on the Buenos Aires-Madrid route, no questions asked. Vigilant because of the enigmatic cargo he’s carrying, Alejandro is soon submerged in a universe of intrigue and corruption, placing him and his loved ones in danger, while he attempts to escape alive, no matter the price.
Pedágio (Toll)
Director: Carolina Markowicz
Countries: Brazil/Portugal; Running Time: 102 min
Suellen, a Brazilian toll booth attendant and mother, falls in with a gang of thieves in an attempt to keep her family afloat. In doing so, she realizes she can use her job to raise some extra money illegally for a so-called noble cause: to send her son to an expensive gay conversion workshop led by a renowned foreign priest.
Penal Cordillera (Prison in the Andes)
Director: Felipe Carmona
Countries: Chile/Brazil; Running Time: 105 min
The five most ruthless right-hand men in Pinochet’s dictatorship are serving out sentences amounting to several hundred years in a luxury prison at the foot of the Andes, for their crimes against humanity. The place has a pool, gardens and aviaries where they are watched over by guards who feel more like their employees. When one of the inmates gives a TV interview, his declarations fuel an unexpected backlash. The fear of a possible move will make the men do everything in their power to stay put, unraveling delirium and violence.
Ponyboi
Director: Esteban Arango
Country: USA; Running Time: 103 min
Unfolding over the course of Valentine’s Day in New Jersey, a young intersex sex worker must run from the mob after a drug deal goes sideways, forcing him to confront his past. Ponyboi bursts off the screen in this bombastic, edgy, and campy roller-coaster ride of a film. Flipping the script on the LGBTQIA+ return home tale and the classic Jersey mobster saga, this neon-soaked story is not only full of action but also pure moments of tenderness.
Sujo
Directors: Astrid Rondero, Fernanda Valadez
Countries: Mexico/United States/France; Running Time: 125 min
After a cartel gunman from a small Mexican town is murdered, Sujo, his beloved four-year-old son, is left an orphan and in danger. Sujo narrowly escapes death with the help of his aunt who raises him in the isolated countryside amidst hardship, poverty, and the constant peril associated with his identity. When he enters his teens a rebelliousness awakens in him, and like a rite of passage, he joins the local cartel. As a young man, Sujo attempts to make his life anew, away from the violence of his hometown. however, when his father’s legacy catches up with him, he will come face-to-face with what seems to be his destiny.
Voy a Desaparecer (I’m Gonna Disappear)                                   North American Premiere
Director: Coré Ruiz
Country: Spain; Running Time: 103 min
Rocío and David are two siblings who meet again after ten years without seeing each other. David has been incarcerated all this time. When he takes advantage of a prison furlough to escape with his sister to Puerto Plata, the tourist town where they used to spend the summer as a family, they reconnect, recovering memories and making up for lost time. The adventure ends abruptly when their father locates them, and David decides to settle accounts with him, telling him what happened that fateful night for which he is serving time for murder.
SHOWCASE – DOCUMENTARY FEATURES
Hail to the Breadsticks!                                                       World Premiere
Director: Donick Cary
Country: United States; Running Time: 86 min
Writer producer Donick Cary (The Simpsons, Parks and Recreation, Have a Good Trip) has been a huge fan of the Washington D.C. pro football team since before he could walk. Passed down from his dad, he was excited to pass the tradition onto his kids. Donick never questioned the team name and or Native American logo until one day, while watching a game, his 9-year-old son, Otis, asked him if it was racist. When Otis suggests they ask Native Americans how they feel, it sends the two on a cross-country journey full of unexpected surprises.
Sugarcane
Directors: Julian Brave NoiseCat, Emily Kassie
Countries: Canada/United States; Running Time: 107 min
A stunning tribute to the resilience of Native people and their way of life – Sugarcane, the debut feature documentary from Julian Brave NoiseCat and Emily Kassie – is an epic cinematic portrait of a community during a moment of international reckoning. Set amidst a ground-breaking investigation into abuse and death at an Indian residential school, the film empowers participants to break cycles of intergenerational trauma by bearing witness to painful, long-ignored truths – and the love that endures within their families despite the revelation of genocide.
HECHO EN TEJAS SHOWCASE FEATURE
God Save Texas: La Frontera
Director: Iliana Sosa
Country: United States, Mexico; Running Time: 56 min
God Save Texas is a documentary trilogy that takes viewers on a journey through one of the most controversial states in the union, guided by three directors, each with a unique and personal perspective. In episode 3, La Frontera, Mexican-American filmmaker Iliana Sosa explores how Nepantla, a Nahuatl word for the concept of “in-between-ness”, characterizes her relationship to both her Mexican heritage and her hometown of El Paso, Texas, and how that unique hybridity allowed the city to come together and heal in the wake of a devastating 2019 mass shooting.
Preceded by:
What Washes Ashore
Director: Harold Nieves Fisch
Country: United States; Running Time: 14 min
When a lonely young immigrant discovers a dead body on the shores of her employer’s vacation home, she calls on unexpected friends and untapped bravery to face her deepest fear.
HECHO EN TEJAS SHORTS – NON-COMPETITION
Taco Mafia: Legado
Directors: Alex Wolff, Joe Rocha
Country: United States; Running Time: 27 min
Taco Mafia is a food & culture documentary series following a group of Austin based taqueros who have joined forces to help grow and support not only each other’s businesses but their community.
HECHO EN TEJAS SHORTS COMPETITION
Floodplain
Director: Samuel Diaz Fernandez
Country: United States; Running Time: 16 min
Austin residents relive their memories of a 2013 catastrophic flood in Onion Creek, which was a once-thriving community, but now scarred by disaster. Ten years later, they are determined to prevent history from repeating itself.
La Bendición (The Blessing)                                                           World Premiere
Director: Brandy Frausto
Country: United States; Running Time: 15 min
When Eva shares some life-altering news with Aaron, the two end up finding comfort in exploring each other’s beliefs and testing the boundaries of their faith and friendship.
Maria
Director: Sebastian Valdivieso
Country: United States, Ecuador; Running Time: 15 min
When Marianita brings her own son, Ale, to her nanny job for a weekend, she discovers the boundaries of her love for Oli, the boy she’s been taking care of as her own during the weekdays.
Masu y Masa                                                                         World Premiere
Director: Macey Moser
Country: United States; Running Time: 7 min
Two Latinx chefs navigate their identities at a James Beard award-winning restaurant.
Soft Breath                                                                            World Premiere
Director: Fumiya Hayakawa
Countries: United States/Japan; Running Time: 15 min
Eva, a Puerto Rican woman, assimilates loss by inadvertently summoning the ghost of her deceased Japanese husband, Takuya, in the aftermath of the 2011 Tohoku Earthquake. Over the course of a morning with Takuya, she will come to terms with their different views on their relationship, and ultimately what the meaning of home is as an immigrant.
NARRATIVE SHORTS – COMPETITION
En Cualquier Lugar (Any Place)
Director: Minerva Elisa Bolaños
Country: Mexico; Running Time: 14 min
In a society where children are not heard and traditions are not to be questioned, the peaceful life of a 5-year-old is disturbed by a terrible event that forces her to find a way to recover peace and save her loved ones.
LOOP (It’s a matter of time) (LOOP (Es cuestión de tiempo))
Director: Alejandro Pedemonte
Countries: Peru/United States; Running Time: 16 min
Fausto wakes up in the middle of the night with the news of his father dying. However, he refuses to go to him. Overtaken by his own rage, his decision causes a time loop that will eventually give him the opportunity to face his own forgiveness, loss, and life itself.
Malegro Verte (Good t’see ya)
Director: Nüll García
Country: Spain; Running Time: 10 min
Two friends bump into each other at a shopping mall’s restroom after losing touch in their teens. One is a successful white businesswoman while the other is a Romani woman who hardly makes ends meet. Long gone are the endless summer days in the village. Nothing will ever be the same again.
Mi Abuelita, La Campeona (My Grandma Is My Champion)
Director: Isa Moreno
Country: United States; Running Time: 4 min
Where a wheelchair-bound Mexican grandmother longs to return to her championship boxing career, her spunky granddaughter shows her that her champion dreams can continue digitally.
NEA
Directors: Alex Ulises, Nelson G. Navarrete
Country: Colombia; Running Time: 22 min
A hot-headed taxi driver and henchman in Medellín is enlisted to repair his boss’ AC at five in the morning. After an endless night, his determination is put to the test through a series of trials and tribulations the city throws in his way, leading him to question his work, himself, and his role in society.
Vão das Almas (Valley of Souls)
Directors: Edileuza Penha de Souza, Santiago Dellape
Country: Brazil; Running Time: 15 min
A black family tries to defend their land against invaders but gets caught between a mischievous witch and a tortured spirit eager for revenge. Inspired by one of the most popular characters from Brazilian Folklore: the Saci, a one-legged trickster with the power to lure people with its bird song.
DOCUMENTARY SHORTS – COMPETITION
DelMar
Director: Lucy Morales Carlisle
Countries: El Salvador/United States; Running Time: 20 min
A young surfer on the cusp of adulthood navigates life between two worlds. Brenda is one of several women in her family known locally in El Zonte for her surfing prowess. She began competing at the age of 15 and quickly rose through the ranks, making her dreams of traveling and surfing around the world more attainable. At the age of 17 however, she makes the decision to move to Maryland, a state far from beaches to reunite with her mother whom she has never met.
Healing of the Dragon Fly
Director: Nina Barbier
Country: United States; Running Time: 13 min
Joe Pulliam is an Oglala Lakota Sioux artist living in Rapid City in the state of South Dakota. Father of 4, Pulliam opened an art gallery exclusively with his work, painting on ledgers inspired by his culture and traditional life. This documentary tells his story and his artistic journey from Pine Ridge reservation to his last exhibition.
María Presente, La Memoria en Nuestras Voces (Maria Presente)
Director: Julia Cohen Ribeiro
Country: Argentina; Running Time: 26 min
An Afro-Argentine filmmaker travels around Buenos Aires to reconstruct the story of María Remedios del Valle, a black woman who fought in the Wars of Argentine Independence and was recognized as Mother of the Nation.
Nyanga
Director: Medhin Tewolde Serrano
Country: Mexico; Running Time: 20 min
During the colonial era, Nyanga was kidnapped off the coast of Africa, brought to Mexico and enslaved. Though forced to work on the master’s plantation, he never stopped dreaming of freedom. Based on historical facts, and using shadow theater and handmade cinema, ‘Nyanga’ is an homage to resistance against colonial chains.
Sangre Violenta / Sangre Violeta
Directors: Edna Diaz, Arturo R. Jiménez
Country: Mexico; Running Time: 15 min
Why does the Mexican government consider the feminist movement a greater threat than most drug cartels? A grieving father, an inspiring musician and survivor, and a radical feminist collective illustrate the horrifying realities of gender violence in Mexico.
Strawberry Picker
Director: Eugenia Renteria
Country: United States; Running Time:  22 min
From a little boy growing up in labor camps to a world-class artist, Strawberry Picker provides a look at generations of struggle and resilience in the Chicano art community through the experiences of Juan R. Fuentes.
8TH ANNUAL FEMME FRONTERA SHOWCASE LINE-UP
**Comunidad (Community) – screens prior to Femme Frontera Filmmaker Showcase
Director: Noelia Lacayo
Country: Nicaragua; Running Time: 8 min
The Bilampi community, located a three-hour walk from the nearest road, embarked on an extraordinary journey. Its members took on the challenge of building the most extensive, fully-distributed water system in nonprofit Project Schoolhouse’s history, involving the excavation of 22km of trench by hand.
As Leaves In The Wind
Director: Sofia Luz
Country: Spain
A story of two transgender women who migrate from their home countries seeking asylum and opportunities in a new continent. Their lives go through structural changes when they meet and take part in a new support network. Made by them for them.
Aurora And The House Of Lights 
Director: Ángela Matiz, María Matiz
Country: Colombia
Aurora is 25 years old. She plays frantically in an arcade in order to win a giant teddy bear. She can’t stop because that would bring her back to reality, to what happened the day before. If she wins the teddy bear, everything will be okay, she will heal and be safe. But denial is only the first stage.
Bailarina
Director: Verónica Palofox
Country: Mexico
Alicia only recognizes herself through her reflection in the mirror and the notes playing from her music box. Meanwhile, Alzheimer’s consumes the rest of her existence.
Con Vista Al Rio
Director: Persia Campbell
Country: Mexico
The frustration of a rebellious border teenager will lead him and his younger sister to put themselves in grave danger, right along the wall that divides Mexico with the United States.
The Little Death
Director: Autumn Palen
Country: United States
A woman finds her sexual awakening and her near demise in one fell swoop.
The Words In-Between
Director: Katia Kalei Barricklow
Country: United States
The film explores the intersection of language, identity, and belonging among mixed race, indigenous and immigrant members of Gen Z, who talk about the pain of diaspora and assimilation, but also the power of language to connect them to home.
Us In Octaves
Director: Alex Mastoon
Country: United States
In a hyper color summer nightmare, two lovers are haunted by their last act of love: saying goodbye. Us In Octaves is an official two part narrative music video for veteran producer Caural and told through an all Womxn & Non-Binary cast.
EMERGENCIA – ALL AGES
Drama Queen Salon
Director: Alina Luna
Country: USA; Running Time: 5 min
Dunkin’
Director: Soly Gutierrez
Country: USA; Running Time: 8.5 min
El Enredo (The Entanglement)
Director: Dylan Muniz, Hayes Goolsby
Country: USA; Running Time: 1.5 min
Kuinerraq
Director: Magnus Shipe
Country: USA; Running Time: 3.5 min
Love Don’t Bully
Director: Yoselin Anchondo
Country: USA; Running Time: 5 min
PSAs
Director: Lisa Spencer
Country: USA; Running Time: 2 min
SML
Director: Eleni Morchadze
Country: USA; Running Time: 10 min
Uma Kiwe: El despertar de las semillas (Uma Kiwe: The Awakening of the Seeds)
Director: Wiston Fernández Madriñan
Country: Colombia; Running Time: 24 min
Water, Star Medicine
Director: MESA Foundation/ Turquoise Trail Middle School Students
Country: USA; Running Time: 10 min
You’ll See
Director: Jose Ramos, David Martinez
Country: USA; Running Time: 2 min
EMERGENCIA – 14+
Disturbance of a Phone
Director: Alyssa Ruiz
Country: USA; Running Time: 6.5 min
Onions
Director: Gael Paolo Garza
Country: USA; Running Time: 12 min
Polo the Smoker
Director: Soly Gutierrez, Jessie Villanueva
Country: USA; Running Time: 3 min
Quem Sabe? (May be)
Director: Milena Mendonça Decourt
Country: Brazil; Running Time: 5 min
The First Ballot
Director: Tomas Liebel
Country: USA; Running Time: 5 min
EMERGENCIA – 18+
The Sweet Order
Director: Jorge Sebastián Flores Huauya
Country: Peru; Running Time: 6 min
MUSIC VIDEOS – COMPETITION
Cumbia Revolucionaria
Director: Jh. Plata
Artist: Alwa
Country: Bolivia
De la Tierra del Maíz
Director: Trino Films
Artist: Crazzye
Country: México
Dónde Están mis Amigos
Director: Serjio Soso
Artist: Depresión Sonora
Country: Spain
Home Runs 
Director: Anthony Ryan Johnson
Artist: Stella Standingbear
Country: USA
La Danza 
Director: Pain Lopez & Cesar Safra
Artist: Novalima
Country: Peru
Land Back
Director: Quincy Davis of 7VISION Studios
Artist: REBELWISE
Country: USA
Las Manos Son
Director: Raissa Laban
Artist: Rodrigo Gallardo Y Gonzalo Cabrera
Country: Chile/Brasil
Masa
Director: Flaminguettes
Artist: Jarina De Marco ft. Calacote & mediopicky
Country: Mexico
Una Vez Más
Director: Sacbé Kelly
Artist: Juanpalitoschinos
Country: Mexico

#### Austin’s Cine Las Americas Wraps Big 25th Anniversary Celebration with Filmmaker Awards
MANUELA
 
Austin’s Cine Las Americas announced the filmmaker award winners following the conclusion of a hugely successful 25th Anniversary edition of the Cine Las Americas International Film Festival (CLAIFF). Leading the list of films winning jury prizes were Clara Cullen’s Manuela (Best Narrative Feature), and Gisela Delgadillo’s Kenya (Best Documentary Feature). Films taking the Audience Awards were topped by Marie Clements’ Bones of Crows (Narrative Feature), and Miwene, directed by Keith Heyward, Jennifer Berglund, Gange Anita Yeti Enomenga, Obe Beatriz Nenquimo Nihua (Documentary Feature).
The 25th edition celebrated the platform Cine Las Americas has created for filmmakers from around the world for a quarter century as the film festival has showcased films and videos from Latin America (North, Central, South America, and the Caribbean) and the Iberian Peninsula.
Cine Las Americas Board of Directors President John Estrada, said, “We could not have asked for more enthusiasm, larger audiences, local media attention, and of course happy filmmakers enjoying the genuine connection that is made between film-loving audiences and the people who create those films so vital here in Austin. It is wonderful to be able to both look at the amazing history of this film festival and the filmmakers who have crossed our path, while also seeing how we continue to grow into the beacon CLAIFF has become worldwide as well as an important part of the cultural fabric in a city that continues to be a central hub for filmmaking here in Texas and the Southwest.”
Regarding the selection of Clara Cullen’s Manuela for the Best Narrative Feature Jury Prize, Jury member Paula Heredia (Director of Africa Rising), cited the film for the skill in which the film explores the relationship of a woman and a child in desperate need of each other without fancy devices.
On the documentary side, Jury member Anäis Tracena (Director of El Silencio del Topo) described Gisela Delgadillo’s winner Kenya as “an intimate and affectionate portrait of Kenya, a human rights activist for the transgender community in Mexico City. With respect and sincerity, the director takes us into Kenya’s story and the reality of her other companions, with an insider’s view of the impact of violence experienced by the transgender community and the bonds of solidarity that are built. A fully realized story filled with sensitivity and humanism.”
Jury prize winners in the Shorts Competition included Faustino Alanis’ Llueven las flores, Los Pirates Y El Tesoro De La Bruja (Rain of Flowers, The Pirates and the Witch’s Treasure) (Best Narrative Short), and Paula Heredia’s Imelda Is Not Alone (Best Documentary Short), with Honorable Mentions on the Narrative side going to Daniel Guarda’s Naquele Dia Escuro (That Dark Day), and Carlos Novella’s La Torta (The Cake). In the Hecho En Tejas Competition, Luis Fernando Puente’s Sin Lágrimas Para Llorar (I Have No Tears, and I Must Cry) took the Jury Prize, with Anne Lewis and Laura Varela’s Raúl R Salinas and the Poetry of Liberation: Un Trip winning the Audience Award. There was a tie for the Audience awards for Best Music Video with Orca Videos’ Almacén de Datos with Sara Hebe, featuring Anita Tijoux, and Fran Grenada’s Perra with Samantha Hudson and La Dani sharing the award. Isabella Wren Tealey’s Spiral took both the Jury prize and the Audience Award in the Emergencia Youth Film Competition.
Opening Night featured an Austin encore presentation of Eva Longoria’s entertaining Flamin’ Hot at AFS Cinema. The celebratory evening kicked off the 25th Anniversary theme with festival founders Celeste Quesada, Rene Renteria, and Sandra Guardado in attendance and walking the red carpet prior to the screening. Cine Las Americas’ signature programming track, “Hecho en Tejas,” presented with support from HEB and in partnership with Texas Archives for the Moving Image, showcasing local filmmaking talent with varied backgrounds via films and videos shot and/or produced in Texas, once again was a genuine highlight with a sold-out screening at the brand-new Austin PBS Media Center Studio, including several attending filmmakers there to soak up the attention.
Cine Las Americas is supported by the National Endowment for the Arts, Texas Commission on the Arts, and the Cultural Arts Division of the City of Austin Economic Department. For more information about Cine Las Americas, visit https://cinelasamericas.org/.
 
Cine Las Americas International Film Festival 2023 Filmmaker Award Winners
NARRATIVE FEATURE COMPETITION
JURY AWARD FOR BEST NARRATIVE FEATURE
Manuela                                                                                   
Director: Clara Cullen
Countries: Argentina/United States
AUDIENCE AWARD FOR BEST NARRATIVE FEATURE
Bones of Crows                       
Director: Marie Clements
Country: Canada
DOCUMENTARY FEATURE COMPETITION
JURY AWARD FOR BEST DOCUMENTARY FEATURE
Kenya
Director: Gisela Delgadillo
Country: Mexico
AUDIENCE AWARD FOR BEST DOCUMENTARY FEATURE
Miwene
Directors: Keith Heyward, Jennifer Berglund, Gange Anita Yeti Enomenga, Obe Beatriz Nenquimo Nihua
Country: Ecuador
SHORTS COMPETITION
JURY AWARD FOR BEST NARRATIVE SHORT
Llueven las flores, Los Pirates Y El Tesoro De La Bruja (Rain of Flowers, The Pirates and the Witch’s Treasure)     
Director: Faustino Alanis
Country: Mexico
HONORABLE MENTION
Naquele Dia Escuro (That Dark Day)
Director: Daniel Guarda
Country: Brazil
HONORABLE MENTION
La Torta (The Cake)
Director: Carlos Novella
Country: Venezuela
JURY AWARD FOR BEST DOCUMENTARY SHORT
Imelda Is Not Alone
Director: Paula Heredia
Countries: El Salvador, United States
HECHO EN TEJAS COMPETITION
JURY AWARD FOR BEST HECHO EN TEJAS FILM
Sin Lágrimas Para Llorar (I Have No Tears, and I Must Cry)
Director: Luis Fernando Puente
Country: United States
AUDIENCE AWARD FOR BEST HECHO EN TEJAS FILM
Raúl R Salinas and the Poetry of Liberation: Un Trip
Directors: Anne Lewis, Laura Varela
Country: United States
MUSIC VIDEO COMPETITION
AUDIENCE AWARD FOR BEST MUSIC VIDEO
Almacén de Datos                   
Director: Orca Videos
Artist: Sara Hebe ft. Anita Tijoux
Country: Argentina
Perra
Director: Fran Grenada
Artist: Samantha Hudson & La Dani
Country: Spain
EMERGENCIA YOUTH FILM COMPETITION
AUDIENCE AWARD FOR BEST EMERGENCIA YOUTH FILM
Spiral   
Director: Isabella Wren Tealey
Country: United States
JURY AWARD FOR BEST EMERGENCIA YOUTH FILM
Spiral   
Director: Isabella Wren Tealey
Country: United States
 
 

#### Austin’s Indie Meme South Asian Film Festival Announces 2026 Film Lineup
The 11th Annual Indie Meme Film Festival announced its film lineup and events for the acclaimed Austin-based film festival celebrating bold and innovative South Asian cinema from around the world. Gala selections begin with a Kick-Off screening of Jitank Singh Gurjar s Vimukt (In Search of the Sky). Opening Night presentation will feature Tribeny Rai s Shape of Momo, with screenwriter Kislay in attendance. The Centerpiece screening of Ali Asgari s Divine Comedy will feature an appearance by screenwriter Alireza Khatami. Concluding the festivities, the Closing Night presentation will showcase the documentary Give It a Shot, with director Vaishali Sinha joining the audience to discuss the film s impact. This year’s edition will feature a diverse slate of narrative features, documentaries, and short films highlighting voices from South Asian, and Iran. Themes explored through the highly curated selections include explorations of identity, migration, family, politics, and social change. This year’s lineup includes 27 films, (6 narrative features, 4 documentaries, and 17 short films), representing 14 countries, with all screenings taking place at AFS Cinema (6259 Middle Fiskville Road). Ananyaa Ravi, Indie Meme Board President, said, as we begin our second decade, we can see the fruits of the meaningful connections this film festival has fostered between our filmmakers and audiences. Our desire to showcase South Asian storytelling has grown into a year-long effort including screenings and events that have drawn attention to what we are doing in Austin from filmmakers and film lovers all over the world. Animon Jose, Indie Meme Programming Chair, added, this year’s ambitious lineup highlights the fearless voices of the South Asian diaspora, pushing the boundaries of storytelling while exploring universal themes of identity, resilience & human spirit, and social change.
Indie Meme will kick off the festival’s screenings and events on Wednesday, April 22, with a member mixer at Vivo at The Linc followed by a screening of Jitank Singh Gurjar s Vimukt (In Search of the Sky). The film is an exploration of the attitudes and challenges that face people with disabilities in rural India. Starring Raghvendra Bhadoriya and Meghna Agarwal as Jasrath and Vidya, as a couple struggling with the financial and social challenges of caring for their developmentally disabled son Naran (Nikhil Yadav), they undertake a religious pilgrimage to the Maha Kumba in hopes of finding a solution. The film won two NETPAC Awards at the Toronto FF.
Thursday April 23 will feature Indie Meme’s Texas Showcase, highlighting the work of locally based South Asian filmmakers. Highlights will include Rachel Immaraj’s documentary An Unquiet Mind, which explores the lesser‑known realities of obsessive‑compulsive disorder and the experiences of people living with severe OCD. Santosh Dahal’s New Moon Rain about a devoted father’s life disrupted when traditional discipline methods cause him to face harsh accusations and community judgment. Aliza Khan’s Texas Jaanu will make its International Premiere with its debut. In the film, a newlywed cinephile from India befriends a ragtag trio of experimental filmmakers in Austin, complicating her relationship with her white-collar husband.
Friday, April 24 will mark Indie Meme’s official Opening Night celebration, beginning with a Filmmaker Brunch, followed by red carpet entrances and a screening at AFS Cinema, and then concluding with an afterparty at the KMFA Studios’ Event Space (41 Navasota Street). Tribeny Rai’s festival favorite Shape of Momo. Rai’s directorial debut, and loosely based on her life, it follows Bishnu, a woman who returns to her hometown in a Himalayan village after quitting her job only to face mounting family pressures and societal expectations. She quickly discovers she must choose between conforming to tradition or claiming her independence. Kislay, who wrote the screenplay for Shape of Momo, will attend and participate in a post-screening Q&A.
Saturday, April 25 will feature the Centerpiece presentation of Ali Asgari’s sharp-witted satire Divine Comedy. The critically acclaimed film follows a 40-year-old filmmaker who’s spent his entire career making films in Turkish Azeri, none of which have ever been screened in Iran. His latest work, once again denied permission to screen, inspires him to take on an underground mission to showcase his film to an Iranian audience, dodging government censors, and an absurd bureaucracy along the way. Allreza Khatami, who wrote the screenplay for Divine Comedy, will attend and participate in a post-screening Q&A.
Sunday, April 26 will wrap up Indie Meme with a Closing Night Gala screening of Vaishali Sinha’s documentary Give It a Shot, followed by a celebratory afterparty at the Lonestar Court Hotel (10901 Domain Drive). The film looks at the development of a new male contraceptive that could revolutionize family planning and transform women’s lives worldwide. The effort to successfully launch a reversible male contraceptive would mark the first breakthrough of its kind since the modern condom was invented 200 years ago. Vaishali Sinha will attend the film festival and participate in a post-screening Q&A.
Additional highlights among the narrative features include Ishan Shukla’s animated sci-fi feature Schirkoa: In Lies We Trust. The film is set in a society where citizens wear paper bags over their heads to erase social differences. Sivaranjini J’s Victoria explores religious and cultural tensions through the story of a small‑town beautician who runs away with her boyfriend against her family’s wishes. Annapurna Sriram’s offbeat Fucktoys focuses on a sex worker determined to break a strange curse through a chaotic quest across a surreal world of eccentric characters.
The festival’s documentary slate highlights stories of perseverance, science, and human connection. Orlando von Einsidel’s The Cycle of Love, recounts the remarkable true story of Delhi street artist PK Mahanandia, who bicycled more than 6,000 miles from India to Sweden in 1977 to reunite with the woman he loved. Arjun Talwar’s Letters From Wolf Street offers a portrait of a single street in Warsaw seen through the lens of an Indian immigrant filmmaker seeking connection and understanding.
Indie Meme Film Festival’s shorts programs once again spotlight emerging voices and inventive storytelling. Highlights among the narrative shorts include Sayani Gupta’s Aasmani, which follows the efforts of a grandmother Smita and her precocious 10-year-old granddaughter to save an “old” classic car. Sayani Gupta will be on hand to participate in a post-screening Q&A. Sheryar Ali’s A Door To My Memory, is a dystopian story about a man struggling to preserve memories in a world where they must be stored on external drives; Adnan Al Rajeev’s Ali, follows a teenager in a coastal town where women are forbidden to sing; and Apurva Bardapurkar’s Blessings (Maaybaapache Aashiriwaad), a darkly comedic tale of parents determined to protect their son’s secret.
Other standout shorts include Mallika Juneja’s Little Fishies, which follows a young girl navigating grief during her father’s funeral rituals; Shubham Negi’s Hills Don’t Dance Alone, set in a Himalayan school where a dance performance sparks unexpected cultural conflict; Making its US Premiere, Mukti Krishan’s Waagh (The Leopard), a haunting story set in Mumbai where a mysterious animal death triggers paranoia and fear in a young boy’s world; and Rishi Chandna’s Kanippu (The Prediction) will make its North American Premiere. The film examines the fragile relationship between climate knowledge and lived experience through the perspectives of a grieving boatman and a meteorologist confronting the unpredictability of nature. Also making its North American Premiere is Amol Jalandhar Jadhav’s Deva Aaj Pan Vhay. The film follows the journey of Deva, a playful and inquisitive young boy who braves rough terrain and harsh weather each day to reach school, where he not only learns from books but from life itself.
For festival passes, tickets, and the full schedule, please visit: https://www.indiememe.org/
 

The 2026 Indie Meme Film Festival official selections:
GALA SELECTIONS

 

KICK OFF PRESENTATION

Vimukt (In Search of the Sky)

Director: Jitank Singh Gurjar

Country: India, Running Time: 90 min

When A 26-year-old mentally unstable son of a poverty-stricken elderly couple begins to feel like a burden and the reason for constant mockery in a village they have lived their entire life. The couple decides to travel to the Maha Kumbh, once in a 144-year pilgrimage, largest human gathering on the planet. Will this journey bring them the healing they hoped for? Or will their lives be changed forever?

 

OPENING NIGHT GALA PRESENTATION 

Shape of Momo

Director: Tribeny Rai

Country: India, Running Time: 114 min

Bishnu returns to her Himalayan village after quitting her job, only to face mounting family pressures and societal expectations. As tensions rise with her pregnant sister’s arrival and a budding relationship with a “suitable” boy from her community, Bishnu must choose between conforming to tradition or claiming her independence.

 

SATURDAY CENTERPIECE PRESENTATION

Divine Comedy

Director: Ali Asgari

Countries: Iran/Italy/Germany/France/Turkey, Running Time: 98 min

Bahram is a 40-year-old filmmaker who’s spent his entire career making films in Turkish-Azeri, none of which have ever been screened in Iran. His latest work, once again denied permission by the Ministry of culture, pushes him to the edge of defiance. With his sharp-tongued, Vespa-riding producer Sadaf by his side, he embarks on an underground mission to showcase his film to an Iranian audience, dodging government censors, absurd bureaucracy, and his own self- doubts.

 

CLOSING NIGHT PRESENTATION 

Give It A Shot

Director: Vaishali Sinha

Countries: Canada/India/United States,  Running Time: 89 mins

A funny, moving, and ultimately urgent character-driven documentary, Give It A Shot follows a global quest to launch the first reversible male contraceptive since the modern condom was invented 200 years ago. From the indomitable 83-year-old Dr. Sujoy Guha in India to a dedicated team of developers in the U.S., director Vaishali Sinha provides an intimate window into a high-stakes scientific and social experiment. The film explores why this innovation has been so long in coming and how it could profoundly reframe gender equity and men’s responsibility in family planning.

 

 

ADDITIONAL NARRATIVE FEATURES

 

Fucktoys

Director: Annapurna Sriram

Country: USA, Running Time: 106 min

There’s a curse on Trashtown, and the only way for spunky naïve sex worker AP to stop losing her teeth and lift her curse is to slaughter a baby lamb for a thousand dollars. With the help of her dependable moped, her friend Danni, a just-out-of-prison sapphic spirit, and larger-than-life clients with cash, she can raise the money to be free!

 

Schirkoa: In Lies We Trust

Director: Ishan Shukla

Countries: India/France/Germany, Running Time: 103 min

In a sophisticated near perfect society ‘Schirkoa’, citizens live with paper bags on heads to dissolve differences. Tensions rise when the whispers of a mythical land without the bags start to float and a fresh council member sparks an accidental revolution.

 

Victoria

Director: Sivaranjini J

Country: India, Running Time: 84 min

Victoria, a small-town beautician, defies her Catholic family by fleeing with her Hindu boyfriend. Her life grows more complex when she receives a rooster meant for religious purposes from a neighbor.

DOCUMENTARY FEATURES

 

An Unquiet Mind

Director: Rachel Immaraj

Country: USA, Running Time 76 min

An Unquiet Mind
is a documentary that sheds light on a darker side of OCD that many sufferers are too afraid to speak about. Through this film, we aim to build a movement of greater support towards those living with OCD.

 

The Cycle of Love

Director: Orlando von Einsidel

Country: UK, Running Time: 98 min

The Cycle of Love
details the incredible 1977 journey of PK Mahanandia, a Delhi street artist who cycled 6,000 miles to Sweden to reunite with his love, Lotta von Schedvin.

 

Letters From Wolf Street

Director: Arjun Talwar

Country: Running Time: 97 min

A central Warsaw street becomes a kaleidoscope of Polish society. Behind the camera is an Indian migrant who is seeking to overcome the distance between himself and a country full of contradictions and anxieties.
 

SHORT FILMS

 

NARRATIVE SHORTS

A Door To My Memory

Director: Sheryar Ali

Country: Pakistan, Running Time: 15 min

In a dystopian world where memories are stored on external drives, a 65-year-old man tries desperately to hold on to memories he no longer has space for.

 

Aasmani

Director: Sayani Gupta

Country: India, Running Time: 34 min

To save her aging vintage car from being replaced by a modern alternative, spunky grandmother Smita and her precocious 10-year-old granddaughter launch a desperate, high-stakes mission. It’s a bumpy, heartfelt journey to protect a lifelong bond and discover if this “old” classic still has a few surprises left under the hood.

 

Ali

Director: Adnan Al Rajeev

Country: Bangladesh, Running Time: 15 min

In a coastal town, women are not allowed to sing. A teenager joins a singing competition for a chance to move to the city, while hiding his true voice in a sinister way.

 

Blessings (Maaybaapache Aashiriwaad)

Director: Apurva Bardapurkar

Country: India, Running Time: 24 min

Overprotective parents will go to any length to protect their son’s childhood secret from his girlfriend.

 

Burnt Orange

Director: Sharmila Ray

Country: USA, Running Time: 11 min

A woman behind on her student loan payments is haunted by debt collectors, but one collector wants to harvest something more than just money.

 

Deva Aaj Pan Vhay                                     
North American Premiere

Director: Amol Jalandhar Jadhav

Country: India, Running Time: 15 min

Deva Aaj Pan Vhay
follows the journey of Deva, a playful and inquisitive young boy living in a rural village. Each day, he braves rough terrain and harsh weather to reach school, where he not only learns from books but from life itself. Through his school lessons, playful interactions, and small adventures, Deva begins to understand kindness, resilience, and the true value of education.

 

Family Man

Director: Kalani Gacon

Country: Nepal, Running Time: 17 min

During a storm in a remote Nepalese village, a mysterious man finds refuge in a house of a family haunted by their father’s disappearance years before.

 

Hills Don’t Dance Alone

Director: Shubham Negi

Country: India, Running Time: 24 min

At a school in the Himalayas, fifteen-year-old Sachin is bullied for cross-dressing in a folk dance performance. Anju, the middle-aged vice principal of the school, steps in, but it unravels more than she anticipated.

 

Jasmine That Blooms in Autumn

Director: Chandradeep Das

Country: Running Time: 14 min

Two women fall in love at a decrepit old-age home in the autumn of their lives. Both are aware of the repercussions of such a revelation in a society proscribing homosexuality; therefore, they exchange messages and gifts in secret.

 

Kanippu (The Prediction)                            
North American Premiere

Director: Rishi Chandna

Country: India, Running Time: 24 min

A grieving boatman and an earnest meteorologist share their knowledge of the seas and weather, but find themselves helpless in the face of unpredictable climate.

 

Little Fishies

Director: Mallika Juneja

Country: India, Running Time: 20 min

Little Fishies
follows 13-year-old Raya on the day of her father’s funeral ceremony. Faced with the absurd atmosphere of a grieving Punjabi household, Raya decides to break free by embarking on a mission to take her sister to the beach, against her family’s wishes.

 

New Moon Rain

Director: Santosh Dahal

Country: USA, Running Time: 17 min

A devoted father’s life in America is disrupted when traditional discipline methods cause him to face harsh accusations and community judgment.

 

Showtime

Director: Vivek Menon

Country: USA, Running Time: 14 min

On the day of her first live performance, a singer’s day turns upside down when a simple ask from her mom spirals out of control and she struggles to balance her day job and her dreams.

Squat N Stool

Director: Ramgopal Rajagopalan

Country: Canada, Running Time: 10:20 min

When Ria visits her boyfriend’s parents for the first time, she’s determined to make a great impression-but there’s one problem. She’s left behind her squat stool. As the days pass and desperation grows, her increasingly absurd attempts to find a substitute lead to near-disasters, awkward encounters, and mounting suspicion from Ben’s father, William.

 

Texas Jaanu                                                  
International Premiere

Director: Aliza Khan

Country: USA, Running Time: 18 min

Adrift in her new life in Austin, a newlywed cinephile from India befriends a ragtag trio of experimental filmmakers, complicating her relationship with her white-collar husband.

 

Waagh (The Leopard)                                   
US Premiere

Director: Mukti Krishan

Country: India, Running Time: 20 min

Mumbai, the only city in the world with a forest at its heart, is where leopards roam beside highways and high-rises. When one is found dead at a newly redeveloped housing society, 8-year-old Apu’s inner world begins to fracture. What starts as unease spirals into paranoia, as small everyday violences – dismissive adults, buried tensions, unseen fears — begin to close in.

DOCUMENTARY SHORTS

P For Paparazzi

Director: Divya Hemant Kharnare

Country: India, Running Time: 26 min

Amidst the chaos of crazy crowds, Manoj, an established paparazzi from Nepal, faces off against fellow photographers in a race to capture the most sensational photos. Despite the experience and connections, he confronts the harsh reality of his brother’s deteriorating health.

 
 

#### AUTHOR: THE JT LEROY STORY – A Review By Susan Kandell
 

	In 2003, author James Frey memoir entitled  A Million Little Pieces was published to great acclaim. It was only after close scrutiny and an appearance on the Oprah Winfrey show that the public learned the truth; that large sections of his so-called memoir were actually exaggerated or totally fabricated. That opened up a new dialogue among readers and publishers: were his well-chosen words any less impactful because they were largely false?

	And now there’s the story of Laura Albert – aka Jeremiah “Terminator” Leroy, Emily Frasier or “Speedie”. In the late 90s, JT LeRoy's disturbing autobiographical tale of abuse of a young Southern man became a cult hit. But who really wrote that chilling, alarming debut novel narrated by a twelve year old boy named Sarah?

	Nominated for the Grand Jury Prize for Documentary at the 2016 Sundance Film Festival, director Jeff Feuerzeig film unravels the  longstanding mystery surrounding the literary persona created by American author Laura Albert. Accompanied by extensive home movies, animation and interviews, Feuerzeig peels the onion skin; layered and complicated.

	The daughter of a mother who was a musical playwright, and father who was an assistant principal, both were children of Jewish immigrants. Her family, like many 2nd generation immigrants, didn’t have a lot of money and thus lived in public housing for the lower-middle class in the outlaying New York boroughs. Albert credits her dysfunctional family dynamics, which were punctuated by child abuse, sexual molestation and psychiatric incarcerations with multiple stories to tell – but not in her own voice. Does that make these stories any less credible?

	As her tales became more fantastic, the world became more curious about the young man who endured such a malignant childhood. There is point where Albert could have come clean, but instead, like all true performance artists, she upped the ante. She took the “hoax” a step further – actually creating and producing this boy-girl wunderkind – her sister-in-law who had an androgynous look. And Albert came along for the ride as JT Leroy’s publicist/friend/agent. No place was sacred – even the red carpet walk at the Canne Film Festival. And suddenly, JT Taylor and friends were everywhere – magazine covers, fashion shows and hobnobbing with the Hollywood elite.

	Although many suspected the truth, the house of cards was brought down by a story published in 2006 by The New York Times. This sonic boom reverberated through the literary universe when it was definitively revealed  that JT LeRoy was a figment of the imagination of a middle aged writer named Laura Albert.

	Author: The JT Leroy Story is a fascinating study into the psyche of a clearly talented and gifted writer. Is her story any less compelling because she created the characters who “wrote” and populated this memoir? Never has the phrase “Truth is stranger then fiction” had so much meaning.

	 

	Runtime: 110 min

	 

	Reprinted with the permission of the TJP

#### AVATAR: THE WAY OF WATER – A Review by Gadi Elkon
It only took a baker’s dozen of years for James Cameron to unleash the second of his Avatar series.  AVATAR: THE WAY OF WATER is now out in theaters and here is my full review.

Set more than a decade after the events of the first film, “Avatar: The Way of Water” begins to tell the story of the Sully family (Jake, Neytiri, and their kids), the trouble that follows them, the lengths they go to keep each other safe, the battles they fight to stay alive, and the tragedies they endure.
Avatar: The Way of Water accomplishes proving James Cameron’s belief in capturing a visually-stunner that redefines the landscape of the medium.  It also proves that Cameron’s epic tale does have a sustainable story that ironically is about the battle of sustainability.  Everything is heightened for this sequel.  The Sully family’s life is pushed to its limit as is the technology before our eyes.  I highly recommend seeing this film in IMAX, 3D, or some “big” feel movie theater.  If a film delivers on the full experience its this one.
Plot wise the always hunted vibe does help add more suspense and turmoil then the first film.  So much of teaching us the “world” of Pandora was needed in the first film.  This movie is allowed to jump into the dynamic family that will carry us on the journey.
The film takes off though the moment we reach the water!
AVATAR:  THE WAY OF THE WATER is needed to be seen just for the vast beauty illuminated in the underwater realm we unravel in the movie.  Visually these moments are transformative and highlight the vast potential for the Avatar universe to expand.  Cameron’s bold claim that he has a series of movies is shown possible with this final product of a sequel to JC’s infamous “game-changer” that was AVATAR.
Go big on this one folks!  See it on the most tricked out theater near you.
AVATAR:  THE WAY OF WATER
#AvatartheWayofWater
Director: James Cameron
Cast: Zoe Saldana, Sam Worthington, Kate Winslet, Sigourney Weaver, Stephen Lang, Giovanni Ribisi, Bailey Bass, Jemaine Clement, Edie Falco, Cliff Curtis, Joel David Moore, Jamie Flatters, Chloe Coleman, CCH Pounder, Jack Champion, Britain Dalton, Matt Gerald, Trinity Jo-Li Bliss
MPAA Rating: PG-13 (for sequences of strong violence and intense action, partial nudity and some strong language)
Selig Rating: 4.5 Stars
Runtime: 192 Min.
Release Date: 12/16/2022
Local Release Locations: Wide Release
Language: English
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### AVATAR: THE WAY OF WATER – A Review by John Strange
AVATAR: THE WAY OF WATER – A Review by John Strange
James Cameron has made so many huge films that made us go, “Wow”!  From The Terminator (1984) to Aliens (1986), from The Abyss (1989) and Titanic (1997) to Avatar (2009) each has grabbed our attention in a good way. One film even became a franchise (Terminator).  Avatar was a wonder which left us wanting more!  Everyone was so excited that it was planned to be a franchise that would go through several sequels.
Avatar: The Way of Water is the first of these sequels.  It has taken a lot longer to come to fruition than was originally planned (per the emails I get concerning upcoming film releases).  Due to the pandemic, it took from 2009 to 2022 (13 years) for the studio to get it into theaters.  The franchise has three more films planned to premiere at two-year intervals.
Avatar: The Way of Water continues the story of Marine Corporal Jake Sully (Sam Worthington) and the natives of Pandora, the Na’vi, as they continue their fight to protect the extrasolar moon from exploitation by the colonists and people of Earth.  Now, over a decade later, Sully’s family must move away from their beloved forests as a new campaign to end the native rebellion, fueled by RNA clones of the original Marines (including Colonel Miles Quaritch played by Stephen Lang).  Quaritch has a real need for revenge against Sully.
The family’s move to live among the ocean tribes is rough on the family.  The kids are not happy about it, neither are the sea folk who are asked to shelter the family. 
Sadly, the war will still find them.
I watched this film in 3D.  This film is visually gorgeous, and the storyline and acting are excellent.  In 3D, with the seats assisting with vibrations from each explosion, this film is wild!  While I doubt this film will win any Academy Awards outside the technical arena, it should win several, especially for special effects.  In my eyes, this is a 5-star release!
One quick note: the film is over three hours long with no intermissions.  Plan your food and drink accordingly!
 
Director: James Cameron
Cast: Zoe Saldana, Sam Worthington, Kate Winslet, Sigourney Weaver, Stephen Lang, Giovanni Ribisi, Bailey Bass, Jemaine Clement, Edie Falco, Cliff Curtis, Joel David Moore, Jamie Flatters, Chloe Coleman, CCH Pounder, Jack Champion, Britain Dalton, Matt Gerald, Trinity Jo-Li Bliss
MPAA Rating: PG-13 (for sequences of strong violence and intense action, partial nudity and some strong language)
Selig Rating: 5 Stars
Runtime: 192 Min.
Release Date: 12/16/2022
Local Release Locations: Wide Release
Language: English
Movie Site: AVATAR: THE WAY OF WATER Official Website
Trailer: AVATAR: THE WAY OF WATER Trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### AVENGERS: ENDGAME – A Blu-ray/DVD and Digital HD Review by John Strange
 
AVENGERS: ENDGAME – A Blu-ray/DVD and Digital HD Review by John Strange
The MCU’s 22nd film, Avengers: Endgame, is perhaps the most ambitious film made in a long time.  The Avengers failed to stop the threat of Thanos which resulted in one half of the population of the universe being eliminated in Avengers: Infinity War.
Avengers: Endgame happens 5 years after the “snap”.  People are still trying to get past the loss of so many loved ones.  This dilemma’s effect is no less stressful on the remaining members of the Avengers.  Their emotional world is still in tatters.  Some handle it by keeping to ‘business as usual” (such as Black Widow/Natasha Romanoff, Scarlett Johansson), some by attempting to have a normal life (Captain America/Steve Rogers, Chris Evans), while others take their pain out on others who may be deserving of such pain and retribution (Hawkeye/Clint Barton, Jeremy Renner).
But our heroes pull it together in the best tradition of the heroes of our history (and our comics)!  This film lives up to its advance publicity with breath-taking action and a story that will pull on your heartstrings.
But, as always, the most important part of this review concerns the extra featurettes available with the digital and Blu-ray/DVD releases.  Avengers: Endgame regales us with tales about some of the heroes we have come to respect and admire.
“Setting The Tone: Casting Robert Downey Jr.” talks to us about how Downey came to play the role of Tony Stark, at the start of this ambitious saga.  To me, he was the lynchpin of the Marvel Cinematic Universe (the MCU), setting the tone for all of the films that came after.
“A Man Out of Time: Creating Captain America” talks of the other man whose actions brought the Avengers together.  Chris Evans’ portrayal of Steve Rogers as he grew from a 4-F kid to the man who inspired a nation during WW II and then after 70 years out of time in the ice to co-lead the Avengers was epic.  Steve was the moral heart of the Avengers.
My second favorite featurette was “The Women of the MCU” which talked about the amazing ladies and their characters who inhabit the MCU.  From Scarlett Johansson’s Black Widow to Rene Russo’s Frigga to Letitia Wright’s Shuri, these ladies have brought characters to life that have been more than a match for their male counterparts.
“Remembering Stan Lee” was my favorite featurette as it honored the man who gave us many of the characters we have been allowed to watch in the MCU films.  As a kid, I eagerly read the comic books that gave us a look into the lives of these heroes.  That same kid attended comic book conventions and rubbed elbows with hundreds of other fans where we discussed Stan’s various storylines and had the opportunity to meet the artists and writers who gave us those monthly pearls of wisdom (and action)!
Also presented are featurettes about the road the Russo brothers took to direct Avengers: Endgame (“The Russo Brothers: Journey to Endgame”), “Black Widow: Whatever It Takes”, and “Bro Thor”.  The last two are good but the others just manage to edge them out of my favorites.
The Blu-ray includes a “Gag Reel” which could have been left out except that it is pro forma to include one these days.  The “Deleted Scenes” has six scenes, each would have changed the tone or length of the film in one way or another.  One which touched me.  “Avengers Take A Knee” which was an amazing scene.  It really showed the respect that the warriors felt for Tony Stark.
Owners of the digital version will get to see “Steve and Peggy: One Last Dance” an homage to their love.  It’s a wonderful look back, especially in light of the events from this film.
The filmmakers have given us not one but two additional links to the film.  One includes an introduction of the film by the Russo brothers.  The other is one of my favorite features, the director’s commentary.  This audio commentary includes directors Anthony and Joe Russo, and writers Christopher Markus and Stephen McFeely.  No matter how much you think you know about a film like this, you’ll learn more watching this commentary.  I loved it.
This film is an epic story and should be watched (and owned) by all lovers of the MCU and action films overall.  I highly recommend it.  I do, however, have one little question… What happened to Mjolnir while Captain America is returning the stones?  Hmm.
 
Directed By:

Anthony Russo, Joe Russo

Cast:

Robert Downey Jr., Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner, Don Cheadle, Paul Rudd, Benedict Cumberbatch, Chadwick Boseman, Brie Larson, Tom Holland, Karen Gillan, Zoe Saldana, Evangeline Lilly, Tessa Thompson, Rene Russo, Elizabeth Olsen, Anthony Mackie, Sebastian Stan, Tom Hiddleston, Danai Gurira, Benedict Wong, Pom Klementieff, Dave Bautista, Letitia Wright, John Slattery, Tilda Swinton, Jon Favreau, Hayley Atwell, Natalie Portman, Marisa Tomei, Taika Waititi, Angela Bassett, Michael Douglas, Michelle Pfeiffer, William Hurt, Cobie Smulders, Sean Gunn, Winston Duke, Linda Cardellini, Hiroyuki Sanada, James D’Arcy, Jacob Batalon, Vin Diesel, Bradley Cooper, Gwyneth Paltrow, Robert Redford, Josh Brolin, Chris Pratt, Samuel L. Jackson, Lexi Rabe, Ross Marquand, Emma Fuhrmann, Michael James Shaw, Kerry Condon, Ben Sakamoto, Ava Russo, Cade Woodward, Stan Lee

Extras:

Remembering Stan Lee – Filmmakers and cast honor the great Stan Lee in a fond look back at his MCU movie cameos.
Setting The Tone: Casting Robert Downey Jr. – Hear the tale of how Robert Downey Jr. was cast as Tony Stark in the original “Iron Man” — and launched the MCU.
A Man Out of Time: Creating Captain America – Trace the evolution of Captain America with those who helped shape the look, feel and character of this compelling hero.
Black Widow: Whatever It Takes – Follow Black Widow’s journey both within and outside the Avengers, including the challenges she faced and overcame along the way.
The Russo Brothers: Journey to Endgame – See how Anthony and Joe Russo met the challenge of helming two of the biggest films in cinematic history … back-to-back!
The Women of the MCU – MCU women share what it was like to join forces for the first time in an epic battle scene — and be part of such a historic ensemble.
Bro Thor – His appearance has changed but his heroism remains! Go behind the scenes to see how Bro Thor was created.
Steve and Peggy: One Last Dance (Digital Exclusive)
Deleted Scenes

Avengers Take A Knee
Tony and Howard
You Used to Frickin’ Live Here
Suckiest Army in the Galaxy
Bombs on Board
Goji Berries

Gag Reel – Laugh along with the cast in this epic collection of flubs, goofs, and gaffes from the set.
Visionary Intro – Intro by directors Joe and Anthony Russo.
Audio Commentary – Audio commentary by directors Anthony and Joe Russo, and writers Christopher Markus and Stephen McFeely.

 Specifications:
Runtime:

181 Minutes

Studio:

Buena Vista Home Entertainment, Inc.

Release Date:

08/13/2019

Region:

A/1 (U.S. and Canada only)

Website:

www.marvel.com/movies/avengers-endgame

MPAA Rating:

PG-13 (for sequences of sci-fi violence and action, and some language)

Selig Rating:

BRAND NEW

 
Selig Rating Scale:
BRAND NEW: Should add to your DVD collection at any cost
SALE ITEM: Worth owning, but try to catch it a sale
SECOND HAND: Plan to get it, but wait to buy it used
RENTAL: Worth taking a look at, but not owning
COASTER: Pick it up at a garage sale and use it for drinks
PULL!: Makes a great Trap Shooting target

#### AVENGERS: ENDGAME – A Review by John Strange
 
AVENGERS: ENDGAME – A Review by John Strange
 
When I was very young in a time many, many years ago, I fell in love with comic books.  I was introduced to them by my older brother.  As I grew older I was to go on to attend conventions where I met many of the artists and writers responsible for these amazing stories.  The only thing that disappointed me was that no one could really bring these stories to the big screen at my local theater.
And then came Iron Man starring Robert Downey, Jr. as Tony Stark. Wow!  Someone was finally on the right track!  Since that day in May, 2008, I have experienced what has come to be called the MCU, the Marvel Cinematic Universe, as film after film blew me away!  with each new film, each new character, I fell more and more in love with this adventure!
Jumping to today and the release of Avengers: Endgame, I have to say that the writers, directors (thank you, Anthony and Joe Russo!), producers, the awesome cast, and film crews have given us a film that has a little of everything.  I am forbidden (with good reason) from revealing any story points/plot lines but what I can say is that this film does just what they said it would (and how often does THAT happen?).
When you sit in that theater seat, get comfortable because the wild ride that lasts three hours.  Yes, THREE HOURS.  And every minute is needed to get this story told.  You will laugh, you will cry.  You will feel for our heroes with so many emotions as they do what they were put into this universe to do.
No one hero steals the thunder from the others.  The team works together better than ever, the team dynamic that was damaged by egos is repaired.
I have heard questions about the viability of this franchise.  This film should silence all of them.  The MCU is strong and vibrant and ready to bring us more stories for years to come.
Two things to remember.  Life brings us no guarantees.  And if you foolishly bring a drink into the theater, you will miss some of the action when you have to take that bathroom break.
If you like (or love) the MCU that Kevin Feige and all of the amazing cast and crews have given us, you MUST go see this film!  Avengers: Endgame is the best one to date!
 
Directed by: Anthony Russo, Joe Russo
Cast: Brie Larson, Scarlett Johansson, Karen Gillan, Paul Rudd, Dave Bautista, Robert Downey Jr., Tessa Thompson, Chris Evans, Chris Hemsworth, Evangeline Lilly, Josh Brolin, Tom Holland, Jon Favreau, Bradley Cooper, Pom Klementieff
MPAA Rating: PG-13 (for sequences of sci-fi violence and action, and some language)
Selig Rating: A+
Runtime: 181 Min.
Movie Site: https://movies.disney.com/avengers-endgame
 
The Selig Rating Scale:
A – Excellent movie, well worth the price.
B – Good movie
C – OK movie
D – No need to rush. Save it for a rainy day.
F – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### AVENGERS: INFINITY WAR – A Digital HD Review by John Strange
 

	AVENGERS: INFINITY WAR – A Digital HD Review by John Strange

	 

	With the 19th film in the Marvel Cinematic Universe (MCU), the filmmakers have given us a HUGE mash-up of all of the elements that make up that universe.  Avengers: Infinity War brings together most all of the characters and more storylines than I would have expected.  Based upon the info I learned in the featurette, "The Director's Roundtable", this has never been done before.  They also made the film in about half the time that the previous films had to solidify their stories.

	 

	The central theme of this film is that Thanos (Josh Brolin) has finally started to gather the Infinity Stones to give him the power to eliminate half of the people in the universe. Why is he doing this?  He feels that only by doing this can he save the universe from literally running out of resources.

	 

	The base storyline in this film is complicated because of the sheer number of major players acting out their subplots.  Each subplot is absolutely necessary to bring all of these heroes to their own section of the final battle at the proper time. 

	 

	This meshing of the heroes goes about as smoothly as you might expect from this huge gaggle of oddly inspired individuals.  Example: from Guardians of the Galaxy you have a group (Star Lord (Chris Pratt), Mantis (Pom Klementieff), and Drax (Dave Bautista)) determined to stop Thanos and save their friend, Gamora (Zoe Saldana), Thanos' adopted daughter.  Their first meeting with the heroes from Earth (Iron Man (Robert Downey Jr.),  Spider-Man (Tom Holland), and Doctor Strange (Benedict Cumberbatch)) on Titan does not begin well. They don't truly become "team-ish" until they actually face-off with Thanos.

	 

	The teams on Earth had a much easier time of it in this respect though there are a lot of wide-eyed expressions as some see Wakanda for the first time.  The early battles are tough but the heroes prevail.  The climatic fight is, at least to me, unlike anything ever seen in one of the films of the MCU series.  If, like me you are a huge fan, this fight will thrill you while wearing you out emotionally.

	 

	What comes from the filmmakers in the upcoming films will ultimately tell us whether this series will be one of the best ever or dies a sad tragic death.  If I were a betting man, I would put my money on the first option.

	 

	Now we get to my favorite part of home releases, the bonus extras!  Starting with the Director's Commentary, we get to listen to Anthony and Joe Russo (Directors) with Christopher Markus and Stephen McFeely (screenwriters) discuss the film as it plays out.  When you listen to them discuss how they managed to bring this film to the screen, you may find yourself experiencing a feeling of awe.  The size of the task was daunting but they took it on and did a magnificent job with it.

	 

	The gag reel is pretty much what you would expect from these insanely talented actors and actresses.  It's well done and fun to watch.  The deleted scenes are always interesting to watch.  As with most deleted scenes I have seen, these are interesting but would either have changed the feel of the film or caused a stutter in the pacing.  Leaving them out was a good decision.

	 

	The featurettes, all interesting, each take a part of the film and give us more info on the reasoning behind scenes or characters and how the filmmakers made those decisions work.  Perhaps the best of the four given to us is "The Mad Titan" as the filmmakers and acting talent discuss Thanos' character and its effect upon everyone..

	 

	My favorite featurette for this film is "The Directors' Roundtable" where the directors who helmed all 19 films sat around a table (well, Taika Waititi attends by Skype or Facetime) and talk about what they each created.  They give us some great behind the scenes tales that are really fascinating.  These men created their films, each imbuing their stories with their own unique brands of style and humor.  And somehow, with the assistance of the Marvel executives like Kevin Feige, it all works together and flows like no series of films I have ever encountered. (NOTE: This featurette is ONLY available on the Digital HD offering!)

	 

	This is a film you MUST watch if you are a fan of the MCU.  You may not like what happens.  You may love it.  The people I have spoken with since the film came out in late April have been split with most taking an "I like it but I am waiting to see what comes next" attitude.  Personally, I liked it and I cannot wait to see what they do next!

	 

	 

	Directed By:

	 

			Anthony and Joe Russo
		

	 

	Cast:

	 

			Robert Downey Jr. as Tony Stark/Iron Man
		

			Chris Hemsworth as Thor
		

			Mark Ruffalo as Bruce Banner/The Hulk
		

			Chris Evans as Steve Rogers/Captain America
		

			Scarlett Johansson as Natasha Romanoff/Black Widow
		

			Don Cheadle as Colonel James Rhodes/War Machine
		

			Benedict Cumberbatch as Doctor Strange
		

			Tom Holland as Peter Parker/Spider-Man
		

			Chadwick Boseman as T’Challa/Black Panther
		

			Zoe Saldana as Gamora Karen Gillan as Nebula
		

			Tom Hiddleston as Loki
		

			Paul Bettany as Vision
		

			Elizabeth Olsen as Wanda Maximoff/Scarlet Witch
		

			Anthony Mackie as Sam Wilson/Falcon
		

			Sebastian Stan as Bucky Barnes/Winter Soldier
		

			Idris Elba as Heimdall
		

			Danai Gurira as Okoye
		

			Peter Dinklage as Eitri
		

			Benedict Wong as Wong
		

			Pom Klementieff as Mantis
		

			Dave Bautista as Drax
		

			featuring
		

					Vin Diesel as Groot
				

					Bradley Cooper as Rocket
				

			with
		

					Gwyneth Paltrow as Pepper Potts
				

					Benicio Del Toro as The Collector
				

					Josh Brolin as Thanos
				

			and
		

					Chris Pratt as Peter Quill/Star-Lord
				

	 

	Extras:

			Blu-ray & Digital:
		

					Strange Alchemy (5:08)– Share the thrill of characters from across the MCU meeting for the first time—and discover why some were teamed up together.
				

					The Mad Titan (6:34) – Explore the MCU’s biggest, baddest villain, his trail of influence through the stories, and the existential threat he represents.
				

					Beyond the Battle: Titan (9:36) – Dive into the climactic struggle on Thanos’ ruined world, including the epic stunts and VFX, to uncover the source of its power.
				

					Beyond the Battle: Wakanda (10:58) – Go behind the scenes to find out how the filmmakers pulled off the most massive and challenging battle Marvel had ever attempted.
				

					Deleted and Extended Scenes (10:07)
				

							Happy Knows Best (1:23) – Tony and Pepper spar over the details of their upcoming wedding—until a hassled Happy Hogan pulls up with an urgent request.
						

							Hunt for the Mind Stone (1:24) – On a darkened street, Wanda Maximoff and the wounded Vision attempt to hide from Thanos’ brutal allies.
						

							The Guardians Get Their Groove Back (3:20) – As Peter Quill and Drax quarrel over their failed mission to Knowhere, Mantis interrupts with news.
						

							A Father’s Choice (4:00) – Thanos confronts Gamora with a vision from her past—and with lying to him about the Soul Stone.
						

					Gag Reel (2:05)– Watch your favorite Super Heroes make super gaffes in this lighthearted collection of on-set antics.
				

					Audio Commentary (approx. 149 min.) by Anthony and Joe Russo, Christopher Markus and Stephen McFeely
				

	 

			Digital Exclusive:
		

					A Directors’ Roundtable (approx. 32 min.) – Eight amazing directors reflect on how their movies contribute to the Marvel Cinematic Universe’s larger storytelling adventure.
				

	 

	 

	Specifications:

	 

	Runtime:

	 

			149 Minutes
		

	 

	Studio:

	 

			Buena Vista Home Entertainment, Inc.
		

	 

	Release Date:

	 

			07/31/2018
		

	 

	Region:

	 

			A/1 (U.S. and Canada only)
		

	 

	Website:

	 

			www.marvel.com/movies/avengers-infinity-war
		

	 

	MPAA Rating:

	 

			PG-13 (for intense sequences of sci-fi violence and action throughout, language and some crude references)
		

	 

	Selig Rating:

	 

			BRAND NEW
		

	 

	Selig Rating Scale:

	 

	BRAND NEW: Should add to your DVD collection at any cost

	SALE ITEM: Worth owning, but try to catch it a sale

	SECOND HAND: Plan to get it, but wait to buy it used

	RENTAL: Worth taking a look at, but not owning

	COASTER: Pick it up at a garage sale and use it for drinks

	PULL!: Makes a great Trap Shooting target

#### AVENGERS: INFINITY WAR – A Review by Hollywood Hernandez
 

	AVENGERS: INFINITY WAR – A Review by Hollywood Hernandez

	 

	Avengers: Infinity War marks the 10th anniversary of The Marvel Comic Universe, which all began with Robert Downey Jr. in Iron Man back in 2008.  This new "All-Star line-up" of includes almost every previous super hero from every previous Marvel Comics movie including Iron Man, Thor, The Hulk, Black Widow, Spiderman, The Guardians of the Galaxy, the new kid on the block, Black Panther and even a few new ones.  The movie is much like an NBA All-Star Game. It's big on star power but is has a little trouble with continuity.  However, even with multiple sub-plots going on at one time the movie, amazingly, holds together.  The movie has a sub-plot for every character in the film but even at 2 hours and 40 minutes long it only gets into half of the story.  There will most definitely be a "Part 2."

	 

	Without giving away any spoilers the main plot line involves Thanos, a giant purple overlord who we were first introduced to in Guardians of the Galaxy.  Thanos, played by the voice of James Brolin, travels the galaxy in search of the six "Infinity Stones", which would make him all powerful and allow him to carry out his mission of wiping out half of the inhabitants of the universe and, in his perverted plan, maintain the survival of mankind.  He is death and destruction riding roughshod on a biblical level.  The only thing standing between him and his twisted plan are The Avengers.

	 

	With around thirty Avengers, past and new, in this movie it makes it a bit hard to follow "who's who" and exactly what their background story is; unless you are a serious fan of the Marvel Universe and even then you may have trouble keeping up. 

	 

	The CGI (Computer Generated Imagery) effects in this movie are stunning. It looks like all 10 years of innovations in the Marvel Universe were all used in this one film.  But, again, it's the plot in this movie that will leave you scratching your head.  While there are some exiting scenes that moved the crowd at the screening I attended (mainly in the key battle scene that brings in Black Panther and takes place in Wakanda), the ending of the movie was a huge disappointment.  However, the good far outweighs the bad in this movie.  It has plenty of humor with the interaction between the characters and, as you would expect, it has some great fight scenes. 

	 

	It should be pretty obvious that I have some real mixed emotions about this film, but still I'm eager to see how it ends when the sequel comes out 2019.  You can expect a movie with plenty of fun and action if you go see Avengers: Infinity War, but be prepared to be disappointed by the end.  The movie is rated PG-13 for sci-fi violence and crude references and on my "Hollywood Popcorn Scale" I rate it a LARGE. 

#### AVENGERS: INFINITY WAR – A Review by John Strange
 

	AVENGERS: INFINITY WAR – A Review by John Strange

	 

	The Marvel Cinematic Universe (MCU) is not Disneyland.  We have been brought into a universe with amazing heroes but the universe tends to seek balance.  To reach that balance we also have terrible evil, horrible villains.  The first eighteen films in this series have been amazing but each set us up for the next in the series of sagas.  Our villains have ranged from WWII Nazi's to space aliens and Norse Gods (Loki).

	 

	Now we have a villain who ties all of the storylines together.  Thanos (Josh Brolin), the villain that the heroes who became the Guardians of the Galaxy came together to fight.  In his search for the Infinity Stones he will do anything to get his hands on them, including ending the life of anyone who gets in his way

	 

	As the action builds, and our heroes throw themselves into the fray to save the universe, I could not help but notice that the soundtrack to this film is becomes darker and darker culminating with the music during the credits.  It is a reflection of the task our heroes face.  Never before have they encountered a foe like this one. 

	 

	The action in Avengers: Infinity War is some of the most intense we have seen to date.  Watching the Avengers, Doctor Strange, and the Guardians of the Galaxy give the task everything they have is inspiring and at the same time frightening. 

	 

	At this point, to tell you more would require giving away plot points we have been asked not to share (and I agree)!  All I can say to that point is that while this film is the darkest of the dark, at no time do we ever hear any of our heroes say that all is lost.  Those heroes have never lost, only suffered setbacks.  As frightening as this film makes the future look in the MCU, I can't help but feel that all is not lost…   yet.  While even one of our heroes remains alive, there will always be hope.

	 

	As with nearly all of the films in this series, there is a scene at the end of the credits to set us up for a future film.  Many, if not most, of the clues in past scenes have been very obvious.  The clues in this one are more subtle.  Will any of you catch them?

	 

	This film, perhaps more than any of its predecessors, will be generating hours of speculation as we eagerly await the next chapter in the MCU saga.

	 

	 

	Directed by: Anthony Russo, Joe Russo

	 

	Cast: Karen Gillan, Robert Downey Jr., Tom Holland, Elizabeth Olsen, Scarlett Johansson, Chris Evans, Josh Brolin, Chris Hemsworth, Sebastian Stan, Zoe Saldana, Linda Cardellini, Pom Klementieff, Tom Hiddleston, Benedict Cumberbatch, Idris Elba, Chris Pratt, Paul Rudd, Chadwick Boseman, Letitia Wright, Dave Bautista, Vin Diesel, Jeremy Renner, Danai Gurira, Benicio Del Toro, Kerry Condon, Paul Bettany, Bradley Cooper, Gwyneth Paltrow, Jon Favreau,  Mark Ruffalo, Peter Dinklage, Angela Bassett, Winston Duke, Sean Gunn, Benedict Wong, Don Cheadle, Anthony Mackie, Jacob Batalon, Florence Kasumba

	 

	MPAA Rating: PG-13 (for intense sequences of sci-fi violence and action throughout, language and some crude references)

	 

	Selig Rating: A

	 

	Runtime: 160 Min.

	 

	Movie Site: marvel.com/avengers

	 

	 

	The Selig Rating Scale:

	 

	A – Excellent movie, well worth the price.

	B – Good movie

	C – OK movie

	D – No need to rush. Save it for a rainy day.

	F – Good that I saw it on the big screen but wish I hadn't paid for it.

#### AWARD-WINNING PSYCHOLOGICAL THRILLER FLUXX HEADS TO TVOD AUGUST 26 FROM THE FORGE, FOLLOWING THEATRICAL RUN
Boutique prestige distributor The Forge will release the multi-genre feature FLUXX, written and directed by Brendan Gabriel Murphy, on several major TVOD platforms Tuesday, August 26. Apple pre-order for the title opens Tuesday, August 19. TVOD prices are $14.99 for EST or $13.99 for SD (purchase) and $5.99 for HD or $4.99 for SD (rental). The film will be available on the following platforms: Amazon, Apple, Fandango, and Google Play, among others.
Following a celebrity red carpet premiere at the Beverly Hills Fine Arts Theatre in Los Angeles, the film rolled out to 50 screens in 27 markets at AMC Theatres and Regal Cinemas across the United States in May and June 2025.
In FLUXX, former starlet Vada Pierce (Shelley Hennig) is trapped inside her Hollywood Hills mansion by a force she can’t escape. She begins to unravel when her husband (Shiloh Fernandez) vanishes without a trace. As time fractures and her memories spiral out of control, Vada is pulled into a dangerous mind game—haunted by masked intruders, cryptic voices, and shadows from her past. With reality slipping and paranoia rising, she must piece together the truth before she loses everything—including her sanity.
FLUXX stars Shelley Hennig (Teen Wolf), Shiloh Fernandez (EVIL DEAD), Henry Ian Cusick (Lost), Charlotte McKinney (BAYWATCH), and Tyrese Gibson (FAST & FURIOUS franchise). Other cast includes Tanner Beard, Phillip Brown, Emily Tremaine Fernandez, Trevor Georgeson, Brittney Rae, James Reid, Sheldon Roberts, Dee Shiver, and Mary Simmons.
FLUXX had its World Premiere at the 2024 Mammoth Film Festival, where Hennig won the award for Best Actress, and went on to win the Grand Jury Prize Award for Best Feature Film at the 2024 Malibu Film Festival. Most recently, FLUXX won the Tim Burton Native Burbank Visionary Award at the 2024 Burbank International Film Festival.
“After a successful and gratifying theatrical run, we’re thrilled to be partnering with The Forge to bring FLUXX to home viewing audiences,” says Murphy. “It’s a film about identity and control in an increasingly disorienting world, and I can’t wait for people to experience it.”
“FLUXX is an inventive, high-concept genre piece that keeps you guessing,” adds Sayre. “It’s exactly the kind of film we love championing.”
FLUXX joins The Forge’s growing slate of bold independent cinema, including the Māori coming-of-age drama WE WERE DANGEROUS, produced by Piki Films (JOJO RABBIT) and starring Erana James (The Wilds, Alien: Earth) and Rima Te Wiata (The Wheel of Time, HUNT FOR THE WILDERPEOPLE), out now on VOD, and the  French horror-comedy THE BALCONETTES, written and directed by Noémie Merlant and featuring an ensemble cast that includes Merlant (PORTRAIT OF A LADY ON FIRE) and Lucas Bravo (Emily in Paris), which opens in select theaters beginning Friday, August 22.

#### AWARDS RULES AND CAMPAIGN REGULATIONS APPROVED FOR 93RD OSCARS®
 
The Academy’s Board of Governors has approved rules and campaign regulations for the 93rd Academy Awards®.
The devastating COVID-19 pandemic forced the closure of all Los Angeles County movie theaters as of Monday, March 16, 2020.  Current Academy Awards rules (under Rule Two, Eligibility) require that a film be shown in a commercial motion picture theater in Los Angeles County for a theatrical qualifying run of at least seven consecutive days, during which period screenings must occur at least three times daily.  Until further notice, and for the 93rd Awards year only, films that had a previously planned theatrical release but are initially made available on a commercial streaming or VOD service may qualify in the Best Picture, general entry and specialty categories for the 93rd Academy Awards under these provisions:
The film must be made available on the secure Academy Screening Room member-only streaming site within 60 days of the film’s streaming or VOD release;
The film must meet all other eligibility requirements.
On a date to be determined by the Academy, and when theaters reopen in accordance with federal, state and local specified guidelines and criteria, this rules exemption will no longer apply.  All films released thereafter will be expected to comply with the standard Academy theatrical qualifying requirements.
“The Academy firmly believes there is no greater way to experience the magic of movies than to see them in a theater.  Our commitment to that is unchanged and unwavering.  Nonetheless, the historically tragic COVID-19 pandemic necessitates this temporary exception to our awards eligibility rules.  The Academy supports our members and colleagues during this time of uncertainty.  We recognize the importance of their work being seen and also celebrated, especially now, when audiences appreciate movies more than ever,” said Academy President David Rubin and CEO Dawn Hudson.
For films to more easily meet theatrical exhibition requirements when theaters reopen, the Academy also will expand the number of qualifying theaters beyond Los Angeles County to include venues in additional U.S. metropolitan areas: the City of New York; the Bay Area; Chicago, Illinois; Miami, Florida; and Atlanta, Georgia.  The Awards and Events Committee will evaluate all matters of rules and eligibility.
Film festivals that have been impacted by the COVID-19 pandemic may provide films online through either a transactional pay wall or password-protected entry, which will not affect the films’ eligibility for future Academy Awards qualification.  The Academy will allow an exemption for those films that are released online through an impacted festival’s online platform, provided that proof of inclusion in the festival is submitted.  With these provisions, films will be expected to comply with all other eligibility requirements for the 93rd Academy Awards.
The Board of Governors also announced rules changes in the Sound, Music and International Feature Film categories.
• The two Sound categories, Sound Mixing and Sound Editing, have been combined into one award for best achievement in Sound that emphasizes the team effort.  The number of Oscar® statuettes remains the same; up to six statuettes may be awarded.  Eligible recipients may include one production sound mixer, two supervising sound editors and three rerecording mixers.
• In the Music (Original Score) category, for a score to be eligible, it must comprise a minimum of 60% original music.  Additionally, for sequels and franchise films, a score must have a minimum of 80% new music.
• In a procedural change in the International Feature Film category, all eligible Academy members will now be invited to participate in the preliminary round of voting.  For the first time, film submissions will be made available through the Academy Screening Room streaming platform to those members who opt-in.  These members of the International Feature Film Preliminary Voting committee must meet a minimum viewing requirement in order to be eligible to vote in the category.
The following campaign regulations were also approved:
• The regulation prohibiting quotes or comments by Academy members not directly associated with the film in any form of advertising in any medium, including online and social media, was eliminated.  Academy governors and Awards and Events Committee members, however, are still prohibited from participating in such activity.
• All screeners will be required to include closed captioning.
• After nominations, film companies will be allowed to send mailings announcing the availability of song and bake-off materials on the Academy’s streaming platform.
• As part of the Academy’s sustainability effort, the 93rd Awards season will be the final year DVD screeners will be allowed to be distributed; these mailings will be discontinued starting in 2021 for the 94th Academy Awards.  Access to the Academy Screening Room will continue to be made available for all eligible releases.  The distribution of physical music CDs, screenplays and hardcopy mailings, including but not limited to paper invites and screening schedules, will also be discontinued next year.  Digital links to materials will be permitted.
Due to the shifting landscape surrounding the global pandemic caused by COVID-19, all matters of rules and eligibility for the 93rd Academy Awards are subject to change based on national guidelines, state-mandated government orders and Academy-determined best practices.
Additional adjustments to Academy rules, eligibility requirements and scheduling may be required.  As previously announced, the 93rd Oscars telecast is scheduled to air Sunday, February 28, 2021, on ABC.  Any updated information about the show will be shared at a later time.
For the complete 93rd Academy Awards rules, visit oscars.org/rules.

#### Awards Rules Approved For 87th Oscars®
 

	The Board of Governors of the Academy of Motion Picture Arts and Sciences approved rules for the 87th Academy Awards® at their most recent Board meeting.  For the complete rules for the 87th Academy Awards, visit oscars.org/rules.

	In the Acting categories, studios and production companies must now limit eligibility to a maximum of 10 actors and 10 actresses for each film, and must submit those names on the Official Screen Credits (OSC) form.  The Academy’s annual Reminder List of Eligible Releases will now list actors and actresses separately for each film.  Actors Branch voters would still make their own determinations about whether a performance should be considered under the Leading Role or Supporting Role category on their nominations ballots.

	In the Animated Feature Film category, DVD screeners are now required as part of a film’s submission.

	In the Documentary Feature category, films must now screen a minimum of four times daily during their qualifying theatrical releases in both New York and Los Angeles.  The screenings must begin between noon and 10 p.m., and at least one screening daily must begin between 6 p.m. and 10 p.m.

	In the Music (Original Song) category, songwriters from established musical groups may now have the option to request that their song submission be considered under their group name.  If the request is approved and the song wins the Original Song award, the group would receive a single statuette.

	In the Best Picture category, in determining the number of producers on a motion picture who are eligible for nomination, a two-person producing team shall be considered a single “producer” if the individuals have had an established producing partnership for at least the previous five years and have produced as a team at least two previous theatrically released feature films, instead of a minimum five theatrically released feature films.

	A rule change in the Production Design category will allow the branch greater flexibility in recognizing the achievements of the principal artists responsible in creating the environment for the story.  When the environment of a film is substantially composed of animation and digital artistry, a digital artist who is primarily responsible for the achievement may now be considered for the Production Design award.  Previously, only “production designers,” “art directors” and “set decorators” were named as eligible for Awards recognition.

	In the Animated Short Film and Live Action Short Film categories, films that have received prior nontheatrical public exhibition or distribution may now qualify for Academy Awards consideration by winning a festival award on the Short Films Qualifying Festival List. Without a festival win, the nontheatrical distribution prior to a theatrical release would still disqualify a short film’s eligibility.

	For the first time, the Gold, Silver and Bronze Medal award-winning films in the Alternative, Animation, Narrative and Foreign Film categories at the 2014 Student Academy Awards will all be eligible for Oscar® consideration in the Short Film categories.  Similarly, the Gold, Silver and Bronze winners in the Documentary category at the 2014 Student Academy Awards will be eligible for consideration in the Documentary Short Subject category.

	Other adjustments to the rules include standard date changes and other “housekeeping” adjustments.

	Rules are reviewed annually by individual branch and category committees.  The Awards Rules Committee then reviews all proposed changes before presenting its recommendations to the Academy’s Board of Governors for approval.

	The Academy also has launched its new Awards Submissions platform for entering information required for Academy Awards consideration.  This replaces the Academy’s previous submissions site for feature films, and now includes the ability to submit online for the Animated Feature Film category.  Submitting individuals are encouraged to register now at submissions.oscars.org.  The deadline for submitting OSC forms for the 87th Academy Awards is 5 p.m. PT on Wednesday, December 3, 2014. 

	The 87th Academy Awards will be held on Sunday, February 22, 2015, at the Dolby Theatre® at Hollywood & Highland Center® in Hollywood, and will be televised live by the ABC Television Network.  The Oscar presentation also will be televised live in more than 225 countries and territories worldwide.

#### AWAY – A Review by Hollywood Hernandez
AWAY – A Review by Hollywood Hernandez
Academy Award winner Hillary Swank is American astronaut Emma Green in the #1 rated show on Netflix this week, Away. While it’s a good sci-fi thriller about the international crew, who hope to be the first humans to walk on Mars, it also has so many interesting side stories about the crew that really make the mini-series worth watching.
Hillary Swank is the leader of the crew and plays a mother who left her husband and teenage daughter behind to complete her two-year mission. Josh Charles portrays astronaut Matt Logan, Emma Green’s husband who suffers a stroke which causes him to be grounded from the life he loves. The rest of the crew have issues of their own. There’s a female Chinese chemist, Vivian Wu, who’s in a loveless marriage and gets involved in a lesbian love affair before leaving for the mission.
There’s also a Russian cosmonaut who has personal issues with his daughter after not being there when her mother died. He was in space. Although he’s the most experienced in space, his eyesight and his health are failing him now. It’s something he keeps a secret until he is forced to admit it by the ship’s commander, Emma Green. There’s also an Indian doctor on board and an African botanist that round out the cast.
I’ve seen about half of the season’s episodes and each new episode has an interesting twist that not only tells the science fiction aspect of the series but shows a very human side of the characters. For me, that’s what makes Away such a good series. There’s already talk of a season two for the series.
Each episode has danger and perils plus some very adult stories going on. It’s very enjoyable and I plan on doing some binge watching to finish up the series. On my “Hollywood Popcorn Scale” I rate Away a LARGE.

#### B.B. Still Proves that he’s the King
B.B. KING

	By Gary Murray

	What can be said about B.B. King that has not been said by every journalist on the planet?  He is a member of the Rock and Roll Hall Fame, a Grammy winner and one of the most influential musicians on the planet.  For decades, he has been a road warrior, playing night after night with his guitar Lucille.  He makes the next stop on his continuous world-wide tour at the Winspear Opera House.

	The audience was on the edge of their seats looking at the empty stage.  There would be no curtain rising, the instruments were exposed ready to be played.  Musicians wandered on the stage, tuning instruments and doing mike checks.  This was a very relaxed attitude shown before the concert. 

	To the left of the stage was the horn section, consisting of two saxophones and two trumpets players who doubled on flugelhorn.  On the right were both the keyboard and bass.  The center was the rhythm guitarist and the drummer.  All were dressed in tux and jackets. 

	The band fired up a pair of instrumental numbers where just about each member of the blues group got a chance to deliver a solo line.  They were a crack set of musicians, firing on all cylinders.  This is a tight ensemble would have been just as comfortable in a juke joint, playing the night away.

	Finally, the man himself took center stage.  B.B. King sat down in a chair, pulling the mike closer with his left hand.  There was a long vamp before he started with the tune, “I need you so.”  With his white hair and mischievous grin, the 88 year old appears happy to be on stage and entertaining the racially mixed crowd.  It seems that everyone loves this rocking grandpa. 

	B.B. King ripped through an almost gospel rendition of “Rock Me, Baby”.  He introduced everyone in the band and just about everyone back stage.  His grand-daughters even came out to give him kisses on his cheek.

	The audience sang along with “You are my Sunshine,” encouraged by the showman on stage.  He never got off his chair, playing from a seated position the entire night. 

	For the midpoint of the show, he and Lucille did “The Thrill is Gone” his more signature of signature songs.  The crowd whooped and hollered during each bending of the strings.  People kept yelling “We love you, B.B.” They knew they were experiencing a master guitarist doing his pinnacle tune. 

	He also played a very different rendition of “When Love Comes to Town” a song made famous by the U2 concert movie Rattle and Hum.  B.B. King made the song his own again, showing that the tune did not need Bono and The Edge to succeed. 

	He ended the much too short show with a song that Willie Nelson did at Farm-Aid.  “When the Saints go Marching in” became another sing-a-long and a much deserved standing ovation. 

	Two men came from the wings to help B. B. King up from his chair.  He wanted to take a bow, using the last bit of his strength to show his appreciation to the sold out crowd.  The concert didn’t end with a crescendo but with more of a fading out.  The King of the Blues thanked everyone for coming and asked them not to drive home drunk because he wanted them all back the next time he came to town.

	For me, that cannot be soon enough.  In so many ways, he is the last man standing (or sitting).  Everyone should see B.B. King before it is too late.  A master blues man practicing his art is a rare and beautiful thing.   

#### B&B THEATRES 2013 Short Film Fest
When: Early October, 2013

	Where: Select B&B Theatres locations

	Information: B&B Theatres is delighted to announce that, for the second year in a row, they will be holding their B&B Theatres Film Fest: Shorts! The flagship student fest in 2012 was a success, but will be bigger and better this year with the addition of an Amateur/General division – meaning people of all ages are welcome to participate. They are happy to invite people with an interest in film, and those who have never explored the medium, to create films that are 15 minutes or less and submit them to be played on the BIG SCREEN at one of the selected B&B Theatres locations. If there is local participation, expect YOUR B&B Theatre to be one of those participating in showing the Festival.

	This is a wonderful chance to invite B&B Theatres movie-goers to be a part of the movie-going experience, and serves as an outlet for the creativity of local talents. Who knows, maybe one of these filmmakers will be the next Spielberg!

	Submissions: B&B Theatres is accepting submissions from July 2nd – September 10th, 2013. Submissions must be completed via www.regonline.com/bbfilmfest2013.  

	‘Like’ the Film Fest Facebook page for updates, information, and exclusive content! www.facebook.com/BBFilmFest

	About B&B Theatres

	B&B Theatres is the 17th largest theatre chain in America and operates 233 screens in Missouri, Kansas, Oklahoma, Texas and Florida.  B&B Theatres corporate office is in Liberty, MO and has an additional office in Los Angeles, California.

	Company History

	B&B Theatres has been family owned and operated since 1924 when Elmer Bills Sr. opened a movie house in Salisbury, Missouri. The future Mrs. Bills played the piano for silent movies. During the company’s 89 years and four generations of family involvement, it has seen the coming of sound, color, Technicolor, stadium seating, multiplexes, and now digital cinema.

#### B&B Theatres to expand ScreenX auditoriums to 7 locations by 2020
 
CJ 4DPLEX (www.cj4dx.com), the world’s leading cinema technology company, with B&B Theatres, announced today, the extension of their partnership to bring an additional five ScreenX auditoriums across the U.S., totaling seven with B&B Theatres by 2020.
CJ 4DPLEX and B&B Theatres partnered in 2018 to introduce the largest ScreenX system in the world, a screen that is over four stories tall and seven stories wide, offering moviegoers one of the most premium, immersive viewing experiences in history. Following the successful pilot, a second ScreenX auditorium will launch early September, boasting a surround sound system and a brand new auditorium seating layout that has never been done before in a ScreenX theater setting.
“B&B has been an excellent partner in shaking up the industry to introduce one-of-a-kind ScreenX experiences. We are thrilled to extend our partnership in expanding the ScreenX footprint to bring 5 additional auditoriums across the U.S.,” said JongRyul Kim, CEO of CJ 4DPLEX. “With B&B, we look forward to creating more one-of-a-kind ScreenX experiences, elevating the cinema-going experience further, and bring more of these experiences to more theaters and locations in the future.”
“The partnership with CJ 4DPLEX introduced the largest ScreenX in the world with outstanding performance numbers and audience feedback,” said Bob Bagby, President of B&B Theatres. “We look forward to continuing this partnership with CJ 4DPLEX in bringing more ScreenX auditoriums across the States and creating more premium in-theater experiences for B&B audiences in the future.”
ScreenX is the world’s first multi-projection theatre technology that allows a 270-degree panoramic movie watching experience. ScreenX allows the audience to go beyond the frame of the traditional movie screen, utilizing a proprietary system to expand the center screen image to the side walls, surrounding audiences with imagery and providing a sense of being inside the movie.

#### BAAT BANN GAYI: Two is Company!
The cast of Vibhu Agarwal's Baat Bann Gayi , directed by Shuja Ali came together for an exciting evening at their office. It was a fun evening with Gulshan Grover, Amrita Raichand, Ali Fazal and Anisa with director Shuja Ali, maker Vibhu Agarwal and Sayed Asif Jah among others.

#### BABY – A Review by Jenn Rohm
BABY – A Review by Jenn Rohm
After witnessing a car accident involving a pregnant woman Mikaela, Erin Kearns, decides she wants to have a baby.  Mikaela lives in a group home with other young adults with Down Syndrome.  She has a sweet romantic relationship with Eric Charles, Michael Buxton, who lives in the same home.  They are successful with Mikaela’s desire.  With her sister Jess, Yiana Pandelis, standing by her side a healthy baby boy is brought into the world.
This short film gives insight into some of the challenges that people born with the genetic variation known as Down syndrome face.  Not everyone acknowledges these are people with thoughts and feelings that should be heard.  True, mental cognition is not the same as someone who does not have this genetic variation.  It does not lessen their ability to have wants and desires.  In this piece, Mikaela is fortunate that her sister Jess believes that she deserves to have the life she wants and is willing to do anything she can to support these choices.
In interviews with director James Di Martino and writer Llewellyn Michael Bates, they mention the hopes they have that showing as part of the 2024 Slamdance Film Festival will provide interest in turning this into a full-length film.  This is a strong short that tells a story and provides the groundwork for conversations that can improve the options available to those with Down syndrome.  A feature would allow for more of the experience and what all parties involved have to address entails.  
While the filming was done in Australia, other than how people sound it could have taken place almost anywhere in the world.  This helps to support that while people live in different places there are some basic truths, we all share.  How do we treat people?  How do we assist without taking away freedoms?  How do family members support those needing assistance without losing themselves in the process?
If you get an opportunity to see this film, do so.  Go with friends and then have a conversation about ways to help make the world a better place.
 
Director: James Di Martino
Written By: Llewellyn Michael Bates
Cast: Erin Kearns, Michael Buxton, Yiana Pandelis
Genres: Short, Drama, Comedy
Selig Rating: 4 stars
Runtime: 19:17m
Festival: Slamdance 2024
Trailer: Baby – Trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well there was nothing else…
1 Star – Total waste of time.

#### BABY ASSASSINS – A Blu-ray/DVD and Digital HD Review by John Strange
BABY ASSASSINS – A Blu-ray/DVD and Digital HD Review by John Strange
This is not your average pair of killers for hire.  Chisato (Akari Takaishi) and Mahiro (Saori Izawa) are teenagers who work for an agency in Japan that trained them to be assassins.  At the beginning of the movie (in between jobs) their handler informs them that they must live in an apartment together and get… part-time regular jobs!
These two are not your normal teens.  They are very good at killing but working regular jobs?  Not so good.
The two young ladies are as different as night and day excepting their killing abilities.  Chisato is more outgoing.  Poor Mahiro is painfully shy without a fight going on around her.  These traits really become obvious as they try to work their part-time jobs, some of which could ONLY exist in Japan’s culture.
Throw in Yakuza thugs and their bosses and you have a story that simply doesn’t slow down from start to finish.  LOTS of killing, some for pay.  Teenage girls being teenage girls (though these have GUNS).
Baby Assassins is a fun film with lots of quirky scenes that include a few very well-choreographed fights making this film a 5-star film.  This film has been on the festival circuit and did very well with its audiences.   I can now understand why!  Check it out!
 
Directed By:

Yugo Sakamoto

Cast:

Mone Akitani, Yukina Fukushima, Saori Izawa, Masanori Mimoto, Atom Mizuishi, Yasukaze Motomiya, Takashi Nishina, Yôsuke Ohmizu, Akari Takaishi, Tsubasa Tobinaga, Nagiko Tsuji

Specifications:
Runtime:
Feature:

95 Minutes

Studio:

Well Go USA Entertainment

Release Date:
Hi-YAH!:

07/12/2022

Digital/Blu-ray/DVD:

08/16/2022

Region:

A/1 (U.S. and Canada only)

Website:

BABY ASSASSINS Website

Trailer:

BABY ASSASSINS Trailer

Language:

Japanese (with English subtitles)

MPAA Rating:

Not Rated

Selig Rating:
Film Rating:

5 Stars

Bonus Features Rating:

No Extras

Picture Quality Rating:

5 Stars

Audio Quality Rating:

5 Stars

 
Selig Rating Scale:
5 Stars: Should add to your DVD collection at any cost
4 Stars: Worth owning, but try to catch it on sale
3 Stars: Plan to get it, but wait to buy it used
2 Stars: Worth taking a look at, but not owning
1 Star: Pick it up at a garage sale and use it for drinks
0 Stars: Makes a great Trap Shooting target

#### BABY DRIVER – A Review by John Strange
(l to r) Buddy (Jon Hamm), Darling (Eiza Gonzalez), Baby (Ansel Elgort) and Bats (JAMIE FOXX) discuss the next heist in TriStar Pictures' BABY DRIVER.

	 

	BABY DRIVER – A Review by John Strange

	 

	 

	You look at film titles and you can't help but make a few assumptions about the films before you know anything else about them.  Baby Driver is one of those films.  What the heck?

	 

	Then you see the writer/director is Edgar Wright (The World's End, Hot Fuzz, Shaun of the Dead, and many more).  Hmm, may be worth watching.  Next you find out about the cast: Ansel Elgort (The Fault in Our Stars, Paper Towns), Kevin Spacey (House of Cards, Superman Returns, American Beauty), Lily James (Downton Abbey, Cinderella), Jon Hamm (Mad Men), and Jamie Foxx (In Living Color, The Jamie Foxx Show, Ray).  Wow!  But I have seen great casts in terrible films.  Just what is this film about?

	 

	Baby (Ansel Elgort) is a young man with a penchant for stealing and driving cars.  He made the mistake of stealing a car from the wrong man.  Doc (Kevin Spacey) was decidedly not happy about losing the car but more so with what was in the trunk.  He got the car back but decides Baby will have to work off the value of the goods.  You see, Doc plans heists.  He hires a different crew for each one.  Different crews with one exception, Baby is his designated driver.

	 

	Is Baby any good?  Watch the opening sequences of the film and you'll know that we have a class "A" action film.  I have not seen a chase scene to match the escapes in this film in a long time.  Baby's instincts are enhanced by the tunes playing on his iPod (one of several he carries, selecting the unit according to current conditions).

	 

	The heists are made memorable by the selection of the crews. Doc shows that he is truly a mastermind when he mixes thieves with other thieves they haven't worked with before and most likely never will again.

	 

	While this is going on, Baby has a life totally disconnected from his driving.  The young man is caring for the foster father (CJ Jones) who raised him following the death of his parents in a car wreck.  He is also wooing a sweet young lady, Debora (Lily James), who waitresses at a local diner.  But we know that events inevitably go to…heck, the foster father and waitress get dragged into the rapidly unraveling team of thieves. 

	 

	This film has everything that we look for in a great action film.  It has kick-ass chase scenes, explosive interactions between the thieves, great love  interactions, and of course, an amazing soundtrack.  Ansel once again proves he is a talent to keep an eye on.  The supporting cast, especially Spacey, Hamm, Foxx, and Bernthal bring their A-games.  The entire cast brings Edgar Wright's words to life with a spirit that we can feel as we sit in our theater seats.  LOVED.THIS.FILM.  It's a perfect summer flick.

	 

	 

	Directed by: Edgar Wright

	 

	Cast: Ansel Elgort, Kevin Spacey, Lily James, Jon Bernthal, Eiza González, with Jon Hamm, and Jamie Foxx

	 

	MPAA Rating: R

	 

	Selig Rating: A+

	 

	Runtime: 113 Min.

	 

	 

	The Selig Rating Scale:

	 

	A – Excellent movie, well worth the price.

	B – Good movie

	C – OK movie

	D – No need to rush. Save it for a rainy day.

	F – Good that I saw it on the big screen but wish I hadn't paid for it.

#### BABYLON – A Review by John Strange
BABYLON – A Review by John Strange
The end of the year is the time for big flashy films designed to garner Academy Award nominations.  Babylon, the new epic film by Damien Chazelle, is one of these films.  Clocking in at three hours and eight minutes (without an intermission), the film stars Brad Pitt, Margo Robbie, and Diego Calva.
This film encapsulates the heyday of the silent film era of Hollywood as it slowly evolves into the modern, sound, era.  In other words, parties that were completely devoid of taste and filled to overflowing with drugs, alcohol, and debauchery of all sorts.  And films that required “broad” acting strokes to make up for the lack of spoken words.
Into this mix, we follow venerable (i.e., aging) lead actor Jack Conrad (Brad Pitt), young aspiring actress Nellie LaRoy (Margot Robbie), and Manuel “Manny” Torre (Diego Calva), a Mexican-American film assistant who is also an aspiring film star.
Babylon is stark and visually breathtaking as we watch the silent film era beating itself to death against a wall of sound.  At times, the film is like a chaotic kaleidoscope filled with bare boobs, extravagant filmmaking, and well, history.  One filmgoer described it as a combination of Singing in the Rain and Caligula!
I expect the film to do okay in awards season, though the competition this year is going to be incredibly rough.  Except for the rather inane montage towards the end of the film which I suspect was supposed to tie the film up with a pretty little colorful bow, the film is pretty good.  I would have to say that it’s a 3.5-star featuring eye-opening cinematography by Linus Sandgren.
 
Director: Damien Chazelle
Cast: Brad Pitt, Margot Robbie, Diego Calva, Jean Smart, Jovan Adepo, Li Jun Li, P.J. Byrne, Lukas Haas, Olivia Hamilton, Tobey Maguire, Max Minghella, Rory Scovel, Katherine Waterston, Flea, Jeff Garlin, Eric Roberts, Ethan Suplee, Samara Weaving, Olivia Wilde
MPAA Rating: PG-13 (for intense sequences of violence and action, language and some sexuality)
Selig Rating: 3.5 Stars
Runtime: 188 Min.
Release Date: 12/23/2022
Local Release Locations: Strike + Reel, AMC Firewheel 18, Alamo Drafthouse Cinema Richardson, Studio Movie Grill (Spring Valley Rd.), B&B Theatres Wylie 12, Regal UA Galaxy – Dallas, Cinemark Central Plano, Studio Movie Grill (Royal Ln.), Cinemark Legacy and XD, Studio Movie Grill (W. Park Blvd.), Alamo Drafthouse Cinema Lake Highlands, Village On The Parkway 9, AMC NorthPark 15, Cinemark West Plano XD and ScreenX, Angelika Film Center & Café – Dallas
Language: English
Movie Site: BABYLON Official Site
Trailer: BABYLON Trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### Babylon 5: The Complete Series Comes To Blu-ray – Own The Fully Remastered Iconic Series December 5
 
In celebration of its 30th anniversary, Warner Bros. Discovery Home Entertainment is releasing the groundbreaking original sci-fi TV series Babylon 5 on Blu-ray for the first time ever! On December 5, just in time for holiday gift giving, Babylon 5: The Complete Series will be available at online retailers with all 110 original episodes fully remastered in HD. The highly anticipated release is one fans don’t want to miss!
Babylon 5 is an American space opera television series created by writer and producer J. Michael Straczynski that ran for five seasons from 1994–1998. The critically acclaimed franchise debuted in 1993 with the pilot film The Gathering. The series then launched a year later and ran for five seasons and 110 additional episodes. A future-history story covering the years 2257–2262, with each year corresponding to one season, Babylon 5 was the first series to introduce viewers to the concept of a five-year arc, with a defined beginning, middle, and end, paving the way for a number of such later series.
The beloved award-winning series starred Bruce Boxleitner, Michael O’Hare, Claudia Christian, Jerry Doyle, Mira Furlan, Andreas Katsulas, Peter Jurasik, Richard Biggs, Andrea Thompson, Stephen Furst, Bill Mumy, Tracy Scoggins, Jason Carter, Robert Rusler, Jeff Conaway, Patricia Tallman and Mary Kay Adams.
SYNOPSIS:
2258 CE. Five hostile federations dominate the outermost regions of space. Heroes, thieves, and rare and exotic beings find refuge in this time of uneasy peace and the constant threat of war on a lone space station — the last and best hope for peace between a hundred worlds, alien and human alike — Babylon 5
SPECIAL FEATURES INCLUDE:
·    Features pilot movie The Gathering
Babylon 5: The Complete Series will be available December 5 to purchase on Blu-ray Disc via online retailers. Pre-order your copy now.
Pricing and film information:
 
PRODUCT                                                                SRP
Blu-ray                                                                      $99.99 SRP USA
Blu-ray                                                                      $119.99 SRP Canada
 
Audio: English
Subtitles: English SDH
Running Time: 4730 (43 min episodes)
Rated: Unrated – 18+

#### BACK ON BADSTREET – A Review by John Strange
 

	BACK ON BADSTREET

	 

	By: John ’Doc’ Strange

	 

	Directed by: Keith Alcorn

	 

	Cast: Michael Hayes, Jimmy Papa, Larry Velez, Troy Randal Smith

	 

	MPAA Rating: NR

	 

	Selig Rating: FULL PRICE

	 

	Runtime: 45 Min.

	 

	 

	In 1984, Michael Hayes, Jimmy Papa, and Larry Velez wrote what would become the anthem for the wrestling team, The Fabulous Freebirds.  This song jumped into an arena that previously had been populated by songs used with (but mostly without) the artist’s permission.  Surprising everyone it became a popular standard for a team that loved to be bad.

		 
	

		I grew up in Dallas and attended wrestling matches at the Sportatorium in the shadow of Downtown, an area that was seedy and to young men like myself, a challenge that we had to meet head-on.  When we got inside we watched the good guys wrestle the bad guys, the Von Erich’s versus Michael Hayes and the Freebirds.
	

		 
	

		Director Keith Alcorn takes a look at the phenomenon that was and is Back on Badstreet.  He takes a sometimes tongue-in-cheek stroll through what some might call a bizarre story.  This song grew way beyond its humble roots.  It was written and recorded by Michael and his friends who formed a band and recorded the song at a local studio.  When MTV picked up their ambitious music video, the world became enthralled with the train wreck that was Michael’s life.
	

		 
	

		The wrestler rarely had money; the three friends who made up the wrestling team, The Fabulous Freebirds, shared an apartment just to make ends meet.  Michael eventually managed to record an entire album.  Alcorn touches on the commercial designed to sell the record.  It tells us a lot about the men’s mindset perhaps as much as any other fact in the film.  They didn’t use a post office box or a service to handle sales.  They sold them out of Jimmy’s home and proudly placed his address and phone number right there on the screen!
	

		 
	

		If you watched wrestling (or currently watch the sport) and want to take a walk down memory lane complete with a chuckle or three and a plethora of “OH MY GOD” moments, come out to the Dallas VideoFest screening at 9:30 PM on Friday, October 10, 2014, at the Alamo Drafthouse Cinema – Richardson.  Tickets can be purchased here: http://dallasvideofest.festivalgenius.com/2014/films/backtobadstreet_keithalcorn_dallasvideofest2014#screenings
	

		 
	

	Movie Site: http://www.badstreetusafilm.com/

	 

	The Selig Rating Scale:

	FULL PRICE – Excellent movie, well worth the price

	MATINEE – Good movie

	DOLLAR – OK movie

	CABLE – No need to rush. Save it for a rainy day.

	FREEBIE – Good that I saw it on the big screen but wish I hadn't paid for it.

	COMMERCIAL TV – Commercials and cutting to the allotted time will not hurt this one.

	FORGET IT! – Bad. If you see this one, do yourself a favor and keep it to yourself.

	GET YOUR TORCHES – BAD! – Burn the script, the writer, the director and maybe even the actors!

#### BACK TO BLACK – A Review by Cynthia Flores
BACK TO BLACK – A Review by Cynthia Flores
This new film by director Sam Taylor-Johnson tells the story of singer Amy Winehouse and her rise to fame. She was only eighteen when she first started getting attention in the music industry in London. She was twenty-three when she met her future husband Blake and wrote the critically acclaimed multiple Grammy Award-winning Album Back to Black in 2006. She was only twenty-seven when she died of alcohol poisoning on July 23rd in 2011.
She packed a lot into that short life and still has a legion of fans around the world. Her tumultuous life was chronicled in Asif Kapakia’s Oscar-winning 2015 documentary Amy. It used archival interviews, many damning, with her family and friends as well as with Winehouse. All to make the case that everyone was at fault for her untimely demise. Blake Fielder-Civil, her husband, and her father Mitch Winehouse were the worst of the offenders. Making loads of money off the talented but troubled Amy.
In this film, the director has said in many interviews that the film is meant to center on Amy Winehouse’s story from her perspective. Permission was given by her father Mitch who is the administrator of his daughter’s estate. He publicly stated that he hated the documentary Amy. Funny, how this film shows him as a sweet and over-indulgent father. Nothing like the user the documentary showed.
I was a fan of the documentary. I knew a lot about Amy (played by Marisa Abela) so I did not get the reason to tell such a different story. I enjoyed her relationship with her Grandmother Cynthia (Lesley Manville). It was sweet and she seemed to be the only one in her life who did not use Amy or want anything but the best for her. Her volatile relationship with Blake Fielder-Civil (Jack O’Connell) was well done but still showed Amy as the bad guy.
Marisa Abela is singing all the songs in the film as she channels Amy Winehouse. Her acting is incredible and her singing is dead on but lacks the magic that Amy always had. The performance made me long for the real thing. I revisited all the music that Amy gave to us all after the film ended.
I give Back to Black 3-stars. I did not like it as much as I wanted to. However, it will be seen by her fans because we watch everything about her. However, anyone who does not know her or wasn’t lucky enough to be there when she was at her height will walk away with a whitewashed version of how she lived and died way too young.
 
Directed by: Sam Taylor-Johnson
Written by: Matt Greenhalgh
Rated: R
Selig Rating: 3 Stars
Running Time: 2 hrs 2 min
Drama / Biography
Release: In Theaters May 17th
Starring: Marisa Abela, Eddie Marsen, Jack O’Connell, Leslie Manville
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### BACK TO BLACK – A Review by Jenn Rohm
BACK TO BLACK – A Review by Jenn Rohm
Director Sam Taylor-Johnson and writer Matt Greenhalgh’s vision of Amy Winehouse in Back to Black has made it to the big screen.  While I hoped to learn more about the talented artist, this film did not deliver.  We have been given a sugar-coated love letter that will generate new fans for her music.  Covering the last 10 years of her life, and then with a passing glance at the information between songs, it did not delve into how young she was when she started writing and performing, nor did it truly go into her relationship with her parents and their impact on her life.  There is also this thread from a one-time comment about wanting to be a mother someday that has more gravitas than her struggle with bulimia.
Marisa Abela has done her best with the script and direction provided to represent Amy Winehouse. She is more than just mirroring mannerisms from watching footage; this is full-on sketching of Winehouse.  To keep it more realistic, Abela sang rather than lip-synching.  It is not Amy’s unique sound, but it does come close, and there is power in her voice.  Abela is not an “identical twin” to Winehouse; the talents of the hair, make-up, and costume magicians assist with closing some of the gaps between them.  Like in life, as time passes in the film and her popularity grows, so does her beehive and winged eyeliner.     
Also key in the cast are Jack O’Connell as Blake and Eddie Marsan as Mitch.  Both actors could have delivered so much more had the script asked them to do so.  Lesley Manville is Cynthia, Winehouse’s paternal grandmother and style icon.  I will be digging into Nan’s history a bit more as she has her own history in the world of jazz music.
If this had been released as a movie inspired by Amy Winehouse’s life or a “could have happened like this” (like Once Upon a Time in Hollywood), I would have rated it higher.  The movie itself is a good movie.  With this being a biopic, certain expectations to use facts existed.  However, so much of the true story is missing, and parts are 100% ignored or overlooked, that it brings down all the hard work put into it.
 
Director: Sam Taylor-Johnson
Written By: Matt Greenhalgh
Cast: Marisa Abela, Eddie Marsan, Jack O’Connell
MPAA Rating: Rated R for drug use, language throughout, sexual content, and nudity.
Genres:
Selig Rating: 2.5 stars
Runtime: 2h 2m
Release Date: May 17, 2024
Trailer: Back to Black trailer
Website: Back to Black website
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### BACK TO THE DRIVE-IN – A Review by John Strange
BACK TO THE DRIVE-IN – A Review by John Strange
I have always loved movies.  From an early age, I watched them whenever and wherever I could.  On TV with the family or at our area drive-In, the Apollo Twin Drive-In, owned by Gordon McClendon.  He had others in town including the Gemini Drive-in on Central Expressway at Forest Lane (the only other one of his I ever visited).
Watching Back to The Drive-In, I was reminded of all of those wonderful times.  This film, made by director April Wright, looks at eleven different drive-in theaters in the United States.  Most are east of the Mississippi River, but she also went out to California to check out a few.
Some of these venues have been in operation since the early 50s, though they have had multiple owners, some more than others.  Some have shut down and been rebuilt and reopened and a couple of the theaters are in their first “lives”.
All of them have experienced the same challenges with COVID-19, supply, and personnel.  Some have regional challenges like the fog at Wellfleet Drive-In in Massachusetts on Cape Cod while others deal with extreme heat, especially those in the North Texas area (Galaxy Drive-in, Coyote Drive-in, and Brazos Drive-in).
Each drive-in has its own appeal and personality.  Many are run by flesh-and-blood families, others are run by groups that have become families.  All do this because they love it. 
My favorite drive-in highlighted in the film was built in the family’s backyard (and it’s a BIG backyard)!  Another sits in the shadow of a downtown area though most are further out from the center of their towns or cities.
I loved the emotions I re-experienced watching this wonderful documentary.  I now have a new set of bucket list locations to visit in the next few years, starting with the three in my area of North Texas.  I am sad that I have not already been to any of them.
On my travels in the next year, I am also going to try to see the Greenville – Nelco Cineplex in Greenville, Mississippi (on my way to the Oxford Film Festival) and the Starlite Drive-In in Wichita, Kansas (on the way to the Tallgrass Film Festival)!
Watch this film and then make a plan to go watch a film at a drive-in near you!  I think you’ll have a good time and make some lasting memories!
 
Director: April Wright
Cast: Mission Tiki, Wellfleet Drive-In, Field of Dreams Drive-In, Galaxy Drive-in, Coyote Drive-in, Quasar Drive-in, Brazos Drive-in, Bengie’s Drive-in, Transit Drive-In, Greenville Drive-in, Harvest Moon Drive-in
MPAA Rating: NR
Selig Rating: 5 Stars
Runtime: 1 Hour & 45 Min.
Release Date: 03/14/2023
Releasing on Digital & On Demand
Language: English
Movie Site: BACK TO THE DRIVE-IN Official Site
Trailer: BACK TO THE DRIVE-IN Trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### BACK TO THE FUTURE – Interview with Brian Schultz – Founder and CEO of Studio Movie Grill
 
BACK TO THE FUTURE – Interview with Brian Schultz – Founder and CEO of Studio Movie Grill
Susan Kandell
Besides not being able to spend time with my family and friends in Dallas or even see my New York and Florida family, I miss going to the movies. Through advances in technology, we have options these days. Lots of options. Sure, we can watch wherever, whenever; at home, on our televisions or even on our phones (my very last resort), but it’s just not the same. Either is the popcorn.
I just needed some reassurance that I would be able to return to movie theaters – after lockdown restrictions were lifted, of course. So I figured I’d go straight to the source. I had an encouraging conversation with Brian Schultz, Founder and CEO of Studio Movie Grill. Below is an excerpted edition of our exchange.
Brian and I had a delightful conversation beginning with what it’s like for him to shelter at home with his wife and four children (two in college presently). “ You know, I actually think it’s been spectacular,” said Schultz.  Each night they rotate through the family and select that evening’s entertainment. “It’s been a great time to make dinners and just spend quality time together. Whether it’s movie night or a family walk…..it’s been a nice time to reflect”.
I wish I had more time to speak to Brian about his background in depth but a more pressing concern was the question on everyone’s mind. Daily, I get emails from folks wanting to know, “Will we be returning to movie theaters at all?” My answer to them goes back to the advent of television. When TV was first introduced there was great trepidation among studio heads about getting people back into the theater after having content delivered to a box sitting in their living room. They needn’t have worried. Yes, attendance did drop initially, but the empire struck back; theaters adapted and filmmaking improved.
So, I asked Brian what his thoughts were on this subject. “Well, first off, movie theaters, public entertainment, sports; all of it will survive. It becomes a matter of timing and being able to be flexible.”
He continued that the Studio Movie Grill will do a lot of research to figure out what steps would make people feel comfortable to come back to the movies.  “We’re going to do a great job making sure that we enforce rules in line with the CDC guidelines. We want audiences to return when they feel comfortable. We’ve actually been helping provide feedback as well to different communities on what those steps would be to create safety.”
He continued, “Movie theaters are so different. Traditional theaters are different. Recliner locations are different. Dine-in’s are different. Each one needs to do their own thing to make sure that they can respect the social distance. But the future of the movie theater industry I actually think, is actually very, very stable. But it’s a matter of time and building back. We’ve seen this in a lot of different cycles in a lot of different ways ……… the question really is what adjustments is it going to end up being – exactly as it was?  Or is it going to be kind of the new normal? And that’s what I think is still TBD”.
That’s what I wanted to hear. That’s what I needed to hear. I will actually sleep better tonight.
Now, this entire conversation may change as rules and regulations change from moment to moment depending on where you reside. But for today, it’s a hopeful message.
In the meantime, I made a remarkable discovery. The Studio Movie Grill may not be showing movies in their 36 locations, but they are still serving food via GrubHub. Don’t laugh – if you have a hankering for popcorn – you’re in luck! But that’s just the appetizer – there’s so much more. If you haven’t ordered food at your local Studio Movie Grill lately, you’ll be pleasantly surprised……and salivating. They have been continually upgrading their menu by developing  healthier, more gourmet choices so you can bring the show – including food – to your home. Go directly to the SMG website and click on your location to view the menu. It’s evident that Schultz has been busy thinking about his customers and employees and how to keep them happy. As a thank you for your takeout or delivery order of $20 or more, you’ll receive two free Studio Movie Grill movie tickets that you can use when the theaters re-open. Plus, with your order, 10% of proceeds support SMG team members at locations nationwide. Download the GrubHub app and you’ll get free delivery on your first order. It’ll also facilitate ordering moving forward.
While you’re chowing down, you can also – drum roll, please – watch a film at home curated with great care by the Studio Movie Grill. When the impact of the pandemic on the movie industry became evident, SMG teamed up with several film distributors to offer their audiences the opportunity to watch at home the films that would otherwise be playing on the big screen. The films are an eclectic mix of art house films; dramas, comedy and foreign films with some classics thrown in for good measure. Please go to the website of your local SMG and follow the directions and soon you’ll be watching movies you may have otherwise missed.
I’m impressed with Schultz’s dedication to the needs of his audience. He hasn’t been sitting around waiting for the lockdown to be over. “I’ve talked to my friends in Beijing and some other parts around the world.  There’s this kind of pent up demand to get out and we got to see that on the news a little bit. There’s a lot of different perspectives on what the timing will be. We’ve surveyed our guests and our employees, and depending on where you are and the media perspective in your area, and just like many things, (we’ve discovered) it’s not one-size fits all. And it’s the business’ responsibility to create a safe environment when you’re ready and people will be ready at different speeds.”
He did acknowledge that Warner Brothers and Christopher Nolan have been incredible partners, leading their big kick-off on July 17th with the tent-pole film Tenet, a highly anticipated action thriller. Secret agents? Time travel? Maybe we can go back in time and stop this pandemic?
I hope you’ll return to the theaters – I know I will. And I don’t necessarily have to……I often receive screeners or links in advance in order to review. But there’s something special about watching in a theater – the massive screens, the state-of-the-art sound, the concept of sharing the experience with friends, or laughing with strangers. I actually discovered I laugh more heartily with an audience in tow. And with apologies to Willie Sutton, I go to the movie theaters because….. that’s where movies are. And  the  popcorn, of course.
 
reprinted with permission of the TJP

#### BAD BOY – Interview with Creator Ron Leshem and Director Hagar Ben-Asher
A troubled teen is sent away to a brutal juvenile detention facility, in this dynamic drama from the creator of the Israeli series upon which HBO’s Euphoria is based.
Our Gadi Elkon chatted with Creator Ron Leshem and the show’s Director Hagar Ben-Asher just before the world premiere at TIFF 23′.

BAD BOY is a gripping true story about a young boy imprisoned in a chaotic and colorful juvenile detention facility. While in jail, DEAN bonds with ZORO, a mysterious fellow inmate who grows to be his closest friend and lifeline despite the fact that Zoro is serving time for cold-blooded murder. In order to survive the harsh reality behind bars, Dean learns to harness his unique creativity and humor – all while battling his own inner demons. Twenty years later, these traits still define Dean as a star comedian, while his time in jail is a secret that constantly threatens to resurface and tear his life apart.
Ron and Hagar talked with our Gadi Elkon about casting the show, utilizing real prisons and creating a staged prison setting and so much more!
Here is our chat with Creator Ron Leshem and Director Hagar Ben-Asher:

BAD BOY has its world premiere tonight September 12th at the Toronto International Film Festival.
For more info, BAD BOY TIFF 23′.
   
 

#### BAD BOYS FOR LIFE – A Review by Cynthia Flores
 
BAD BOYS FOR LIFE – A Review by Cynthia Flores
It’s hard to believe that this franchise started in 1995, over twenty-five years ago.  Bad Boys For Life is the third film (without Michael Bay this time) in the series about everybody’s favorite crime-fighting duo in Miami.  Of course, I’m talking about the ever-cool Mike Lowrey (Will Smith) and the fast-talking Marcus Burnett (Martin Lawrence).  In this outing, the two men are joining forces with an elite Miami P.D. team lead by Rita (Paola Nunez), Mike’s former flame, to take down the vengeful head of a drug cartel.  This comes at a time when Marcus is retiring from the force to enjoy his growing family.  Mike gives Marcus plenty of crap about riding into the sunset while maintaining that he’s “going to be running down criminals until I’m a hundred.”  Mike without his partner is left to learn to work with high tech new policing strategies and young cops with attitudes.  Mike is still old school and would rather use brute force to get the job done.   After a shocking turn of events, the job gets personal this time and brings back people from Mike’s past that could end any chance of his having a future.  Mike needs help and asks his friend Marcus to come back to the force and go into battle to take down the criminals in style this one last time.
Since I don’t want to write any spoilers for this fun movie, I’ll stop talking about the storyline, which is clever.  However, I will tell you this, there are lots of impressive chase scenes from beginning to end.  There’s more bloodshed than before and the chemistry between these two men is still on point and very funny.  Also, it’s been a while since we got to enjoy that iconic swishing sound that goes with the camera slowly moving around the two leads as they’re shooting or fighting.  I actually heard several people singing the iconic reggae song “Bad Boys, bad boys, whatcha gonna do, whatcha gonna do when they come for you!” before the movie started.  So we as an audience are ready for this next chapter of action-packed fun.  The only real negative thing I have to say about the film is Martin Lawrence looking off to the side quite a bit.  Almost like he was having trouble with his lines at times.  Even with that being said, it’s still impressive to see how easily Smith and Lawrence slide back into these characters and actually make them more fun to be around than before.
I give Bad Boys For Life a B+ rating.  It’s a great way to spend a cold winter day warming yourself by the fire of all the car explosions on-screen.
 
Directed by: Adil El Arbi, Bilall Fallah
Written by: Chris Bremner, Peter Craig, Joe Carnahan, Joe Carnahan, George Gallo
Rated R
Selig Rating B+
Running Time: 2h 3min
Action / Comedy
Wide Release: January 17th
Starring: Will Smith, Martin Lawrence, Joe Pantoliano, Paola Nunez, Jacob Scipio, Kate del Castillo
 
The Selig Rating Scale:
A – Excellent movie, well worth the price.
B – Good movie
C – OK movie
D – No need to rush. Save it for a rainy day.
F – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### BAD BOYS: RIDE OR DIE – A Review by John Strange
BAD BOYS: RIDE OR DIE – A Review by John Strange
Detective Lieutenant Michael Eugene “Mike” Lowrey (Will Smith) and his partner Detective Lieutenant Marcus Miles Burnett (Martin Lawrence) are still on the job in Miami after almost 30 years (Bad Boys hit the screens in 1995).
The film opens on Mike’s wedding day with the boys racing to get to the ceremony, with Marcus giving Mike a good reason why they need to stop for a ginger ale.  And we find action.  And humor.
The wedding is wonderful.  The celebration, even Marcus’ toast is great. 
And then things start getting hairy.  As always.
There is a threat that their previous boss, Captain Conrad Howard (Joe Pantoliano), had been investigating on the QT.  And it got him killed.
He didn’t want Mike and Marcus to get hurt because of this investigation.  There is a deep-rooted rot in the Miami Police Department and some related agencies.  That’s about to change because these boys are now on the job.
This is a Bad Boys sequel so certain things are a given.  The banter between the guys is going to be funny and constant.  The action scenes will be well choreographed and executed.  Their compatriots will be interesting and able to fill in the gaps in the story/action.
In Bad Boys: Ride or Die their boss is Captain Rita Secada (Paola Nuñez), who happens to be one of Mike’s ex-girlfriends.  And who just happens to be dating DA Lockwood (Ioan Gruffudd) who is running for mayor.
The partners are working with Kelly (Vanessa Hudgens) and Dorn (Alexander Ludwig), badasses in their own right.  They are a kick to watch in the main battle scenes.
The bad guys are led by McGrath (Eric Dane).  Eric has proven himself as an excellent actor and his portrayal of this ex-soldier is spot on.
Like the best of the Bad Boys sequels, Bad Boys: Ride or Die is a funny, violent movie that is worth the price of admission.  The story is well written.  The direction of Adil El Arbi and Bilall Fallah is great.  The fight choreography is wild and woolly.  Plus, I love me some albino alligator!
One last note.  Marcus’ son Reggie, now a US Marine, is a badass, too!
 
Director: Adil El Arbi & Bilall Fallah
Cast: Will Smith, Martin Lawrence, Vanessa Hudgens, Alexander Ludwig, Paola Nuñez, Eric Dane, Ioan Gruffudd, Jacob Scipio, Melanie Liburd, Tasha Smith, Tiffany Haddish, Joe Pantoliano
MPAA Rating: R (for strong violence, language throughout, and some sexual references)
Selig Rating: 5 Stars
Runtime: 115 Min.
Release Date: 06/07/2024
Language: English
Genre: Action/Comedy
Movie Site: BAD BOYS: RIDE OR DIE Official Site
Trailer: BAD BOYS: RIDE OR DIE Trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### BAD COUNSELORS – A Review by Jenn Rohm
I am not sure whether it was my age when I first watched spring break movies, the age of the cast, or some combination of the two, but Bad Counselors took me back to that uncertain period between being in school and becoming responsible for yourself.  The movies I watched growing up often told stories about carefree young people setting off on adventures, encountering a life-changing challenge, and seemingly becoming functioning adults overnight. That movie magic always left me wondering what adventure I should have taken – especially on the days when I am not convinced, I have fully figured out adulthood myself.
Director Chris Dowling brings considerable care, talent, and attention to Bad Counselors.  The film offers a more grounded story about two college fraternity brothers who have landed in trouble with the police one too many times.  Hoping to avoid being expelled, they agree to perform community service and sign up as counselors at a weeklong spring break camp – which happens to be a church camp.  Admittedly, there is still a little movie magic in how the perfect solution appears at just the right moment, but the premise feels closer to reality than much of what typically reaches the big screen.
The storyline is predictable, but that did not diminish my enjoyment.  If anything, its familiar structure creates room for meaningful connections to develop between Grayson (Matt Cornett) and Patrick (Brayden Gleave), as well as Tyler (Ramon Reed) and Shadow (Dominic Lopez). Few films take the time to explore genuine bonds between older and younger people who are not siblings.  Watching small moments of kindness make a lasting impact on someone else’s life was refreshing.
Bad Counselors is a Christian, faith-based film, but the moments that could be considered “preachy” are brief and appropriate to the church/ church-camp setting.  The film also gently portrays the internal struggle of someone deciding what faith means to them.  Rather than insisting there is only one path, it presents faith as one possible choice and allows the character’s journey to unfold naturally.
The cast delivers relatable characters who feel like people many of us have encountered in real life.  A few supporting characters with limited screen time are intentionally exaggerated, but their familiar personalities add some welcome and unexpected humor.  It was also fun to see TikTok influencer Kevin Lawson appear as a bouncer.
If you are looking for a lighthearted, heartfelt film about growing up, forming unexpected connections, and finding direction, Bad Counselors is a worthwhile choice.
 
 
Director: Chris Dowling
Written By: Taylor Grabowsky, Ryan Gunnarson, Dexter Masland
Cast: Missie Pyle, Matt Cornett, Ramon Reed, Chris Kline
MPAA Rating: Rated PG-13 for suggestive material.
Genres: Comedy, Family
Selig Rating: 3.5 Stars
Runtime: 1hr 40 min
Release Date: July 23, 2026
Trailer: Bad Counselors trailer
 
 
RichardsonThe Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### BAD PRESS – Interview with Filmmakers Rebecca Landsberry-Baker and Joe Peeler
The award-winning documentary, BAD PRESS, opens in LA at the Laemmle Glendale this weekend.  Filmmakers Joe Peeler & Rebecca Landsberry-Baker talked with our Gadi Elkon about the film, their festival run and much more.

An enthralling, edge-of-your-seat nail biter that unfurls with the energy and suspense of a political thriller, BAD PRESS is a timely and unprecedented documentary about the battle for freedom of the press in the Muscogee Nation.
Rebecca and Joe talked with Gadi about their ties to the nation, the main subject Angel Ellis, and even Young Han Solo.  They also discuss the incredible award-winning festival run the film has had and the historical significance of their subject matter.  Here is our chat with Filmmaker Joe Peeler and Rebecca Landsberry-Baker.
Interview with BAD PRESS Filmmakers Rebecca Landsberry-Baker and Joe Peeler:

Don’t miss out on this amazing story of the power of free press and the community it serves.
For more info, BAD PRESS.
 
 
 

#### BAD TIMES AT THE EL ROYALE – A Review by Gadi Elkon
Seven strangers, each with a secret to bury, meet at Lake Tahoe’s El Royale, a rundown hotel with a dark past. Over the course of one fateful night, everyone will have a last shot at redemption… before everything goes to hell.
	 

	Here is my full review of 20th Century's and Writer/Director Drew Goddard's, BAD TIMES AT THE EL ROYALE.

	

	Drew Goddard has given us a film that is a wonderful noir throwback mixed in with Quentin Tarantino like chapter dividers and a tremendous cast.  The heart pounding pacing makes the 2 hour 21 minute run time seem like a blur.  His DP Seamus McGarvey captures the unique beauty of the Lake Tahoe wilderness and creates pure fear with the rain soaked haunted nights.  Academy-Award Winning Composer Michael Giacchino dives deep into the 60s and 70s to scare, titillate, and to sooth our beating hearts.  Overall Bad Times at the El Royale is one of the year's most fascinating films that is pure entertainment at its best.  Plot wise I think the above synopsis captures it – 7 strangers, 7 secrets, all set in a rundown hotel from the past.  

	Is there truth in the film?  Well if you do a little research you may come across the legendary Cal Neva Hotel (that ironically Larry Ellison purchased this year!).  Like in this film there are connections to the Rat Pack who famously played the Cal Neva.  And the secrets at that famous…infamous hotel reaches Hollywood, Chicago's gangster history, the casinos of Vegas/Reno, the aforementioned Rat Pack fellas and even to the White House.  There happens to be secret film found in the movie's plot, a buried treasure from a bank heist, and sexual escapades that may force a cringe or an arousal depending on your sensibilities.  But the El Royale is simply a tale of those 7 strangers and all the bad shit that happens in the dreaded day and night they spend at this hotel.                

	I'll reiterate that the cinematography is on point, McGarvey brought back memories of the rain soaked Chicago world of High Fidelity or the similarly rain filled NYC of Godzilla to give us another down pour of epic film history.  I'm pretty sure to be a proper Noir you need a bit of rain or at least a distant clatter of thunder to make you jump.  But the real fun of the film is the music. Whether from an old school record player or bursting from the lungs of Cynthia Erivo (Darlene Sweet) you are fully emersed into the 1969 setting.  Jon Hamm as Laramie Seymour Sullivan (or so he tells us so proudly) owns the beginning the film with his quick-witted salesman pitch to his fellow guests.  But quickly each chapter allows you to fall for all of the other characters.  Jeff Bridges breathes in every scene with such gusto you hope to always see him at this incredible level.  You can tell Jeff most have enjoyed every second of being Father Daniel Flynn (or Dock O'Kelly depending on who you ask).  Erivo is a real find from this film and I am grateful it was her unique style rather than the supposed first choice of Beyonce that melts our hearts with her singing.  Cailee Spaeny (Ruth Summerspring) also puts a spell on you as her full mystery maybe the film's darkest.  Well until you hear the terrible horrors of Lewis Pullman's Miles Miller.  And of course you'll love the shotgun welding fast car driving sexiness of Dakota Johnson (Emily Summerspring)  unless you are fully taken by smooth moving Chris Hemsworth's diabolical Billy Lee.               

	The question you need to ask yourself is not whether you will see this film but rather how many times.  

	For more information about the film:

	BAD TIMES AT THE EL ROYALE.

	 

	Writer & Director – Drew Goddard

	Rated R

	Selig Rating A

	Running Time 2hr  21min

	Mystery / Thriller

	Opened Nationwide October 12th 

	Starring: Jeff Bridges, Cynthia Erivo, Dakota Johnson, Jon Hamm, Chris Hemsworth, Cailee Spaeny, Lewis Pullman, Nick Offerman

	 

	The Selig Rating Scale:

	 

	A – Excellent movie, well worth the price.

	B – Good movie

	C – OK movie

	D – No need to rush. Save it for a rainy day.

	F – Good that I saw it on the big screen but wish I hadn't paid for it.

	 

	 

#### Ball State University and Heartland Film Team Up to Offer Rare Learning Opportunity for Film Production Students
 
Ball State University film production students will get a rare opportunity to learn from Indianapolis-based Heartland Film—well-known for hosting the Heartland International Film Festival—thanks to a creative partnership between Heartland and the University’s new Radiance Cinema.
A year-long Ball State Immersive Learning project formed jointly by the University’s College of Communication, Information, and Media (CCIM) and the College of Fine Arts (CFA), Radiance Cinema will give students the chance to participate in a film festival. In Summer 2024, Ball State students will showcase the films they’ve created during a dedicated time block at the Indy Shorts Festival—hosted by Heartland Film. Additionally, Heartland Film staff will visit campus to teach about film festivals.
“We are excited to partner with Heartland Film,” said Benjamin Strack, assistant teaching professor of Media at Ball State. “The collaboration between the Department of Theatre and Dance (in CFA) and the Department of Media (in CCIM) provides new opportunities to expand student expertise, and these efforts are unified into the new program, Radiance Cinema.
“Our partnership with Heartland Film makes student film production real,” Mr. Strack added. “Their collaboration gives a professional goal for the students to achieve.”
Mark Cabus, assistant teaching professor of Acting and co-collaborator in the College of Fine Arts, also has high hopes for the program’s success.
“Radiance Cinema is a class and a program whose time has come,” Mr. Cabus said. “With the passing of Act 361 last year, providing tax credits to film and television production companies coming to our state, we hope to cultivate resources for those companies and our students in their post-college careers.”
Partnering with Ball State students aligns with Heartland Film’s mission to curate, promote, and celebrate thoughtful and engaging films from diverse perspectives, according to Heartland Film president and Ball State alum Michael Ault, ’86.
“As a Ball State alum, I’m delighted to welcome Radiance Cinema to the Heartland International Film Festival,” Mr. Ault said. “I believe this program will help inspire and develop the next generation of cinematic leaders as students network and experience films from local and international independent filmmakers this Fall.”

#### BALLERINA – A Review by John Strange
Action movies come in many flavors, but the John Wick franchise comes in one: fast-paced and bloody.  The world of hitmen (and women) and the Baba Yaga is not for everyone but for its fans, it is amazing!  Ballerina follows Eve (Ana de Armas) as she is recruited and trained by the Ruska Roma organization after assassins kill her father.
The training is brutal, and not all fighting and shooting.  Under the watchful eye of the Ruska Roma’s Director (Anjelica Huston), Eve practices her ballet moves between shooting and martial arts sessions.  Despite the blood and sweat, Eve never gives up.
The why behind her dedication is the true basis for the film: revenge!
The storyline is filled with extraordinary fight scenes choreographed expertly as Eve bulldozes her way toward her objective, the head of another assassin organization, The Chancellor (Gabriel Byrne).   Like the organization that runs Eve, the opposition is very good at what they do.
I want to say that the film has a strong well-defined plot, but revenge shouldn’t be the end-all, should it?  Well, in between the bloody gun battles, the bloody knife fights, the hand-to-hand bruhahas, and a great sequence with flame throwers, revenge seems to work here.  I had fun watching this film, so sue me!
I own the first four films, and I will be adding this one to my collection when it arrives on home video.
 
Director: Len Wiseman
Cast: Ana de Armas, Anjelica Huston, Gabriel Byrne, Lance Reddick, Catalina Sandino Moreno, Norman Reedus, with Ian McShane, and Keanu Reeves
MPAA Rating: R (for strong/bloody violence throughout, and language)
Selig Rating: 5 Stars
Runtime: 125 Min.
Release Date: 06/06/2025
Language: English
Genre: Action/Thriller
Movie Site: BALLERINA Official Site
Trailer: BALLERINA Trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### Balls Out – Interview with Producer Red Sanders
https://www.youtube.com/watch?v=PztTgQ1zxXw

	The great Muhammad Ali once said, "Champions aren't made in gyms. Champions are made from something they have deep inside them-a desire, a dream, a vision. They have to have the skill, and the will. But the will must be stronger than the skill.” 

	Balls Out certainly is a film about the will being much stronger than the skill.  Click through for my interview with Producer Red Sanders.

	

	

	Writer Bradley Jackson funny look at Intramural football harps back to his UT Austin days.  Balls Out is a mixture of a lot of Texas connections continuing to make bold out there films but with some big time friends being on board this time.  Bradley's writing chops showcase a wide range that can put out quality like short film The Man Who Never Cried, docs like Lord Montagu and the upcoming Dealt, and as Balls Out showcases the absurd comedy.  I asked Producer Red Sanders about that early inspiration from Bradley.

https://seligfilmnews.com/wp-content/uploads/2015/06/Red-Sanders-BALLS-OUT-Bradley-Jackson-UT-Austin-ties.wav

	Mix in young Director (and Texan) Andrew Disney's ability to bring about an amazing cast in a wonderful ensemble heavy riot act and you have the starting points of a fun film.  Justin Red Sanders produced Andrew's first feature film Searching For Sonny which was a a wonderful take on noir mystery with a talented young cast and it was during that film's festival run (It came to DIFF) that the first sparks of Balls Out (called Intramural at the time) came about.  Red talked about getting Andrew involved.

https://seligfilmnews.com/wp-content/uploads/2015/06/Red-Sanders-BALLS-OUT-Andrew-Disney-Sonny-to-Balls.wav

	The plot is pretty basic, our hero Caleb Fuller (Girls' Jake Lacy) reassembles his winning intramural football team for one last hurrah before regular life engulfs their time.   Jake has been quite the lovable "marriage" fella with Obvious Child utilizing his quirky comedy chops too.

	

	Engulfing Caleb's world is his fiancee Vicki played by SNL's loose tongued sensation Kate Mckinnon.  Kate literally steals EVERY scene she is in!  Speaking of SNL, the cast of Balls Out is the who's who of current studs like Jay Pharoah, DC Pierson (SNL shorts!), and Beck Bennett.  Mixed in with the talented comedians from NYC you have a great group of LA and Texas based talent like Kirk Johnson (Bad Guy #2), the duo of Nick Kocher and Brian McElhaney, Sam Eidson, Gabriel Luna, and of course Jeff Lacy as the "straight man" in the film.  I asked Red about getting this incredible cast on board.

https://seligfilmnews.com/wp-content/uploads/2015/06/Red-Sanders-BALLS-OUT-Cast-and-Texas-Heat.wav

	Even with those 108 degree days there was so much fun times going on during the filming.  Red talked about one of the funniest days, it happened to be the first day of the shoot and involved lovely Kate McKinnon!

https://seligfilmnews.com/wp-content/uploads/2015/06/Red-Sanders-BALLS-OUT-Kate-makes-out-with-a-random-extra.wav

	Kate was the first SNL connection to jump on board the film.  After that the great Jay Pharoah came on board and Red talks about how he shot his scenes in one day.

https://seligfilmnews.com/wp-content/uploads/2015/06/Red-Sanders-BALLS-OUT-one-day-JAy.wav

	Jay plays one of the two announcers along with a long-haired DC Pierson who not only capture the cliches but add in a TON of pot humor to their scenes.  Overall Jay and DC are my favorite parts of the film and really just perfectly capture that quirky announcer style while still being rude, crude and always stoned.

	

	But if the film has one stand out star making figure, it's Beck Bennett's evil Dick character.  I asked Red about the Beck experience and he let us know that Beck actually got his SNL audition call while filming Balls Out! 

https://seligfilmnews.com/wp-content/uploads/2015/06/Red-Sanders-BALLS-OUT-Beck-Lorne-Michaels-Audition-and-DICK-the-villain.wav

	Beck as Dick.

	

	I asked Red about ORION Pictures return to prominence and he explained that they are 1 of 4 films this year that the studio is looking to revitalize their once beloved production house. 

https://seligfilmnews.com/wp-content/uploads/2015/06/Red-Sanders-BALLS-OUT-ORION.wav

	Red and I talked about the great festival run, that included a stop at Tribeca, for the film.

https://seligfilmnews.com/wp-content/uploads/2015/06/Red-Sanders-BALLS-OUT-TRIBECA.wav

	Here are some of the gang out at 1 of the Tribeca screenings.

	

	The lovely Nikki Reed needs a shout out for her adorable love interest role as well!  Andrew Disney works great with his young leading ladies like Minka Kelly in Searching for Sonny and now Nikki and Kate in Balls Out.  I asked Red about how he decides the projects he wants to be apart of and he let me know of the great news that the gang now has a full-time LA office!

https://seligfilmnews.com/wp-content/uploads/2015/06/Red-Sanders-BALLS-OUT-Producing.wav

	

	Don't miss out on this fun spoof of all the classic sports films of our youths.  The film is out today in 11 cities nationwide and on demand everywhere.  Dallas folks check it out at LOOK Cinema and Austin folks go to the new Alamo Drafthouse off Lamar to see the movie.  For more details please check out the site, here.

	

	A little more love for Red.  Here is our in-depth interview with Red and Director James Johnston at DIFF 2015 talking about their short film Melville.  It was one of my favorite shorts at the festival.

#### BAND AID – A Review by Cynthia Flores
Zoe Lister-Jones as Anna, Adam Pally as Ben and Fred Armisen as Dave in Zoe Lister-Jones’ BAND AID. Courtesy of IFC Films. An IFC Films release.

	 

	BAND AID – A Review by Cynthia Flores

	 

	Usually, the rule of thumb is if a film is not rated (that's what an NR rating stands for) it’s because it’s vulgar beyond the norm for Hollywood. It pushes the boundaries in some way of what most people call regular films versus straight up pornography or some other bloody gross thing. This film Band-Aid, is the exception to that rule. My guess is that they didn't want it to go up for review of the rating board because they would have gotten hit on the fact that the lead characters smoke pot, do hallucinogenic mushrooms and drop the F-Bomb a bit.  The story is set in current day Los Angeles so what else do you expect. Besides you have to like a movie that starts with the line from a husband defending himself to his wife standing in front of a sink almost full of dirty dishes, “It’s one dish!”

	 

	Band Aid is the directorial debut for its star Zoe Lister-Jones who also wrote it. For a  first time film it's not very long, only an hour and a half, it's also witty, timely, and I'd say a solid first-time-out project.

	 

	Basically it's about her view on modern love for early thirty-something’s within marriage. Anna (Zoe Lister-Jones) is married to Ben (Adam Pally) and they bicker and fight constantly. On the advice of their marriage counselor, they look for a way to work on what has been at the root of all their fighting without going “round and round” yelling at each other.  They’re both creative types, she’s an “almost writer” that makes money driving for Uber and he’s a graphic artist that works from home, surely they can think of something that will help, right? The solution they come up with, to start a band, is inspired by a jam session they have stoned out of their minds at a friends children's party where he rocks out on toy instruments and she sings on a toy mic.

	 

	They start a band not to become rich and famous but to be able to write down what they fight about and turn it into songs and hopefully get a chance to perform them live. The first day that they clean out their garage to make room for practicing, their creepy neighbor Dave (Fred Armisen) asks them what they're doing. He gets weirdly excited and lets them know that he's a drummer slash percussionist.  it's obvious he wants to join the band but he won’t come right out and ask. Once he leaves the couple laughs about the fact that he's probably a serial killer and they don't want him in the band. However, as all people starting a band find out, “We need a drummer” so with hat in hand they knock on weird Dave's door and the band later to be called Dirty Dishes is born.

	 

	It’s fun to watch the evolution of the songs most of them are hilarious. Being in the band gets them out of the house together, gets them back into being creative again, and to act more loving to each other. If this whole film were only about starting a band to write clever songs about being married then it would be an epic fail, but it’s not. Remember all the fighting that was going on in the first place, well most of it came from the fact that over a year has passed since Anna was pregnant and she lost the baby to a miscarriage. That’s the deeper side to this film that fits in well with the silly songs, it's about this couple dealing with their grief before it tears their marriage apart forever. Don’t get me wrong, this is still a great comedy but it does touch on a sobering topic.

	 

	Band Aid is a cool film that has great music.  What I also liked about it is it seems like anyone that’s in a hit TV comedy show is in this film.   Actors like Ravi Patel, Chris D'Elia, Hannah Simone, Erinn Hayes, Jessie Williams, and Colin Hanks are in small parts and in walk on scenes that took them probably two hours to shoot.   You’ll spend half the movie pointing to the screen and saying “Oh my god that's so and so from that TV show I love”. Which makes me believe that if you're a comedic actor in Hollywood, of a certain age, you must all hang out together and just chill out. Which is what you should do this weekend when you go to see this film. Grab your significant other and laugh at the fights they have because they sound just like yours.

	 

	 

	Directed by Zoe Lister-Jones

	Written By  Zoe Lister-Jones

	Rated (NR)

	Selig Rating: B+

	Running Time  1hr 31min

	Comedy/Drama

	Limited Release June 9th Magnolia to wide release

	Starring:  Zoe Lister-Jones, Adam Pally, Fred Armisen

#### BARBIE – A Review by Cynthia Flores
BARBIE – A Review by Cynthia Flores
I had the privilege of going to a screening of this film with local influencers and fans of the Barbie doll in the local DFW area. I did not anticipate the sea of pink outfits I would sit amongst during the screening. It was so much fun to see all sizes and age ranges dressed in their favorite Barbie-esque attire. And don’t even get me started on all the Kens that showed up. They were styling as well.
At the event, I saw the merchandising the theaters would have for this film. Be prepared to shell out an average of $20 per keepsake item to hold your popcorn and soda during the movie. The film is based on a Mattel toy, so you have to expect this level of merchandising. And I’ll warn you, you will want to collect each of those pink lovelies they have available. So bring your wallet.
The film Barbie on its surface has a simple storyline, but it is actually layered with female empowerment messages. Stereotypical Barbie (Margot Robbie) lives in her flamingo-pink Dreamhouse, surrounded by other Barbies in theirs. All of this takes place in Barbie Land. All the Kens live there as well somewhere.
Part of the fun of watching the film is seeing who appears as a Barbie or a Ken. It’s packed with a well-known cast of actors and actresses playing all the Barbies and human characters. There are people like Will Ferrell, Emma Mackey, Simu Liu, Michael Cera, Issa Rae, Kingsley Ben-Adir, Rhea Perlman, John Cena, and the best narrator ever, Dame Helen Mirren, in the cast.
One principal, “Ken” (Ryan Gosling), lives only to love Stereotypical Barbie. He tries to impress her and stand out from all the other Kens. Life is perfect and going along as it always has until Stereotypical Barbie suffers a crisis that leads her to question her perfect pink world and her existence. When the signs of her distress start adding up, she must visit Weird Barbie (Kate McKinnon). She is the doll that was played with too much and wrecked by her person. Leaving her marked up and sitting in a split position. She is considered wise and known to help fix broken Barbies. Weird Barbie sends Stereotypical Barbie to the real world to repair the tear between her and the human playing with her.
Once there, Stereotypical Barbie and Ken, who has tagged along, find the family she feels has played with her and caused all these troubles for her in Barbie Land. Surly Teenager Sasha (Ariana Greenblatt) and her mom Gloria (America Ferrera), who works at Mattel as a receptionist for the CEO (Will Ferrell).
This is not the first time a Barbie has crossed over to the real world. The longer she is there, the more damage is done to both worlds. So the CEO and all his board of men in black suits frantically chase Stereotypical Barbie around LA to get her back in her box. Her only help comes from Gloria and Sasha.
The rest of the film is a fun and wacky look at what happens to Barbie Land when an enlightened Ken, who has learned about patriarchy in the real world, returns and teaches all the other Kens how to be dudes in charge—turning Barbie Land upside down. Stereotypical Barbie has brought Gloria and Sasha back to a shattered Barbie Land, and together they must set everything right. 
The film Barbie was directed and co-written by Oscar Nominee Greta Gerwin. Her wry and intelligent voice on the subject matter was the perfect match. Her projects are known for strong female characters, so the fact that Margot Robbie and Warner Bros, who owned the rights to make the film tapped her on the shoulder to tackle this project was brilliant. The iconic Barbie doll, which has its haters and a legion of fans worldwide, needed Gerwin’s voice as a storyteller and filmmaker. She and her co-writer Noah Baumbach who have worked together before, have managed to take an inanimate object like the Barbie doll and make it a compelling character. While still showing some of the magic children feel playing with her. I especially enjoyed their nod to the literary classic The Velveteen Rabbit by Margery Williams at the end of the film’s storyline. Once you see the movie, you will know what I am talking about. 
Barbie, the film is a visual feast for the eyes. The soundtrack will be on repeat this summer, and everyone will want to own something they saw on the screen. The only fault I find in the movie is some of the storyline and odd dance sequences that the Kens have in the film. I wouldn’t have missed some of that being cut out of the film completely. It fell flat compared to the energy of the Barbies. Also, if you think this will be a cool movie to take your children, who are still young enough to play with the dolls right now, think again. It’s PG-13 for a reason. This film was not made for the kiddie demographic, and they would soon be bored and left behind as the story progresses.  
I give Barbie 4 stars. It’s for all the people that grew up playing with the dolls. You know who you are. So you and your best friends must wear your best pink outfits or accessories, go to a theater near you, and enjoy this fun summer hit.
 
Directed by: Greta Gerwig
Written by: Greta Gerwig, Noah Baumbach
Rated: PG-13
Selig Rating: 4 Stars
Running Time: 1hr 54 min
Comedy/ Fantasy
Wide Release: Only in Theaters July 21st
Starring: Margot Robbie, Ryan Gosling, America Ferrera, Will Ferrell, Kate McKinnon, Ariana Greenblatt
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### BARBIE – A Review by Jenn Rohm
BARBIE – A Review by Jenn Rohm
Greta Gerwig has directed and co-written with Noah Baumbach a story I didn’t realize I was waiting for.  Growing up I used my imagination and played with dolls.  One of which told me I could be anything I wanted to be including Astronaut, Doctor, or even President of the United States.  Now many years past those days apparently the doll has more to teach with this summer release of Barbie.
Starting with a slightly familiar opening, the change for girls playing with baby dolls and pretending to be a mom one day is pushed aside with the introduction of a blond-haired, blue-eyed, swimsuit-wearing doll that takes care of herself.  We are taken to Barbieland with endless opportunities and options available to all Barbie and her girlfriends.  As we go through a great day with “Stereotypical Barbie” (Margo Robbie) greetings of “Hello Barbie” abound.  Toward the end of the day, she starts to ask some questions that are not standard for Barbieland.  Facing some rather drastic changes she goes to “Weird Barbie” (Kate McKinnon) for assistance.  This sets “Stereotypical Barbie” off on her adventure.  She heads to the country of California (according to the map and story) only to learn what she thought was happening in the real world isn’t.  Oh, and Ken is there ready to beach while looking for approval from Barbie.
Gerwig and Baumbach provided a script that allowed the cast to not take itself so seriously that the pink shine went away.  One of my favorites is a line from the narrator when Robbie’s Barbie is upset.  (You will have to see the movie to hear for yourself.)  It was also not so campy that the important topics being presented got lost.
The movie brought back so many childhood memories.  Many of these were due to the talent of the Art Decoration, Set Decoration, Costume Design, Makeup, and Art Departments. The care given to details such as a shower that sounds like running water, yet no water is present, to a closet that is a boxed outfit with accessories is a large part of what has me in love with this movie.
The cast brought all the various versions of Barbie, Ken, and Friends to life.   We have Midge and her 2002 pregnancy scandal.  (A removable baby bump with a baby inside did not go over well with the public.) Mentions of Skipper and babysitting antics are in the script.  We also have one Allan/Alan, who isn’t with Midge in the film, but according to the product line, they were married in the 90s.  
The film has a few things that did disappoint such as a Ken serenade that had me checking how long it ran and some of the dance sequences that could have been shorter.  The history of Barbie herself is touched on, but pieces of the story are missing.
This is a movie for an older audience.  It is not a G-rated friendly for all Barbie adventure that will keep younger audiences’ attention.  There are deeper topics including patriarchy, consumerism, impossible societal standards, self-image, and self-worth being represented.  You do not have to be a Barbie fan or have played with Barbie to get something out of this film.
I could go on, but I would rather you have time to go see the film for yourself.  As for me, I will be watching this film many more times and buying a copy for home as soon as I can.  Now where are my Golden Dream and Sun Lovin Barbie?
 
Director: Greta Gerwig
Written By: Greta Gerwig, Noah Baumbach
Cast: Margot Robbie, Ariana Greenblatt, Kingsley Ben-Adir, Ryan Gosling, Will Ferrell, Kate McKinnon, America Ferrera
MPAA Rating: PG-13 for suggestive references and brief language
Genres: Adventure, Comedy, Fantasy, Romance
Selig Rating: 5 stars
Runtime: 1h 54m
Release Date: July 21, 2023
Movie Site: Barbie Official Movie Site
Trailer: Barbie Official Trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well there was nothing else . . .
1 Star – Total waste of time.

#### BARELY LETHAL – A Review by John Strange
Barely Lethal

	 

	BARELY LETHAL

	 

	By: John ‘Doc’ Strange

	 

	Directed by: Kyle Newman

	 

	Cast: Hailee Steinfeld, Samuel L. Jackson, Jessica Alba, Sophie Turner, Dove Cameron, Thomas Mann

	 

	MPAA Rating: PG-13 (for sexual material, teen drinking, language, drug references and some action violence)

	 

	Selig Rating: MATINEE

	 

	Runtime: 100 Min.

	 

	 

	Imagine if you will a school where young girls are raised to be killing machines.  A school run by a hard case named Hardman (Samuel L. Jackson) who sees that the girls learn everything from multiple languages to the best way to assault a building.  A school where most of the girls have adjusted to the training and work very hard to be the best little killers they can be.

	 

	What if one of the girls, say #83, decided that what she wanted more than anything in the world is just to have a normal life.  She doesn’t want to be a rock star or an actress, just a regular teenaged girl going to high school and dealing with teachers and her fellow students.

	 

	While on a mission to capture an arms dealer named Victoria Knox (Jessica Alba), 83 has a close brush with death.  She escapes that death by cutting the rope which connects her (and the arms dealer) to the recovery plane and plunges into a river.  Upon pulling herself from the water, 83 (Hailee Steinfeld) realizes that this is her chance to escape and live a normal life.  All she has to do is not respond to Hardman’s attempts to reach her by radio and disappear into the woods.

	 

	Using her training, 83 picks a name for herself (Megan Walsh) and a back story (orphaned and raised by a foster family in Regina, Saskatchewan, Canada).  She then picks a family in the student exchange program to live with. 

	 

	Arriving in Newton she finds the Larson family isn’t exactly what she expected.  The couple is divorced for starters.  Mrs. Larson (Rachael Harris) is happy to invite her into their home.  The son, Parker (Jason Ian Drucker) thinks he is a ninja in training.  Parker’s sister, Liz (Dove Cameron), doesn’t trust her and doesn’t want her around to mess up her senior year.

	 

	On her first day in high school, Megan meets a young man who she decides is the AV Geek backstage prior to the opening day school assembly.  She then gets trotted out in front of the school where she is regaled with shouts of ridicule over her origins until the local musical hero (his band was #24 on the iTunes download list last March) arrives on stage to rescue her.   Her first day in biology finds her sitting with the AV Geek, Roger Marcus (Thomas Mann), trading puns as they get to know each other.

	 

	Sadly for Roger, Megan sets her sights on the musician, Cash Fenton (Toby Sebastian).  This leaves poor Roger hanging, interested but ignored as anything but, dare I say it, a friend. 

	 

	Megan goes through her days trying to follow the mission plan she has taped inside the armoire in her room.  Her only insights into the minds of the kids and adults around her are what she learned from binge watching films during her planning following the escape.

	 

	Too many of her ideas about how things are supposed to work are from these movies.  They are at least 10 years old (some are older).  Like the clothing she wore on the first day of school she is constantly learning the differences and putting the changes into place in her plan.  But every plan has its flaws.  For Megan, her greatest flaw is that she is nice.  This leads her to listen to two girls who want to keep her away from Cash.  She and tries out and becomes the school mascot.  (It is sad that the faculty advisor totally ignored her routine.  Using her martial arts background she totally nailed the use of the battle axe and her gymnastic moves were excellent.)

	 

	Even sadder is that the video of her beating the crap out of the opposing school’s students, students who just wanted to follow traditions and kidnap her while she is wearing the mascot outfit.  This video leads not only Hardman to her but Victoria Knox as well.  It seems the arms deaer escaped from the Prescott school facility where Hardman and his team had been questioning her.  She took out several members of the Prescott force during the breakout.

	 

	First to show up is neither of these people but #84 (Sophie Turner), Megan’s rival.  84, or Heather as she asks to be called, shows up at Megan’s first party, a kegger at another student’s house.  Megan goes to the party accompanied by Liz who was not sure she wanted to go but is forced to by her mother.

	 

	At the party, Liz hooks up with Gooch (now to be called by his real name, Bernard).  She and Bernard (Gabriel Basso) share his flask of tequila and get wasted while becoming close, all the while sitting in a bath tub.  At the end of the party, Megan is forced to decide whether to leave Liz passed out on the sofa and go with Cash to breakfast or taking Liz home to safety.

	 

	Hormones win out and Megan leaves Liz to sleep off the alcohol while she goes to eat with Cash and his friends. As a result, Liz arrives home at 6 AM the next morning with a drawing done in sharpie on her cheek.  Mrs. Larson lectures Megan about leaving Liz alone when she knew better. 

	 

	The girls are starting to bond.  Surviving an assassination attempt by an unknown party in a black car accelerates the process.   

	 

	The action sequences begin to come faster as the girls attend the homecoming dance on a double date (escorted by Cash and Bernard).  Heather shows up escorted by Roger which really gets Megan going as she tries to decide who her heart really wants.  Not surprising, a fight breaks out between the two agents.  From the defeated Heather, Megan finds out Victoria has plans for the Larsons.  Megan and Liz race home to save Liz’s mother and brother.

	 

	The fight as well as the banter between Victoria and Megan is pretty well scripted.  The rest of the final sequences are good but to be expected in a film like this.  That said, I liked the way the writer closed out the story.  The fights are not over done and the feel of the film is positive. 

	 

	I recommend this film to families with younger girls.  The lessons that are slipped in will be well received by them and the parents will be entertained as well.  I expect this to do okay in the theaters and then really go strong in the VOD and rental market where the girls can watch it more than once.

	 

	 

	Movie Site: http://barelylethal.com/

	 

	 

	The Selig Rating Scale:

	 

	FULL PRICE – Excellent movie, well worth the price

	MATINEE – Good movie

	DOLLAR – OK movie

	CABLE – No need to rush. Save it for a rainy day.

	FREEBIE – Good that I saw it on the big screen but wish I hadn't paid for it.

	COMMERCIAL TV – Commercials and cutting to the allotted time will not hurt this one.

	FORGET IT! – Bad. If you see this one, do yourself a favor and keep it to yourself.

	GET YOUR TORCHES – BAD! – Burn the script, the writer, the director and maybe even the actors!

#### BATHTUBS OVER BROADWAY – A Review by Cynthia Flores
 
BATHTUBS OVER BROADWAY – A Review by Cynthia Flores
Endearing is the first word that comes to mind when talking about this engaging documentary Bathtubs Over Broadway.  I took someone with me to the screening of this funny film that doesn’t care for musical theater and even they loved the movie.
Bathtubs Over Broadway documents the quest that Steve Young, a lead and longest tenured comedy writer on the Late Show with David Letterman, took collecting recordings of industrial musical theater.  What is industrial musical theater you may ask, well simply put its musical theater productions created solely to be used at conventions for company salespeople.  Full-throated Broadway-style musical shows about recognizable corporations in America: General Electric, McDonald’s, Ford, DuPont, Xerox and the like.  Starting in the 1950s and going through the 1970s there was a big hidden industry that only the performers and the people attending the conventions knew about.  These shows varied widely in size and often paid well – helping performers to afford to live in NYC and serving as a training ground for creatives that would go on to create and produce such well-known shows as Cabaret and Fiddler On The Roof. Martin Short says in the film, “it was a dream job” that paid great and kept actors in swanky hotels; Tony-winner Susan Stroman recalls that “you could afford to live in New York on four industrials a year” — and could actually become a better actor by doing them.
Steve only stumbled on the recordings while gathering material for a segment on Late Night, haunting used record shops to find music for Dave to make fun of.  However, what started as a bit for the show changed Steve’s life forever.  Up till then, he had few interests outside of his day job, so this new passion for an unknown art form changed him for the better.  Steve didn’t know much about musical theater, but these recordings marked “internal use only” delighted him in a way nothing ever had before.  He spent years tracking down rare albums and unseen footage of such productions as Diesel Dazzle.  He met fellow Obsessives at flea markets and through online auctions.  People like Ariel Pink drummer Don Bolles who is one of a few celebrity collectors.  Taking his research even further, he met with composers and performers in the hopes that they could shed more light on the productions themselves and perhaps have recordings he could not find.  Because of this he formed unlikely friendships and discovered that his discarded musical genre starring tractors and bathtubs was bigger than Broadway.  Steve eventually decided to write a book about the genre meeting his hero show creators along the way.
Bathtubs Over Broadway is pure Americana and a sort of non-stop nostalgia that comes across as something fresh.  It’s a perfect absurdity, and you will leave the theater smiling and humming to yourself.  This film’s joy is contagious and what an excellent way to start the New Year.  I give this film an A+ rating and hope you will seek it out and enjoy it as much as I have.
Directed by Dava Whisenant
Written By Ozzy Inguanzo, Dava Whisenant
Rated PG-13
Selig Rating A+
Running Time 1hr 27min
Documentary / Comedy
Limited Release Texas Theater
Starring: Steve Young, David Letterman, Martin Short, Chita Rivera, Florence Henderson
The Selig Rating Scale:
A – Excellent movie, well worth the price.
B – Good movie
C – OK movie
D – No need to rush. Save it for a rainy day.
F – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### BATMAN V SUPERMAN: DAWN OF JUSTICE – A REVIEW BY HAYDEN PTTMAN
In an ultimate showdown between two of the most iconic superheroes, “Batman v Superman: Dawn of Justice” is a dark, special effect-driven, action-packed thrill ride that pits the Bat of Gotham against the Man of Steel.

	Coming from someone who isn’t an avid comic book reader but followed the superhero cartoons, stories and film/TV adaptations growing up, “Batman v Superman” is fresh enough for an appealing new take on the source material while giving plenty of nods to previous Batman character interpretations and creating a nice follow up to director Zack Snyder’s “Man of Steel”. It is far from perfect, but that didn’t stop me from having a geeky smile on my face and goose bumps from start to finish. 

	After years of watching Marvel Comics dominate the genre by creating films that featured classic characters such as “Iron Man”, “The Hulk”, and “Captain America”, it was time for DC Comics to step up. 2013’s “Man of Steel” opened the door for a new kind of franchise, similar to what Marvel has been doing with individual character films and now “The Avengers”. With mixed feedback and continued development, DC was able to create “Batman v Superman”, which serves as a sequel of sorts to “Man of Steel”, while also introducing Batman and other popular DC Comics’ characters into the newly created universe while opening the door for a interesting future.

	In the aftermath of the destruction caused from the battle between Superman and General Zod in “Man of Steel”, Bruce Wayne considers Superman to be an alien invader from another planet who has only brought death and chaos to the world. Similarly, while trying to clean up the planet in his own way, Superman considers Batman a threat who has taken the law into his own hands. While Batman ventures to the city of Metropolis to confront Superman, a new evil threatens not only the people of Metropolis and Gotham City, but also the entire world. 

	Various trailers have surfaced leading up to the release of this film, with a certain one offering way too much information into the movie. While this may spoil parts of the movie for some viewers, there is more than enough Easter eggs, teasers and surprises. Snyder and writer David S. Goyer, who wrote Christopher Nolan’s “Dark Knight” Batman trilogy as well as “Man of Steel”, reportedly took inspiration from Frank Miller’s “The Dark Knight Returns” and take the story in strange but exciting direction. The film features several plot holes, questionable narrative choices, and changes from the source material that may have looked good to the makers, but for multiple reasons isn’t as clear or necessary as it should be to the viewer. 

	This is the kind of film that is driven by its special effects and computer generated imagery. If you’ve seen “Man of Steel”, “The Avengers”, or other superhero movies of this nature, then you know what I’m talking about. The visuals are pretty spectacular, but Snyder has a very specific, dark and almost cartoonish style that’s different from most, as seen in films like “300” or “Man of Steel”, and this film is no different. It also has great amounts of large scale, building destructive, smash-each-other-through-the-walls fight scenes, which some people like and others don’t. 

	The new cast additions, such as Ben Affleck as Bruce Wayne/Batman, who gives a mediocre performance hindered by the story, Jesse Eisenberg as Lex Luthor, who is very impressive, Gal Gadot as Diana Prince/Wonder Woman, who I very much enjoyed, Jeremy Irons as the wise and comedic Alfred Pennyworth and more, are very welcome. Hans Zimmer, who worked on “The Dark Knight” trilogy, “Man of Steel”, and many others, composed the film score, and the music adds major value and thrills to the film. I try not to give away spoilers, but I will say that there is an ending that sets up a very interesting future for the franchise and characters involved.

	Rotten Tomatoes states that this film “smothers a potentially powerful story in a grim whirlwind of effects-driven action”. Personally, I loved the film and the experience, but I will agree that there were a few elements I had issue with. There’s suppose to be a longer director’s cut version that will go with the DVD release, which could explain or make up for some of the things missed in the story, but the film as it stands it’s a must see for fans, whether they end up liking it or not.

	“Batman v Superman: Dawn of Justice” is rated PG-13 for intense action sequences of violence and action throughout, and some sensuality.

	3 out of 5 stars.

#### Batman: The Killing Joke – Review By Gadi Elkon
Kevin Conroy and Mark Hamill do battle once again in DC's latest animated movie adaptation.  Alan Moore's short but shocking The Killing Joke lit a fire in the DC universe that would have ripples even in today's films and comics.  The trailer above does an amazing job of making you believe DC has brought to motion Alan Moore and Brian Bolland (Illustrator) epic take on The Joker.  So does the animated film deliver? 

	

	Before the review, let's hear from Batty!

	The Killing Joke is such a beloved and debated comic.  Even Alan Moore isn't a huge fan of what has come about since his graphic novel.  Moore's issues about over sexualizing a beloved comic world like Gotham and also creating this dark sinister aura to the Batman legacy.  Ironically the film version of Moore's classic further cloud the story's point.  Let's tackle the huge elephant in the room.  The animated movie doesn't spend to much time with the Joker vs Batman story in fact!

	Barbara Gordon is a dynamic and intriguing character in the comic world.  Alan Moore's brutal assault against her and the sadistic treatment of Commissioner Gordon are still events that have haunted the Batman legacy.  The animated film though expands on Barbara in the story in so much as giving us a mini-Batgirl first half.  Tara Strong voices a solid Gordon and the character has likeable qualities.  But their is a very youthful nature that totally takes away from the violence of the second act (aka THE KILLING JOKE STORY!).  DC's choice to maximize the potential behind Barbara Gordon is noble, but sadly comes across as slightly cheesy and campy.  Even with this youthful side of Gordon the cartoon takes a dive to the other side in very intriguing story…Batman and Batgirl?  I won't spoil the sequence, but the notion of this team unifying in other ways seems so unnecesary.  An older bro lil sis vibe has always been thrown about, but nope they spiced it up.  This all becomes pointless when the Joker finally shows up.  It's his terrible actions that catapults the action and give us the vivid moment of when Gordon is brutally attacked.  The film doesn't shy away from Bolland's powerful fluid illustrations.  The movie fully captures the comic's dark quality.  This is mainly because of the classic combo of Kevin Conroy and Mark Hamill.  Speaking of..

	

	 

	 

	 

	 

	 

	 

	 

	 

	 

	 

	 

	 

	Batman and The Joker are such a perfect pairing and their is little doubt that Conroy and Hamill relish playing these roles.  Conroy's deep bruiting tone mixed in with his fatherly qualities are such a great contrast to Hamill's manic unique voice.  I just got to watch Suicide Squad coincidentally and I can easily say Hamill's Joker would OWN Leto's (though Leto does look good in the Joker makeup and the car is sweet!).  But Hamill's vocal talents bringing to life Alan Moore's classic lines is pure joy.  A lot of folks are furious over the Gordon sequence and of course about the Batman/Batgirl moment, but people are forgetting Hamill!  The Joker is and always should be the focal point of any and every Batman story.  Moore's story is so much about the power of the Joker.  If the film does anything perfectly it's recreating the Joker's portion of the Killing Joke comic.  But there is one moment that completely stands out and worthy of you watching the film.  The Joker's carnival dance number is the one flawless sequence in the film and adds so much to the feel of the comic being animated.

	

	 

	 

	 

	 

	 

	Overall Batman: The Killing Joke doesn't live up to DC's latest Batman works like The Dark Knight or Red Hood.  Mark Hamill and Kevin Conroy's pairing though should pull you in and getting to see Alan Moore/Brian Bolland's iconic comic animated is visually powerful.  The music as a whole is the one added bonus.  That music is worth fighting past little Batgirl hooking up with Batman.  Oh and the film does another great tribute and redeeming quality to the Gordon first act, we see who Gordon becomes after the terrible assault crippled her.

	

	 

#### Battle for the Crown has Begin
With the Miss North India Pageant just around the corner, the grooming sessions has started after unleashing its top 21 contestants. So which city are you cheering for? Delhi? Gurgaon? Chandigarh? Our beautiful ladies are the cocktail of brains and beauty. Each super energetic and morally high… Are you feeling the adrenaline rush through your veins already?

	With a plethora of options to even harder to choose one girl for the title. It has to be pure luck as each seems more than deserving That oomph factor!

	Shri Sai Entertainments Pvt. Ltd. presents Miss North India 2014, hospitality partner Eros- Hilton, media partner Glamour Toast Entertainment, beauty partner Blossom Kocchar, dental partner Sanjay Arora.

	21 contestants from various sphere of lives have arrived at Hotel Haut Monde and ready to set the stage on fire at Grand Finale, June 27, 2014.
	"Miss North India 2014 gives an opportunity to beautiful and talented women from India, to use this platform as a door to enter the glamorous world of fame, attracting a lot of fanfare," said Bharat Bhramar.

	Hold your hearts and make a guess that who's going to be our next!

	
	About Miss North India 2014

	Stage is set for Miss North India 2014 one of the most prestigious beauty pageant in North  India and poised to be the biggest show in the region. The buzz has just begun for the most professionally organized beauty pageant for stepping into its 7th year this season. After 6 years of successful outcomes.  It is an  effort to bring together the best talents of North India on a single platform. Past events needs a special mention and remains as the most memorable event. A mega fashion show which was stormed by Gul Panag, Manpreet Brar, Aditi Govitrikar, Nethra Raghuraman, Shweta Menon, Neha Dhupia and many more.

	 

#### BATTLE IN SPACE: THE ARMADA ATTACKS – A Review by John Strange
BATTLE IN SPACE: THE ARMADA ATTACKS – A Review by John Strange
 Battle in Space: The Armada Attacks is an independent “indie” film made up from several related shorts.  These shorts have sci-fi plots that all involve battles or fighting, some with big-budget-looking special effects. 
These shorts all portray a vision of a possible dark future.  I hope they don’t turn out to be prophetic as every single one of them are as bleak as their dark sets suggest.
The acting is not always on par with their special-effects budgets.  Most of the scripts are interesting though a couple of the scripts could have used a bit of tweaking to make them more interesting.
These stories kept their scope small and that is not a bad thing.  They give us small windows upon the overall action that are supposedly occurring simultaneously.  It just wasn’t enough to make me go wow.  This is an interesting project that came close to being good.  Battle in Space: The Armada Attacks is a 3-star effort in my book.
 
Directors: Andrew Jaksch, Lukas Kendall, Toby Rawal, Scott Robson, Sanjay F. Sharma, Luis Tinoco
Cast: Doug Jones, Erik Palladino, Douglas Tait, Trip Hope, Jordu Schell, Linda Weinrib, Toby Rawal, Tom Farrah, Tom Madden, Declan Churchill Carter, Alexis Watt, Jess Gabor, Trip Hope, Mia Lardner, and Philip Cristian Classen
MPAA Rating: NR
Selig Rating: 3 Stars
Runtime: 90 Min.
Trailer: BATTLE IN SPACE Trailer
Release Date: ON DEMAND, DVD AND DIGITAL including iTunes, Amazon, Google Play, Xbox, Vudu, Dish Network and all major cable providers – January 12, 2021
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### BATTLE OF ALGIERS 50th Anniversary 4K Restoration
 

	New York-based specialty distributor Rialto Pictures announces the return to theaters of Gillo Pontecorvo’s 1966 masterpiece THE BATTLE OF ALGIERS, this year celebrating its 50 anniversary with a stunning new 4K restoration.

	The new BATTLE OF ALGIERS restoration has the distinction of being selected for all three major international film festivals this fall: Venice, New York and Toronto. ALGIERS originally premiered at Venice in 1966 and was the opening night selection of the 4th New York Film Festival in 1967.

	Theatrical runs begin on October 7 at New York’s Film Forum, Landmark’s Nuart in Los Angeles and E Street Cinema in Washington, D.C., followed by a major city roll-out through the fall.

	Saadi Yacef, whose memoir Souvenirs de la Battaile D’Alger formed the basis for the film, is scheduled to appear at screenings in New York, Washington and Los Angeles. One of the leaders of Algeria’s National Liberation Front during the country’s war of independence, Mr. Yacef was also a producer of BATTLE OF ALGIERS and plays a major role (a part based on himself).

	THE BATTLE OF ALGIERS depicts Algeria’s uprising against the French occupation in the 1950s. Pontecorvo and cinematographer Marcello Gatti broke new ground in creating a documentary look that convinced viewers they were watching actual events unfold, though not one foot of newsreel or stock footage was used. This heightened realism, combined with the use of unknown actors and Ennio Morricone’s unforgettable pulsing score, instantly created a universally acclaimed classic, which won the Venice Film Festival’s Golden Lion and was nominated for three Academy Awards: Best Foreign Film, Best Director, and Best Screenplay (by Pontecorvo and Franco Solinas).

	Arguably a “how to” in organizing and implementing a revolution, ALGIERS was banned in France on first release, then embraced by radical left groups like the Black Panthers, and ironically used in training of the notorious right wing death squads in Argentina. In 2003, shortly after the U.S. invasion of Iraq, it was screened by the Pentagon.

	The new 4K restoration was performed by Cineteca di Bologna and Istituto Luce – Cinecittà at L'Immagine Ritrovata laboratory, in collaboration with Surf Film, Casbah Entertainment, Inc. and CultFilms.

	 

	“PROBABLY THE MOST STIRRING REVOLUTIONARY EPIC SINCE POTEMKIN!”
	– Pauline Kael

	“A MASTERPIECE! Surely the Most Harrowing Political Epic Ever!”
	– Philip Gourevitch, The New Yorker

	“ASTONISHING! A Political Thriller of Unmatched Realism!”
	– A.O. Scott, The New York Times

	“FIERCE! PASSIONATE! An Election Year Must-See!”
	– Michael Atkinson, The Village Voice

	At this year’s New York Film Festival, Rialto will also be unveiling a new restoration of Julien Duvivier’s long-unseen Film Noir masterpiece PANIQUE (1946), starring Michel Simon and based on a novel by Georges Simenon.

#### BATWOMAN: THE COMPLETE SECOND SEASON – A Blu-ray/DVD and Digital HD Review by John Strange
 

BATWOMAN: THE COMPLETE SECOND SEASON – A Blu-ray/DVD and Digital HD Review by John Strange
Warner Bros. Home Entertainment provided me with a free copy of the Blu-raytm I reviewed in this Blog Post.  The opinions I share are my own.
The second season of Batwoman is ambitious on so many levels.  There is a plethora of bad guys all swarming around each other like a frenzied school of fish.  Not all of the good guys are good.  And the action moves so fast that you almost need flash cards to keep up with who is where, doing what!
Regarding Team Batwoman, who is Ryan Wilder (Javicia Leslie) and why does she think she can step into Kate Kane’s shoes?  Technical wiz and Wayne Industries Security Chief Luke Fox (Camrus Johnson) is doing a great job of helping Ryan grow into her new role as a hero.  Mary is stepping up for the team plus working hard to keep her secret clinic running. 
Kate’s sister Beth, also known as Alice (Rachel Skarsten), is still totally bonkers but her character is all over the place this season, sometimes on one side of right, sometimes WAY over the line toward the other side.  But always with one main mission, find her sister Kate.
The sheer number of bad guys is almost overwhelming.  They are all well-written and most drive the story forward, but some almost feel like “filler”.
There are two premier evildoers for season two.  Based in Gotham City is Roman Sionis aka Black Mask (Peter Outerbridge), leader of the False Face Gang.  And Safiyah Sohail (Shivaani Ghai), based on her own hidden island, who has a beef with Alice that will probably see one or the other of them dead at some point.  This disagreement overflows and involves large numbers of the city’s citizens as the season progresses.
Season two is violent and fast-paced, much more so than most of the other DC-related series (excepting possibly the early seasons of Arrow).  The first episode or two are a bit hard to get through but, once past these episodes, designed to let us get to know the “new girl”, the season was a truly enjoyable blur of action/violence.
The eighteenth episode throws us a good season cliffhanger in the last seconds that some will miss but will give the team a huge headache when season three kicks off.
Batwoman: The Complete Second Season has a decent collection of bonus extras. The deleted scenes are only okay and were not missed from their episodes.  As happens more often than not, the gag reel was boring but adequate (yep, still not a fan of these attempts to inject humor into the bonus featurettes).
Thank God for the remaining featurettes!  “Villains Analyzed” is 15+ minutes stuffed to the gills with the background of the plethora of villains seen this season.  It’s fascinating to listen to the cast and filmmakers talk about the “how’s” and “why’s” behind each of these baddies!
The last featurette, “Never Alone: Heroes and Allies”, talks about all the current DC-related shows on The CW.  Superhero sidekicks first arrived on the scene with Robin in 1940 on the pages of Detective Comics.  Soon, loads of superheroes had sidekicks of all types.  These sidekicks hit their stride with the Teen Titans (first appearance in the comics in The Brave and the Bold #54, July 1964).  Today, we have the New Teen Titans series giving us an updated group of the sidekicks.
The bottom line of this story?  Teams become family.  And family is, perhaps, the core of each of the stories for both the comics and their TV siblings.  It’s one of the reasons I have enjoyed all of them so much.
If you watched season one but sat out season two, you need to re-think this.  Forget the reasons behind your decision, buy Batwoman: The Complete Second Season and get caught up.  This series, and the Batwoman mythos, just got interesting in a whole new way!
 
Based on characters created for DC by:

Bob Kane with Bill Finger

Created by:

Caroline Dries

Produced by:

Greg Berlanti, Caroline Dries, Geoff Johns, Sarah Schechter, James Stoteraux, Chad Fiveash

Cast:

Javicia Leslie, Rachel Skarsten, Meagan Tandy, Nicole Kang, Camrus Johnson, Dougray Scott, Peter Outerbridge, Shivaani Ghai

Episodes:

Whatever Happened to Kate Kane?
Prior Criminal History
Bat Girl Magic!
Fair Skin, Blue Eyes
Gore on Canvas
Do Not Resuscitate
It’s Best You Stop Digging
Survived Much Worse
Rule #1
Time Off for Good Behavior
Arrive Alive
Initiate Self Destruct
I’ll Give You a Clue
…And Justice For All
Armed and Dangerous
Rebirth
Kane, Kate
Power

Extras:
Digital:

None

Blu-ray/DVD:

Deleted Scenes (Exclusive to Blu-ray and DVD)
Gag Reel (Exclusive to Blu-ray and DVD)
Villains Analyzed
Never Alone: Heroes and Allies

Specifications:
Runtime:
Feature:

793 Minutes

Enhanced Content:

55 Minutes

Studio:

Warner Bros. Home Entertainment Inc.

Release Date:

09/21/2021

Region:

A/1 (U.S. and Canada only)

MPAA Rating:

TV-14

Selig Rating:
Film Rating:

5 Stars

Bonus Features Rating:

5 Stars

Picture Quality Rating:

5 Stars

Audio Quality Rating:

5 Stars

 
Selig Rating Scale:
5 Stars: Should add to your DVD collection at any cost
4 Stars: Worth owning, but try to catch it a sale
3 Stars: Plan to get it, but wait to buy it used
2 Stars: Worth taking a look at, but not owning
1 Star: Pick it up at a garage sale and use it for drinks
0 Stars: Makes a great Trap Shooting target

#### Batwoman: The Complete Second Season – Arrives on Blu-Ray & DVD September 21, 2021
 
Watch as Javicia Leslie takes on the mantle of DC Super Hero Batwoman, when Batwoman: The Complete Second Season arrives on Blu-ray and DVD on September 21, 2021 from Warner Bros. Home Entertainment. Strap yourself in for a thrilling ride with all 18 episodes from the second season, plus never-before-seen bonus content including deleted scenes and a gag reel. Batwoman: The Complete Second Season is priced to own at $39.99 SRP for the DVD ($44.98 in Canada) and $44.98 SRP for the Blu-ray ($49.99 in Canada), which includes a Digital Copy (U.S. only). Batwoman: The Complete Second Season is also available to own on Digital via purchase from digital retailers, and to stream on HBO Max starting July 27, 2021.
At the end of the first season, Crows Commander Kane (Dougray Scott) has declared war on Batwoman, forcing everyone around them to choose sides. Season two kicks off with a major game-changer that alters Gotham City and The Bat Team forever. A new hero emerges from the shadows. Relatable, messy, loyal, and a little goofy, Ryan Wilder (Leslie) couldn’t be more different than the woman who wore the Batsuit before her, billionaire Kate Kane. Living in her van, Ryan has been made to feel trapped and powerless by the system her whole life and believes the Batsuit is the key to breaking out of it. But what she’ll come to discover is that it’s not the suit that makes Ryan Wilder powerful, it’s the woman inside of it who finds her destiny in changing Gotham City for good.
With Blu-ray’s unsurpassed picture and sound, Batwoman: The Complete Second Season Blu-ray release will include 1080p Full HD Video with DTS-HD Master Audio for English 5.1. Featuring all 18 episodes from the second season in high definition, as well as a digital code of the season (available in the U.S. only).
Batwoman stars Javicia Leslie (God Friended Me), Rachel Skarsten (Birds of Prey, Reign), Meagan Tandy (unREAL, Teen Wolf), Nicole Kang (You), Camrus Johnson (The Sun Is Also a Star) and Dougray Scott (Departure, Snatch). Based on characters created for DC by Bob Kane with Bill Finger, Batwoman is produced by Berlanti Productions in association with Warner Bros. Television with executive producers Greg Berlanti (Arrow, The Flash, Supergirl), Caroline Dries (The Vampire Diaries, Smallville), Geoff Johns (DC’s Stargirl, The Flash, Titans), Sarah Schechter (Arrow, The Flash, Supergirl), James Stoteraux and Chad Fiveash (Gotham, The Vampire Diaries).
 
BLU-RAY & DVD FEATURES
·     Deleted Scenes (Exclusive to Blu-ray and DVD)
·     Gag Reel (Exclusive to Blu-ray and DVD)
·     Villains Analyzed
·     Never Alone: Heroes and Allies

18 ONE-HOUR EPISODES
1.  Whatever Happened to Kate Kane?
2.  Prior Criminal History
3.  Bat Girl Magic!
4.  Fair Skin, Blue Eyes
5.  Gore on Canvas
6.  Do Not Resuscitate
7.  It’s Best You Stop Digging
8.  Survived Much Worse
9.  Rule #1
10.  Time Off for Good Behavior
11.  Arrive Alive
12.  Initiate Self Destruct
13.  I’ll Give You a Clue
14.  …And Justice For All
15.  Armed and Dangerous
16.  Rebirth
17.  Kane, Kate
18.  Power

DIGITAL
Batwoman: The Complete Second Season is available to own on Digital. Digital purchase allows consumers to instantly stream and download all episodes to watch anywhere and anytime on their favorite devices. Digital movies and TV shows are available from various digital retailers including Amazon Video, iTunes, Google Play, Vudu and others.

BASICS
Street Date: September 21, 2021
BD and DVD Presented in 16×9 widescreen format
Running Time: Feature: Approx 793 min
Enhanced Content: Approx 55 min

DVD
Price: $39.99 SRP ($44.98 in Canada)
4-Discs (4 DVD-9s)
Audio – English (5.1)
Subtitles – English SDH

BLU-RAY
Price: $44.98 SRP ($49.99 in Canada)
3-Discs (3 BD-50s)
Audio – DTS-HD Master Audio 5.1 – English
BD Subtitles – English SDH

#### BBC AMERICA AND NCM FATHOM EVENTS CELEBRATE DOCTOR WHO’S 50TH ANNIVERSARY WITH SPECIAL REALD™3D SCREENING
 

	BBC AMERICA announced today two special theatrical screening events of Doctor Who’s 50th Anniversary special, Doctor Who: The Day of the Doctor, in RealD™ 3D on November 23 and 25, 2013.

	In association with AMC Entertainment Inc., Cinemark Holdings, Inc., and Regal Entertainment Group, BBC AMERICA makes history by honoring eleven Doctors on Saturday, November 23 with a global simulcast 3D screening event in eleven cities at the same time the 75-minute Anniversary special premieres on BBC AMERICA and across the globe. Tickets for the Saturday, November 23 screenings will go on sale October 25, 2013 at 9:00am EST for theater locations* in New York, Los Angeles, Chicago, Philadelphia, Seattle, Washington DC, San Francisco, Dallas, Houston, Atlanta and Minneapolis. Tickets may be purchased at Cinemark.com and Fandango.com.

	The festivities won’t stop there: BBC AMERICA and NCM Fathom Events are teaming up for the first time to continue the celebration, giving fans across the U.S. a chance to experience Doctor Who: The Day of the Doctor in RealD™3D on Monday, November 25 for only one night in more than 300 select cinemas. Tickets will be available at participating theater box offices and online at www.fathomevents.com. For a complete list of theater locations and prices, visit the NCM Fathom Events website (theaters and participants are subject to change). The event will be broadcast via the new digital cinema projection systems.

	In addition to Matt Smith, the 50th Anniversary special also stars former Time Lord David Tennant and Jenna Coleman with Billie Piper and John Hurt. The theatrical events will include specially shot introductions and The Day of The Doctor: Behind The Lens, a 10 minute behind-the-scene featurette directly following the special. The short features Matt Smith, David Tennant and Jenna Coleman with Billie Piper and John Hurt, as well as lead writer and executive producer Steven Moffat, discussing their 50th Anniversary experiences.

	Soumya Sriraman, EVP Home Entertainment and Licensing for BBC Worldwide North America, commented: “Doctor Who’s 50th Anniversary is truly a global celebration and we’re thrilled to bring the special to the silver screen. Our partnerships with Cinemark, AMC, Regal Cinemas and NCM Fathom Events will give fans, on November 23 and 25, the opportunity to see the Doctor in a whole new way – in RealD™ 3D.”

	Since its launch in 1963, Doctor Who has become one of the world’s best loved dramas and is certified by the Guinness Book of World Records as the most successful sci-fi series ever.  Doctor Who is BBC AMERICA’s highest-rated series and has received numerous awards across its 50 years. The series has enjoyed success off-air with over 10 million DVDs and 8 million action figures sold globally and is the BBC’s top series on iTunes in the U.S. and UK. BBC Worldwide, the commercial arm of the UK broadcaster, distributes Doctor Who to over 200 territories across the world. 

	“The Day of The Doctor is upon us and fans of the BBC AMERICA sci-fi series Doctor Who have the opportunity to see the time-travelling adventures like never before in 3D from their local movie theater,” said Shelly Maxwell, executive vice president of NCM Fathom Events. “There’s never been a better time to be a Whovian during the 50th Anniversary celebration of this huge BBC hit that’s invaded America .”

	 

	Participating theaters on Nov. 23:

		Los Angeles – Cinemark Rave 18 + IMAX (Los Angeles, CA)
	

		Los Angeles – Century Huntington Beach and XD (Huntington Beach, CA)
	

		New York – AMC Loews Village 7 (New York, NY)
	

		New York – Regal E-Walk Stadium 13 & RPX (New York, NY)
	

		Chicago – Century 12 Evanston/CinéArts 6 and XD (Evanston, IL)
	

		Chicago – Cinemark 16 + IMAX (Woodridge, IL)
	

		Philadelphia – University Penn 6 (Philadelphia, PA)
	

		Philadelphia – Cinemark 16 (Somerdale, NJ)
	

		Dallas-Ft. Worth – Cinemark West Plano + XD (Plano, TX)
	

		San Francisco-Oak-San Jose – Century San Francisco Centre 9 (San Francisco, CA)
	

		Washington, DC (Hagrstwn) – Fairfax Corner 14 + Xtreme (Fairfax, VA)
	

		Houston – Cinemark 17 + XD (The Woodlands, TX)
	

		Atlanta – Cinemark Tinseltown 17 (Fayetteville, GA)
	

		Seattle-Tacoma – Lincoln Square Cinema 16 with IMAX (Bellevue, WA)
	

		Minneapolis – AMC Southdale 16 (Edina, MN)

#### Beastly
BEASTLY
By Gary Murray
Starring Vanessa Hudgens, Alex Pettyfer and Mary-Kate Olsen
Written and directed by Daniel Barnz
Running time 95 min 
MPAA Rating PG-13
Selig Film Rating: Cable
The story of Beauty and the Beast has been made and re-made since the earliest days of cinema. Arguably the most successful version was the Disney animated film of a few year back. It was nominated for the Oscar and is universally considered a modern day classic film. The latest to take on the tale is Beastly.
The story is set in modern day Manhattan, New York with a young man named Kyle (Alex Pettyfer) who is all style over substance, mean to everyone who is not beautiful. He decides to run for persistent of the eco-club at the school just so it will look good on his resume. 
His only competition is Lindy (Vanessa Hudgens) a shy mousy girl with a giant, giving heart. When Kyle wins the election, he attracts the notice of the witchy Goth chick Kendra (Mary-Kate Olsen) who sees through the facade. At a dance, she puts a curse on the young man, turning him into a horrible freak of nature, full of tattoos, scars and boils. She tells him that if he cannot find a woman to love him within the year, he will stay that way forever. 
Kyle's dad, after seeing doctor after doctor about his son, decides that Kyle needs to live on his own in Brooklyn. Dad is a TV lead anchor who also has the idea that beautiful people are the rulers of the planet. Dad does send the Jamaican housekeeper to keep Kyle company and hires a blind tutor (Neil Patrick Harris) to keep the young man up on his school work. 
Kyle watches Lindy from her bedroom in a bad part of town. Through his eyes, we see Lindy as a caring young woman who looks out for both the homeless in her neighborhood and her junkie father. When her Dad's drug deal goes very bad, Lindy must be hidden from the revenge seeking dealers. Dad agrees to put Lindy in Kyle's broken down home. 
Once she is there, Kyle begins the slow process of winning her heart, even though she does not recognize him from her school. As they bond, Kyle's scars begin to change, getting worse as the days race toward the end of his destiny. Anyone who has seen a romance knows just exactly the last act of Beastly will leave the audience.
Vanessa Hudgens and she does the most with what she has to work with. The former High School Musical star is still playing the student, but this one has a little bit more heft. Her character is thoroughly charming, the kind of girl that every young man hopes to fall in love with. She isn't given much to do in Beastly, just look good and smile, both of she does with perfect grace. 
Alex Pettyfer was recently seen in I am Number Four. Here as Kyle he is much of the same character, a good looking guy in a fantasy role. He does show a greater degree of acting prowess in Beastly. Although he has to play with the burden of scars and ink, he still finds a humanity with Kyle. It is his story of discovery that drives the plot.
I was delighted to see how charming Neil Patrick Harris came across. The blind tutor is a cliche role but he does give a fresh take on it. He is just charming with the small part, 
The biggest surprise is Mary-Kate Olson as Kendra the witch. This former child star takes on a character role and delivers a very strong performance. She is mysterious and mystic, throwing creepy lines at the lead. When she utters "Best embrace the suck." it comes across as spooky. The young actress may actually have a long career playing different characters and not trying to do a star turn. 
The make-up and tattoos on Alex are realistic. He is repulsive yet still fascinating to watch. Through the years, I have seen people who are more tattooed than our Kyle and individuals who have been more maimed. To quote Lindy "I've seen worse."
The problem with Beastly is the source material. In every version of Beauty and the Beast, there has never been much of a story. It is of two trapped individuals together in a lonely place. The reason the Disney version worked so well was the music, the songs propelled the lagging plot. Unrequited love and hope of falling together only goes so far in the real world. The lack of strong story hurts the film. 
This Beastly film is targeted toward the Twilight fans and it does work on that level. The teen audience seemed to take in the moody monster with loving grace and rooted for the 'girl next door' to get her man. It is a bit too slow with the barest of a plot but with enough eye candy for the young women who will frequent the theater to see it. 
 
 
 

#### Beasts of the Southern Wild
 

	BEASTS OF THE SOUTHERN WILD

	 

	By Gary Murray

	 

	Starring Dwight Henry and Quvenzahane Wallis

	 

	Written by Benh Zeitlin and Lucy Alibar

	 

	Based on the stage play Juicy and Delicious written by Lucy Alibar

	 

	Directed by Benh Zeitlin

	 

	Running time 91 min

	 

	MPAA Rating PG-13

	 

	Selig Film Rating—Matinee

	 

	It takes a giant leap of faith to make an independent film.  One has to get an idea they believe in enough to find investors, create a crew, shoot the film and go through the post production without any guarantee that the film will be shown anywhere other than in someone’s living room.  One such filmmaker to believe in his project is Benh Zeitlin and his first major release is Beasts of the Southern Wild. 

	 

	The story is about people who will never leave the land, even in the face of impending danger.  Hushpuppy (Quvenzahane Wallis) is a child with only one parent.  Her mother has disappeared long ago and the little girl has only her fading memories and a basketball jersey to remember the woman.

	 

	Hushpuppy’s father is Wink (Dwight Henry) a local leader of an area called ‘The Bathtub”.  It is in the most southern part of Louisiana on the wrong side of the levees.  Everyone in their little water surrounded community looks up to Wink for guidance.  We soon find that Wink is sick. 

	 

	Knowing that his time is short, Wink starts teaching Hushpuppy how to fend for herself.  They catch catfish by hand and maneuver in the water in a makeshift raft made from the discarded bed of a pick-up truck. 

	 

	As a hurricane approaches, some of the residents of Bathtub begin to move to higher ground.  Wink and Hushpuppy decide to ride out the storm.  It is the aftermath of that event that drives some of the more surreal elements of the story.

	 

	The movie is about those people who love the land so much that they cannot leave and why they do that.  They will risk their lives to stand their ground.  Beasts of the Southern Wild is much more about family than a storm.

	 

	Young Quvenzahane Wallis makes an impressive screen debut.  So often a child performer will mug at the camera and be all cutesy.   Quvenzahane delivers a strong and honest performance without any acting tricks.  She comes across as a fiercely independent child, but a child none the less.  She mimics the adults around her, even when they make bad decisions.  This is one of the strongest performances one will see from someone so young.

	 

	Dwight Henry owns every scene he is in.  This is a powerhouse performance of a steadfast person.  While we may not understand some of the ‘how’ and the ‘why’ of his rational, he still does what he thinks is right.  It is a determination that is as bull-headed as it is noble.

	 

	My biggest problem with Beasts is in the design of the film.  Director Benh Zeitlin decides to make his film in that Paranormal Activity/Blair Witch style of filmmaking with a shaking camera.  The bouncing of the camera makes me ill to the point of having to shut my eyes in order not to become seasick.  If he would have just used a tripod and kept his camera still, he would have had a more effective picture.

	 

	Beasts of the Southern Wild has done well at some major film festivals.  It is not a mainstream entertainment but a film with a more limited appeal.  The great performances save the technical detriments.  For those who go toward the more avant-garde, this is your kind of flick.  

	 

#### BEATRIZ AT DINNER – A Review By Hayden Pittman
From two filmmakers with a history of comedy-drama credits, director Miguel Arteta ("Cedar Rapids", "Youth in Revolt", "The Good Girl") and writer Mike White ("Orange County", "School of Rock", "Nacho Libre"), "Beatriz at Dinner" is an offbeat indie comedy starring Salma Hayek, Chloe Sevigny, Connie Britton, Jay Duplass, and John Lithgow.

	It's the kind of lesser known film you might find through the film festival circuit (had it's premiere at Sundance Film Festival) that's made up of a different brand of comedy or drama than your used to from a typical blockbuster, strong performances from B or C-list actors, and overall much to offer.

	Beatriz (Hayek) is a massage therapist and spiritual practitioner who attends the nice California home of a client and friend like any other day. Once she finishes her massage, she realizes her car is dead and it will be sometime until her mechanic friend can arrive. As a result, Cathy (Britton) and Grant (David Warshofsky), her clients and the owners of the house, ask Beatriz to stay for the small dinner party they are having with Grant's boss and work associates.

	Other than Beatriz' awkwardness and clearly being out of place, things go well in the beginning, but once she suspects she has a past connection with Grant's boss, Doug Strutt (Lithgow), she begins to grill him about his business until things become uncomfortable. As the dinner goes on, tensions continue to rise and the confrontations only get worse.

	As far as acting goes, Hayek and Lithgow give the strongest performances of all. Some are saying this is one of the best roles of Hayek's career, which is saying a lot. I can't recall a time when Lithgow has disappointed and this is no different. The supporting cast of Sevigny, Britton, Duplass, Warshofsky, Amy Landecker, and John Early are nothing special yet adequate enough for this film.

	Beatriz appears to have suffered much loss and seen a great deal of violence in her time, yet she is still a kind, positive person who believes in the power of healing and generally cares about people, animals, the environment, etc.. On the opposite end of the spectrum is Lithgow's Doug Strutt, a selfish and arrogant hotel tycoon who makes his money by crushing others. Suffice to say when Beatriz realizes who he is and what he stands for, she goes after him in a very moralistic way and causes a great deal of drama during the dinner party.

	With a short running time and an R rating, this indie film offers a satisfying, yet different brand of entertainment than you might be used to from standard blockbusters. The social commentary is just edgy and hostile enough to keep you engaged without becoming too over the top or tedious. Other than the bad language, this may be a good watch for older audiences who are looking for strong dialogue and acting versus special effects and action. As a younger viewer however, I still found value in this film.

	3 out of 5 stars.

	"Beatriz at Dinner" is rated R for language and a scene of violence. Running time is 1 hour and 23 minutes. Opened in theaters on June 9th, 2017.

#### Beautiful Boy
BEAUTIFUL BOY
 
By Gary Murray 
 
Starring Maria Bello, Michael Sheen and Kyle Gallner
 
Written by Michael Armbruster and Shawn Ku
 
Directed by Shawn Ku
 
MPAA Rating R
 
Selig Film Rating Matinee
 
There are some films that are just pure entertainment, meant for the masses to have a nice time and to relax for a few hours.  Then there are some films that are in your face, making one question ones own morals and thought structures.  Beautiful Boy is that second kind of film 
 
The story is very hard to watch.  It concerns a family that is living as three individuals in the same space.  Mom Kate (Maria Bello) works as an editor for a publisher, looking for mistakes in manuscripts.   Dad Bill (Michael Sheen) works to support the family and the upper-middle class life they have achieved.  Both are distant to the son.  
 
Their son is Sammy (Kyle Gallner) is a confused young man.  When we first see him, he is presenting a fiction piece to his college creative writing class.  The class just seems disinterested.  
 
One day, the cable television news starts reporting of a rampage at the school where Sammy attends.  Kate becomes frantic when she cannot get a hold of her son at school.  She is sure that something has happened to her son.  Then, the truth comes out—Sammy is the killer who has taken lives and eventually his own life.  
 
Mom and Dad are shaken to the core.  At first, Kate doesn’t believe a word of it.  Then, a gaggle of reporters attack our couple in the yard of their home.  Bill has to make a statement to the media, finding out how hard it is to express his regret. As the world turns against the parents, they flee.  
 
The two go to visit her brother Eric (Alan Tudyk).  They find that there is truly no place to hide within the family system.  Even when they are not at home, the media does everything they can to find Kate and Bill.  The parents go through all the emotions of tragedy as they keep running.  
 
They end up at a motel where the manager (Meat Loaf) who basically becomes a surrogate for the audience.   The ending is an explosion of emotions as the two confront what their son has done.
 
Maria Bello delivers an Oscar worthy performance as Kate.  She is a shattered woman trying to get her mind around the unimaginable.  She goes through all the stages of grief, while still mulling over the ‘Why’ of the situation.  Michael Sheen is totally believable as Bill.  Known for historic British roles, he delivers a perfect American accent.  He is the stoic man, pushing his emotions to this tragedy inside until they burst like an overheated radiator hose.  
 
There are so many details in the Shawn Ku/Michael Armbruster script that ring true.  We have people breaking into the house, just to get souvenirs.  When Kate shows the house trying to sell it, people sneak into Sammy’s room to take pictures.  These morose little details hang like perfect little ornaments to the tree of tragedy.  
 
Beautiful Boy is not only a hard film to watch, it is a hard film to discuss.  It is a story about total abject tragedy and how love can still find a way.  I put in the category of a film like The Accused, the Jodie Foster film from a few years back.  It was a powerful film that didn’t have a set audience.  Both are definitely not ‘date movies’ or ‘nice night out’ films.  They are both in your face dramas that touch core emotions.  Beautiful Boy is a great little film that I never want to see again.

#### BEAUTIFUL CREATURES
BEAUTIFUL CREATURES

	By Gary Murray

	Starring Alice Englert, Alden Ehrenreich, Jeremy Irons, Emma Thompson and Viola Davis

	Written and directed by Richard LaGravenese

	Running time 124 min

	MPAA Rating PG-13

	Selig Film Rating Cable

	 

	Twilight has been a juggernaut of success.  The world wide phenomenon has generated millions at the box office and legions of teen fans.  Well, since nothing is more successful than piling on to success, other studios have been looking for their own niche in this market.  We have recently gotten the fun little zombie romantic comedy Warm Bodies and now we have the supernatural take on the idea with Beautiful Creatures. 

	The story takes place in rural southern town of Gatlin, site of a Civil War battle.  Ethan Wate (Alden Ehrenreich) is a bright, literate high school boy in a town that doesn’t put much stock in such things.  He has only one goal, to get out of town and to a better life. 

	One day, a new girl arrives in his class.  Lena Duchannnes (Alice Englert) is the niece of the founding family of the town.  All the local yokels believe that the family is part of something evil.  Everyone shows an outward distain for the young woman, someone they do not know.

	That is everyone but Ethan.  He is drawn to the mysterious creature in ways he can neither comprehend nor understand.  We soon find that Lena has magical powers she can barely control.  We also find that the spirits of these two young people have been drawn to each other since the War Between the States.  As Lena reaches her sixteenth birthday, the Claiming of her soul will happen.  She can either be taken by The Dark or The Light. 

	Her uncle Macon (Jeremy Irons) wants to make sure that the girl changes to the Light side.  He knows that any relationship between her and a mortal is endangering.  Doing everything in his powers, this man wants to make sure she is safe.  On the other side is Sarafine (Emma Thompson).  She is a shape-shifter who has some very nefarious plans for the pure young woman.  Lena’s older sister Ridley (Emmy Rossum) has already Claimed by the Dark.

	Talk of your Romeo and Juliet story.  As the movie spills out, we find that everything goes back to a curse from over 100 years ago.  The curse can only be lifted if someone Lena loves dies.  The film goes from teen romance to flights of fantasy, weaving the two ideas like two tapestry colors that do not work together.  The film hurls along without much rhyme or rhythm, as if the producers just decided to throw everything they could think of on the screen and see what would cinematically stick.  It is an exercise in frustration.

	The film is, in a word, boring.  Director Richard LeGravenese never finds an emotional connection between any cast members.  At times, it feels as if they are all performing in different films.  As the film laces its’ less than enchanted spell, the principles look as confused as the audience feels.

	The other problem with the film is in the casting.  Alden Ehrenreich comes across more as Gomer Pyle than Robert Pattinson.  He doesn’t possess as much southern charm as he possesses the mannerisms of a classic southern rube.  The film would have been better off with a more interesting lead. 

	On the other hand, Alice Englert comes across much better.  This young tormented waif is a mirror of the audience this is aimed directly at.  She does a good job of conveying the angst-filled girl on the way to womanhood.  We feel sorry for her plight and that she has to be in this silly little flick.

	The other adults go so over the top that it is a wonder if anyone thought for one moment to restrain them.  Jeffery Irons and Emma Thompson don’t just chew on the scenery–they devour every bit of it.  These two fuss and fume over each other with a ravenous glee that begets the worse of overacting.  . Emmy Rossum looks almost restrained in a skin-tight leopard outfit.  Only Viola Davis holds the slightest fragment of dignity in the proceedings.

	The film plays like second-hand Twilight but I would much rather watch it again than be subjected to the ‘romance’ that is Bella and Edward.  There are about a dozen hours of Twilight one would have to get through and only one Beautiful Creatures.  And to be honest, one seems to be enough. 

#### BEAUTY AND THE BEAST – A Review by John Strange
 

	BEAUTY AND THE BEAST – A Review by John Strange

	 

	 

		In 1991, Walt Disney's fabled animation team debuted Beauty and the Beast.  Their work is an amazing story of love and hope triumphing over everything.  While CGI was getting better, animation was really the only way to tell a story like this one. 
	

		 
	

		The transformation of the humans into beasts and inanimate objects like clocks and candlesticks was something that is central to this fable.  In 1991, the animators gave us a vision that has become a part of our lives and mythos.  In 2017, director Bill Condon and the writers have given us a new vision of this same transformation that works beautifully! 
	

		 
	

		This movie is filled with the songs and music we grew up with, performed by a cast that is a dream team.  Emma Watson (Belle) has totally thrown off her early mantle as Hermione Granger in the Harry Potter films with her performance here.  Her singing ability surprised us all.  As this young French girl began singing I found myself slipping into that wonderful place where this story could surround and enlighten me.
	

		 
	

		The rest of the cast, including Dan Stevens as the Beast, do an excellent job.  Luke Evans as Gaston is as slimy as any villain I have ever seen.  His sycophantic servant, LaFou (Josh Gad) has caused a stir in some parts of the country for the way he is portrayed.  Ignore them.  This is a great character who works well as the foil to Gaston's particular variety of pathetic evil.
	

		 
	

		This story is so well known that most of us can identify with Belle or one of the other characters in one way or another.  (For me, it is Chip.)  The new film is not a retelling or a revision of that story.  It is an update using technologies Walt would have killed for (or at least given up a leg). 
	

		 
	

		The opening scenes in the village are staged to take advantage of 3D.  I admit I saw the film in 2D but I can see how it would look in my head.  Belle comes down the steps from her home and walks through the village singing.  As I watched the scene I realized I could also see this same scene staged as a live play.
	

		 
	

		The differences between the animated version and it's new counterpart are small but add to the overall story very well.  They are expansions of scenes that meld very well with the story we love.  The overall feel of the film is every bit as good as it's original.  I loved the casting choices.  I loved the CGI that replaced the animation.  I loved the way the story flows while at the same time allowing the personalities of the characters and the actors to jump out at us.  Bottom line, I LOVED this film! 
	

		 
	

		Take your children, the nieces and nephews, and even the neighborhood kids with you to see this one!  In Beauty and the Beast we have a new classic in the making.  I think that this film will be as much a part of our Disney collections as the 1991 film.  I plan to see the 3D version to see what I might have missed but regardless, I WILL be buying a copy of this one for my permanent library, to be watched again and again for years to come!
	

	 

	 

	Directed by: Bill Condon

	 

	Cast: Emma Watson, Dan Stevens, Luke Evans, Josh Gad, Kevin Kline, Hattie Morahan, Haydn Gwynne, Gerard Horan, Ray Fearon, Ewan McGregor, Ian McKellen, Emma Thompson,  Nathan Mack, Audra McDonald, Stanley Tucci

	 

	MPAA Rating: PG (for some action violence, peril and frightening images)

	 

	Selig Rating: A+

	 

	Runtime: 129 Min.

	 

	Movie Site: http://movies.disney.com/beauty-and-the-beast-2017

	 

	 

	The Selig Rating Scale:

	 

	A – Excellent movie, well worth the price.

	B – Good movie

	C – OK movie

	D – No need to rush. Save it for a rainy day.

	F – Good that I saw it on the big screen but wish I hadn't paid for it.

#### BEAUTY AND THE BEAST–THE MUSICAL
BEAUTY AND THE BEAST—THE MUSICAL

	By Gary Murray

	Starring Hilary Mailberger and Darick Pead

	Book by Linda Woolverton

	Lyrics by Howard Ashman and Tim Rice

	Music by Alan Menken

	Directed by Rob Roth

	 

	Beauty and the Beast is my favorite Disney musical and film.  While some prefer the spectacle of Lion King and others prefer the massive song experience that is Mary Poppins, there is a simplistic splendor of the story of Belle and a Beast who find common ground.  The original film was nominated for a Best Picture Oscar. 

	I was lucky enough to attend the first touring production a few seasons back.  With a massive centerpiece structure along the lines of Les Miserables, the play was full of magic and whimsy.  Now, it is back with a different production as a part of the Lexus Broadway Series at the AT&T Performing Arts Center through April 27th.

	The proscenium arch is filled with a giant glowing rose.  The opening scene sets up the tale.  We see in a prologue that a young prince is cursed to become a beast until he can find someone to love and who will love him.

	The stage opens with “Belle” and the introduction of our heroine Belle (Hilary Mailberger).  She is a captivating presence with a fine strong voice and solid acting chops.  There is a certain charm that she brings to the role.  The stage sets are bold and colorful with more of the look of a cartoon than a realistic setting.   

	Tim Rogan as Gaston plays the role with a bit of over the top bravado.  With his costume that is more than reminiscent of Li’l Abner, the actor milks every bit of comedy from the part.  Along with the brilliant pratfalls of Lefou (Jordan Aragon) they are the pair of comic relief artists that wins over the audience.  The song “Me” introduces the ego-centric hunter.

	The song “Gaston” is truly the first show-stopping moment.  The song rolls along like a beer-drinking song with most of the cast praising the more basal aspects of the slab of testosterone.  It is a fun and bright number.

	Perhaps the biggest moment of the play is “Be our Guest”.  The work turns into a Busby Berkeley musical experience with massive costumes, stunning sets and a hoofing ensemble.  Under the direction of Rob Roth, this number not only becomes a show stopping moment but a standing ovation moment.  It is easily the highlight of the work.

	The second act focuses on more tender moments.  There is “Something There” where every person in the enchanted castle sees the hope of breaking the curse.  Easily the most lovely moment is “Beauty and the Beast” sung by Mrs. Potts (Kristin Stewart).  She has a soothing voice and the number brings a strong sense of warmth to the proceedings.     

	While the play does not have the gigantic single set, it does have a delightful group of structures that slide around to suggest a bigger world.  It becomes a simple trick that works on the giant Opera House stage.

	The biggest problem with this version of Beauty and the Beast is the acting choice by the Beast.  Darick Pead comes across more as a whiny little man-boy than a fearful beast.  Time and time again, the final acting choice seems off for the character.  It needed to be starker and not so shrill.

	In the secondary cast, the biggest praises have to go to Hassan Nazari-Robati as Lumiere.  He has perfect comic timing and a charming vocal instrument.  On more than one beat, he delivers the solid comic lines that lift the merriment aspects to the work. 

	Beauty and the Beast is one of the best musicals to hit the stage of the Opera House.  It is a very family friendly production that everyone from 8 to 88 can enjoy.  Ultimately is it a tale of sacrifice where love can conquer every obstacle.   

#### BECOMING – A Review by Hollywood Hernandez
BECOMING – A Review by Hollywood Hernandez
Becoming is a Netflix documentary by first time director Nadia Hallgren who follows the former first lady on her tour to 34 cities to promote her memoirs, “Becoming”, and to connect with and mentor young women on each stop along the way.
The film is a sincere look at the hate speech that was spewed by racists and Fox News reporters that both she and President Obama had to deal with and she admits that it was hurtful.  However; the former first lady remained upbeat.  Her positive attitude is infectious.  The movie brings up her “when they go low, we go high” speech while campaigning for Hillary Clinton and shows that was not just a campaign slogan but rather something she truly believes in her heart.
During her cross-country tour, she looks at her family’s history and remembers how she came from slaves to become the first African-American First Lady.  It’s an example of never forgetting where you came from.
During her book tour, she’s interviewed by celebrities, like Oprah Winfrey and Gayle King.  She tells some really great stories about her family time in the White House, for example, the time she and her daughters wanted to sneak outside, but were hampered by the secret service.  The funniest one she relates is that on the family’s last night in the White House her girls wanted to have a sleepover.  The next morning they had to scramble to all the kids out of the house because Trump was ready to move in.
Becoming is a wonderful journey about the Obama’s eight years in the White House.  It gives us a real insight into one of the most beloved first ladies in history.  It’s rated PG and runs right at 90 minutes.
On my “Hollywood Popcorn Scale” I rate this movie a JUMBO.

#### BEETLEJUICE BEETLEJUICE – A Review by Cynthia Flores
BEETLEJUICE BEETLEJUICE – A Review by Cynthia Flores
It has been thirty-six years since the first PG-rated Beetlejuice by Director Tim Burton graced the big screen with its bizarre, twisted dark comedy that won it an Oscar for best makeup. All of it was scored by the iconic music of Danny Elfman. If you watch it, which is a good idea if you were not even born yet when it first came out, you will notice a few ragged edges. Cheesy special effects were the best they could do way back then.
Well, it’s the 20th-century baby, and Beetlejuice Beetlejuice (a cute way of saying part two) is all shiny and new. Mr. Burton has the best technology that money can buy at his disposal this time and he uses it well enough to get bumped up to a PG-13 rating due to some of the gory bits and bobs that happen in this film. Don’t worry, this film does not look like a high-definition slick video game because that is not how this director rolls. Instead, it looks more like an animated Salvador Dali painting with a bit of a nonsensical mushroom trip thrown in. With all the technological power of today, this movie is able to respect the world he created so long ago and instead of obliterating it he happily builds on it instead.
I won’t give away too much but I can tell you there are a few more “Jump Scares” that happen in this continuation of the story of the evil demon Betelgeuse (how he spells his name) and his connection with Lydia Deetz. The woman he vows to marry so he can come back to the land of the living.
To appease the fans who don’t want any spoilers, i.e. famous people who do short bits to be in the film (you will love who shows up as a janitor in the very beginning), I will stick with the approved studio-provided synopsis of the film:
After a family tragedy, three generations of the Deetz family return home to Winter River. Still haunted by Beetlejuice, Lydia’s (Winona Ryder) life is turned upside down when her teenage daughter, Astrid (Jenna Ortega) accidentally opens the portal to the Afterlife.  
Everyone, from the original film, is still alive. And anyone that was needed to continue the story is back for the live-action part of the film. My favorite is Catherine O’Hara as the over-the-top artsy stepmother Delia. She is hilarious in part two of this franchise. She banters with Winona Ryder as grown-up Lydia and jokes about Karma being a bitch. You see, Lydia is now the one dealing with a dark brooding teenage daughter in Jenna Ortega as Astrid. Reminds me of my mom yelling at me, “I hope you have a kid that is just like you and you’ll see what I am dealing with.” 
Of course, the star of the show is Micheal Keaton as the evil, sly, gross, and wild-haired Betelgeuse. With his quick responses to any situation, Keaton was born to play this role. He doesn’t look a day older but he plays the character smarter with a few more layers and an origin story that will make you laugh. Did you know he was married before to the dangerous Delores brought to the screen by the sultry Monica Bellucci? She gives killer looks a wicked bad name.
I give Beetlejuice Beetlejuice 4.5 stars. It’s a perfect way to continue the story by thrilling old fans of the original and creating new fans just discovering it and a character just named “BOB”. As I left the theater, I heard someone say “They gotta make this a trilogy and call the next one Beetlejuice Beetlejuice Beetlejuice.” If they can make it as good as this one I agree. But please don’t make us wait as long for the next one.  
 
Directed by: Tim Burton
Written by: Alfred Gough, Miles Millar, Seth Grahame-Smith
Rated: PG-13
Selig Rating: 4.5 Stars
Running Time: 1 hr 44 min
Dark Comedy, Fantasy, Horror
Wide Release: Only in theaters Sept 6th
Starring: Micheal Keaton, Winona Ryder, Catherine O’Hara, Jenna Ortega
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### BEETLEJUICE BEETLEJUICE – A Review by Jenn Rohm
BEETLEJUICE BEETLEJUICE – A Review by Jenn Rohm
In 1988, many of us fell in love with Tim Burton’s creative mind and the “ghost with the most” Beetlejuice.  36 years later, we are given a chance to catch up with the Deetz family and the afterlife.  Some of the story is influenced by the real world: Jeffrey Jones and his legal issues, Tim Burton’s dating life, and society’s acceptable humor restrictions.  Other things like all the subplots and why Lydia’s daughter would be in high school vs in her 20s have me scratching my head.
I am, of course, talking about Beetlejuice Beetlejuice.  The things I enjoyed about the film I really enjoyed and the things that bothered me really bothered me.  Basic high-level overview: Charles Deetz has passed away, and Delia (Catherine O’Hara) brings her stepdaughter Lydia (Winona Ryder) and granddaughter Astrid (Jenna Ortega) back to Winter River for memorial services and to sell the ghost house.  The basic premise is fair.  Nods to the original, like a children’s choir singing “Day-O,” and replicas of the chair sculpture are nice. 
Then, multiple subplots are added.  The relationship between Lydia and Rory (Justin Theroux) did not add anything for me.  It was more like it was to have a character to represent the kind of people Delia used to socialize with.  Delores’s (Monica Bellucci) “resurrection” and relationship to Beetlejuice did not help move the story and took time that could have allowed for a deeper connection between characters.  Then, Wolf Jackson (Willem Dafoe) could have been its own spin-off piece, which would have been better.
Ryder brings us a Lydia who, in some moments, shows growth and change into an adult.  However, most of the film has her waffling like a hormonal teenager.  Her image sticks to a late 80s gothic vibe that includes black eyeliner around her entire eye as though a teenager applied it, not someone with 30+ years of experience.  (This is one of those realllllllly did not like/pulled me out of the film things mentioned above.)  The rest of the look reminded me of the original; I expected her to be more current, even if still goth.  The moments that show Lydia’s growth include a scene with her daughter in the attic looking at a scrapbook and a few conversations with Delia.  I would have liked to have seen more depth in these scenes and additional character connection moments in the movie.
Ortega can do so much, but the script didn’t allow her to shine.  I was glad to see it wasn’t a watered-down version of another character she is known for; sadly, it was a watered-down insert any teen here role.  Had some of the subplots not been included and a few music montages shorter, there would have been time for a more developed story with a young adult daughter and her relationship with her mother.  The subplot used with her and Jeremy (Arthur Conti) was a bit too close to the original and predictable. 
O’Hara delivered a more rounded character in this film than the first.  There are details of her storyline that I am unsure if they were never told in ’88, left on the cutting room floor, or have developed with the musical’s storyline based on the original movie.  She keeps her flair for the artistic and dramatic, with more wisdom and reality.  You can see that over time, between films, Delia and Lydia do care for each other.
Keaton brings back the ghost/demon of my teenage years.  There are a few more restrictions on how far he can take things than existed in 1988.  He played true to the part within the parameters provided to him.  I would have enjoyed more verbal humor from the character and fewer sight gags.  With the subplot involving Delores, a split in his devotion was created that did not work for me.  His time in the afterworld was enjoyable, I do adore his staffing choices, and a couple of moments were pleasant surprises, such as one involving a stamp.       
Maybe it is that it has taken over 35 years for this next film to come out, and times have changed; maybe it is that I am in a different place in life and have a different perspective.  The film did not live up to my expectations.  Yes, I am glad it was made, and I saw it. Yes, I would watch it again, but I do not see myself going out of my way to do so.
     
Director: Tim Buton
Written By: Alfred Gough, Miles Millar, Seth Grahame-Smith
Cast: Michael Keaton, Winona Ryder, Catherine O’Hara, Jenna Ortega
MPAA Rating: Rated PG-13 for violent content, macabre and bloody images, strong language, some suggestive material, and brief drug use.
Genres: Comedy, Fantasy, Horror
Selig Rating: 3 stars
Runtime: 1h 44m
Release Date: September 6, 2024
Trailer: Beetlejuice Beetlejuice trailer
Website: Beetlejuice Beetlejuice website
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### BEFORE I FALL – A Review By Nick Askam
 

	I think this movie shows why Zoey Deutch can be a star. She shows off a full range of emotions in a genre where there’s honestly not a lot being shown normally. It’s refreshing to see a young star take over the film and prove that she’s worth paying attention to. From Everybody Wants Some!! to Why Him? to Before I Fall, Deutch developed a strong resume in unlikely films.

	It’s not often that I sit through a YA film and don’t get that angry with the plot. This movie has its parts that annoy and frustrate me, but overall, I did enjoy it more than I thought I would. This is becoming the norm for Deutch movies as I did not expect to like Why Him? in the slightest. Before I Fall matches one of the rising stars in Hollywood with a competent director that showed that the genre can be more than what people stereotype it to be.

	My first impression of this film was that it used a Grimes song and I was scared that it was going to be terrible. I was shaking because I didn’t want to see this movie be the worst thing that it was going to be. Then, I noticed the Ry Russo-Young used a bluer color palette instead of the bright blue/ orange YA color palette. I was also surprised by how real it felt. It felt like a rich kids’ high school. I was blown away immediately.

	Since I had realized that this movie was different, I started viewing it differently. I felt there was a more nuanced approach in the way things would be shown in the film. The ominous foreshadowing in one of the first party scenes was probably my favorite part of the film. Its use of red coloring in a mostly blue/ black film made the color pop. The soundtracks subtle shifts made this film feel different. I was impressed from that moment on.

	Before I Fall is about a girl who relives the same day repeatedly and can’t figure out why. I wouldn’t call it high school female Groundhog Day because I think there are many differences but that’s the concept anyways. Sam (Zoey Deutch) has it all, so she must understand why all of this is happening and solve the mystery. She has to survive this high school day with her friends Lindsay (Halston Sage), Ally (Cynthy Wu), and Elody (Medalion Raimi). There’s other pieces involved in this puzzle from the guy who’s madly in love with her (Logan Miller), her boyfriend (Kian Lawley), and the girl people bully, Juliet (Elena Kampouris).

	Deutch carries this film and the background actors are great, too. It’s difficult to fully act with such a short amount of time. For instance, Russo mentioned that most of the wakeup scenes were filmed all at once. This is incredibly challenging for actors to have so many moods in such a short amount of time. The emotion on Deutch’s face proves otherwise as she effortlessly commands the right emotion to fit the scene. In all the high school moments, it would be easy to break character, but none of the actors do. The composure to understand and fit these pieces together is what made this movie way better than average.

	There were some plot points that I disagreed with, but I thought they fit with the genre that is constantly picked in. I wish there were some stereotypical teen moments that were taken out, but I don’t know what I would do if I had to live the day over again and again. I would probably do something weird as well. Sometimes, I wish we knew a little more about Deutch’s character earlier into the film. I think that might be a personal choice, though.

	Overall, give this movie a chance. It’s in a genre that’s always picked on and this movie tries to break the mold. Yes, it follows some of the YA tropes, but it’s superior to most all of them from this time. Deutch, Sage, Lawley, Wu, and Rahimi surprise and excite in this newest YA movie that feels like it’s an actual story rather than some petty drama.

	 

	Grade: A- 

#### BEFORE I GO TO SLEEP
BEFORE I GO TO SLEEP

	By Gary Murray

	Starring Nicole Kidman, Colin Firth and Mark Strong

	Written and directed by Rowan Joffe

	Running time 92 min

	MPAA Rating R

	Selig Film Rating Cable

	 

	Nicole Kidman is a movie star among movie stars.  Over the years she has been in such films as Australia, Eyes Wide Shut, and Moulin Rouge!    She can do drama and comedy, both singing and acting on screen.  She is both an independent darling and a blockbuster maven.  In her latest, she plays a crime victim.  It is Before I go to Sleep.

	The film opens with a middle-aged woman Christine (Nicole Kidman) waking next to a man she does not recognize.  She goes into the bathroom and there are all these photos of her and the man from their wedding.  Christine is looking at pictures of strangers.

	Stepping back into the bedroom the man introduces himself as Ben (Colin Firth) and he is her husband.  It seems that she was in an accident and lost her memory many years ago.  Every day, she believes she is in her twenties when in fact she’s in her forties.  There is no short-term memory.

	Later in the day, she gets a phone call from a Doctor Nasch (Mark Strong).  He wants to help her with her problem.  He meets her and gives her a camera with a video feature.  The doctor wants her to record her daily thoughts in a hope that it will jog her memory.  She wants to keep this video diary a secret from Ben.

	At first, she remembers that she had a friend Claire (Anne-Marie Duff).  Ben tells her that the two became estranged after her accident.  That idea just doesn’t feel right to Christine.  She feels that Claire would not abandon the woman.

	Slowly, Christine begins to believe that something is just not right with her relationship with Ben.  The paranoia of not remembering begins to take a toll as images from the night of her injury start to come to the forefront of her conscious.  She also begins to realize that at one time she was pregnant but has no memory of her child.

	Before I go to Sleep twists and turns as Christine begins to piece together her former life and the truth behind her injury.  Nothing or nobody is exactly who they turn out to be by the end of the film.  It tries to build to a surprise ending that spews gallons of blood, violent to the point of being disturbing. It also has plot holes so big one can lose an 18-wheeler in the divot.

	Nicole Kidman has been brilliant in so many different roles but this film feels as if she were slumming.  She won an Oscar for The Hours and should have won for Moulin Rouge!  This role is no where near those performances.  While she can play these types of roles in her sleep, she doesn’t give us much more than a static reading.  The ending tears feel faked.  One expects something more from her performance.

	Colin Firth is just brilliant as Ben.  This is definitely a stretch for the actor, playing a character with multiple layers who may not be as perfect as he first lets on.  It shows that he can be a strong character actor as much as a movie star. It is the single best reason to see the film.   

	Rowan Joffe is the writer behind 28 Weeks Later and The American.  Before I go to Sleep is a step into the director’s chair for the man.  While he gets some great performances from his actors, he doesn’t have much of a screenplay to work with.  Time and time again, it feels as if he is padding his movie, just to get it to the 90 minute mark. 

	The film is a cross between 50 First Dates and Memento but not as good as either film.  It is not a horror film but is being marketed that way.  It is much more of a mild thriller with some great actors working below their potential. 

#### BEGIN AGAIN – A Review by John Strange
BEGIN AGAIN

	 

	By: John ’Doc’ Strange

	 

	Written and Directed by: John Carney

	 

	Cast: Keira Knightley, Hailee Steinfeld, Mark Ruffalo, Adam Levine, Catherine Keener, James Corden, Mos Def

	 

	MPAA Rating: R (for language)

	 

	Selig Rating: FULL PRICE

	 

	Runtime: 104 Min.

	 

	 

	A young woman, Greta (Keira Knightley), moves to New York City with her boyfriend and song-writing partner, Dave Kohl (Adam Levine) who has signed a deal with an American record company.  Shortly after they arrive Dave has an affair with a woman employed by the record label.  Broken hearted, Greta moves out of the apartment the two shared.

	 

	She moves in with a fellow countryman and friend, Steve (James Corden).  Steve pushes Greta to accompany him to an open-mic night at a local club where he then convinces her (with the help of the audience) to get up and play her latest song.

	 

	As in every good fairy tale, there has to be a fairy godmother.  This is the New York music scene so the fairy godmother is alcoholic A&R man, Dan (Mark Ruffalo), co-founder of the label he reps.  His friend and partner, Saul (Mos Def), has just fired Dan earlier that day for not bringing in a decent act in ages.  This blow to his pride is what sends Dan on the drinking binge which leads him to the club in time to hear Greta sing.

	 

	Sounds like dozens of other films, doesn’t it?  Well, thankfully, this is where the film takes a turn that more than redeems itself.  The charming story interweaves equal parts love and music into a wonderful tapestry with just a touch of magic as Dan and Greta decide to make a live album, recoding her songs all over the city of New York taking advantage of the ambiance of all there is in the city. 

	 

	Instead of creating a romance between the artist and the rough producer, the writer builds a wonderful friendship between the two.  The romance we require in a story like this is reserved for Dan and his ex-wife, Miriam (Catherine Keener).  The cherry on this music love sundae is Dan’s daughter, Violet (Hailee Steinfeld), who realizes that maybe she does like her dad after all.

	 

	The true magic in this film is the music.  Adam Levine delivers his songs as only he can.  The surprise to me was the voice of Keira Knightley.  I had to do some investigating to see if it was really her or a ghost singer.  Writer/director John Carney felt that Ms. Knightley held her own with the vocals.  I think she was much better than that.  Her vocals were a perfect fit for the songs selected.

	 

	Begin Again is going to be the date movie of the summer.  The story is strong and as I said the music is wonderful.  I WANT the soundtrack to this film.  It is THAT good.

	 

	 

	Movie Site: http://beginagainfilm.com/

	 

	 

	The Selig Rating Scale:

	 

	FULL PRICE – Excellent movie, well worth the price

	MATINEE – Good movie

	DOLLAR – OK movie

	CABLE – No need to rush. Save it for a rainy day.

	FREEBIE – Good that I saw it on the big screen but wish I hadn't paid for it.

	COMMERCIAL TV – Commercials and cutting to the allotted time will not hurt this one.

	FORGET IT! – Bad. If you see this one, do yourself a favor and keep it to yourself.

	GET YOUR TORCHES – BAD! – Burn the script, the writer, the director and maybe even the actors!

#### BEHIND THE HAYSTACKS – Interview with Filmmaker Asimina Proedrou
Filmmaker Asimina Proedrou’s feature film debut, BEHIND THE HAYSTACKS, is Greece’s official entry for Best International Feature Film at the 96th Academy Awards.  Asimina talked with our Gadi Elkon about her film, where she shot it, her cast, and the wonderful reaction to the film.

A middle-aged fisherman drowning in debt; a housewife who is seeking the truth in God’s Word; a daughter who tries to define her own life within an oppressive environment. Until a tragic incident strikes the family, pushing the three heroes to face their own personal impasses, whilst having to deeply consider the price to pay for their actions.
 Asimina and Gadi talked about where the film was shot, the casting process, Covid’s impact, the diversity in the film’s characters and the wonderful festival run for the film.
Interview with Filmmaker Asimina Proedrou:

For more info about, BEHIND THE HAYSTACKS.

#### BEHIND THE SCENES: Tasher Desh
Tasher Desh  (Release Date : 23 Aug 2013)
	Director : Q (Qaushiq Mukherjee)
	Producer : NFDC (National Film Development Corporation Ltd), Overdose Joint, AKFPL (Anurag Kashyap Films Pvt Ltd), Entre Chien Et Loup, Dream Digital Inc
	Artists (Cast) : Rii (Rituparna Sen), Tillotama Shome, Joyraj Bhattacharjee, Soumyak Kanti De Biswas, Anubrata Das, Arijit Dutta, Imaad Shah, Tinu Verghis, Maya Tideman

#### Being Flynn
 
BEING FLYNN
 
By Gary Murray
 
Starring Robert DeNiro, Julianne Moore, Paul Dano and Olivia Thirlby
 
Written and directed by Paul Weitz
 
Running time 1 hr 26 min
 
MPAA Rating R
 
Selig Film Rating Matinee
 
Paul Weitz is best known for his film About a Boy the big hit from 2002.  The film won rave notices and was on some critics best of lists.  It is a movie that vaulted the American Pie writer into a different level in Hollywood.  The writer/director newest work is a drama about family and writers and is called Being Flynn. 
The film opens with a quote where Jonathan Flynn (Robert DeNiro) says that there have only been three great American writers—Mark Twain, J.D. Salinger and himself Jonathan Flynn.  It sets up the megalomaniacal nature of our main character, a cab driver in shades of Taxi Driver.  The man has been working on the great American novel his entire life.  He has a grown son Nick (Paul Dano) from his deceased wife Jody (Julianne Moore). 
Nick is a writer himself but he feels that he is not a successful person.  He has not seen his father Jonathan in 18 years.  Nick moves into an abandoned strip joint with two others and soon makes friends with Denise (Olivia Thirlby) who works at Harbor House, a homeless shelter.  Soon Nick takes a job at the shelter.
Jonathan lives in a little apartment with loud rocking neighbors.  After a confrontation, the man loses his hovel of a dwelling.  Then, he loses his cab license.  Almost immediately, the Jonathan becomes homeless and begins to come to the Harbor House to seek shelter. 
The two men become confrontational with each other.  All the bitterness of Nick’s life becomes the focal point in his hatred of Jonathan. The young man has some major blame issues with his father, a man he has not seen in almost two decades.  The film travels down a well-worn path of culpability and redemption. 
 
At times, the film becomes a bit of a cliché.  The idea of the tortured writer has been done to death and there are no new revelations in Being Flynn.  Also, the idea of the son and father being at odds over the mutual love of the female in their shared lives is as old as Oedipus himself.   This film travels down the same plot points that hundreds of more successful stories have trod.
 
While I agree that Mark Twain is great writer, probably the greatest writer ever created in America, J.D. Salinger is much more of a one hit wonder.  I would argue that F. Scott Fitzgerald, Kurt Vonnegut and Ernest Hemmingway were all much more important American authors than Salinger.  This entire exercise becomes nitpicking.  Jonathan Flynn is a crazy person and one cannot logically argue with the insane.  The depth of his madness is as deep as it is wide. 
 
DeNiro once again shows that he is ‘the man’ when it comes to acting.  This is a strong performance in a career that has given the world gigantic characters.  Jonathan Flynn is not in the leagues of Taxi Driver or Raging Bull but is a character interesting in both quirks and ticks.  The overt racism is sad and laughable almost in an Archie Bunker style of drama.  DeNiro is such a pro that he can take such a stock character and turn it into magic. It is a slow descent into madness that fuels the writing process.   
 
Paul Dano does a workman job as Nick but he is overmanned against DeNiro.  His character is the lynchpin of the work but is also the weakest link.  It may be a fault of frail writing or clichéd idea but the tortured soul of our young poet has been beaten to death.  One expects something a bit fresher from director Paul Weitz.
 
Julianne Moore is used in much more of a cameo but she still manages to give a full and well rounded character.  She could read the phone book and still be captivating on screen.  This is one of those small roles that keep her established independent credentials in full check.   
 
Young Olivia Thirlby is the revelation of the work.  She is basically an unknown performer who is up against some heavy hitters and holds her own in scene after scene.  She has some demons of her own in the story and delivers her reading with a certain broken charm. 
 
Being Flynn is much more of an interesting idea than a flushed out film.  Like life, parts are stunning and parts are boring.  It is very much an art house flick that will appeal to a very narrow audience. 
 

#### BEING FRANK – A Review by Cynthia Flores
 
BEING FRANK – A Review by Cynthia Flores
All families have secrets, but this one takes the cake.  In this film, Frank Hansen (Jim Gaffigan) is hiding the biggest secret of all – he has two families.  That’s right, he keeps two houses, two wives and two sets of children he’s been keeping apart for 15 years.  Frank can do this by telling each family that he has to travel to Japan for work.  Instead, he just bounces between his families.  It helps that Frank’s second family lives across state lines in a charming little lakeside community.  So when his teenage son Philip (Logan Miller) discovers the truth, all bets are off as Frank tries desperately to get Philip to keep the secret.
So what starts off as a way for Philip to blackmail his father to pay for the college of his choice and protect his mother from the truth actually turns into something to bond over.  You see, Philip was angry like most teenage boys that feel neglected and misunderstood by their inattentive fathers.  It also hurt him when he stumbled upon his Dad’s “Perfect” family.  Phillip felt like his mom and sister weren’t enough for his dad.  But now since Philip is in on the secret and is inappropriately involved with his father’s infidelities, he actually gets to spend real time with his dad.  It’s fun to watch these two estranged people actually get to know each other better.
Of course, there are some fast-paced shenanigans where Frank and Philip must work together to keep both families from meeting at an annual picnic event that Philip’s mom has decided to attend.  I won’t tell you if they get away with it all so you can watch this one yourself and find out.
Being Frank is a well-balanced mix of screwball comedy and drama.  It gives its leads, Jim Gaffigan and Logan Miller a chance to turn something that should be heartbreaking into something funny and bittersweet instead.  I give Being Frank a B rating for being a perfect bit of summer movie fluff to enjoy and then forget.
 
Directed by Miranda Bailey
Written by Glen Lakin
Rated R
Selig Rating B
Running Time 1hr 49min
Comedy
Limited Release June 21st Landmarks Magnolia Theatre and VOD
Starring: Anna Gunn, Samantha Mathis, Jim Gaffigan, Logan Miller, Alex Karpovsky
 
The Selig Rating Scale:
A – Excellent movie, well worth the price.
B – Good movie
C – OK movie
D – No need to rush. Save it for a rainy day.
F – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### BEING FRANK – Interview with Director Miranda Bailey
https://www.youtube.com/watch?v=fQMEbWVJ9eA
A normal father’s family life is turned upside down when his son discovers he has another family.
Here is our interview with BEING FRANK‘s Director Miranda Bailey.

 
Director Miranda Bailey chatted with me about jumping back into the director’s chair, finding locations in NYC, working with her Israeli DP Yaron Schraf, the work going on at THE FILM ARCADE and much more!
Here is our interview with BEING FRANK Director/Producer Miranda Bailey.
 
https://seligfilmnews.com/wp-content/uploads/2019/06/Miranda-Bailey.mp3
 
Locally the film will be opening this Friday, June 21st at the Magnolia Theater.

#### BEING THE RICARDOS – A Review by Cynthia Flores
BEING THE RICARDOS – A Review by Cynthia Flores
This film is smartly written and directed by the ever-brilliant Aaron Sorkin. The man is responsible for epic films like A few Good Men and well-known television series like The West Wing. This film is about the iconic tv show I Love Lucy that when it was on the air was a mega-hit. An estimated sixty-eight percent of television sets on the night it was broadcast were tuned to the show. Meaning that about forty-four million people each night were watching it live. You would pretty much have to be living under a rock to not know who Lucy & Ricky were, so there should be a built-in fan base that would eat up a movie like this. Except the casting is truly off.  
Being the Ricardos has an all-star cast. Nicole Kidman with Javier Bardem, are Lucy and Ricky. And J.K. Simmons with Nina Arianda are Fred and Ethel. All these actors are top-notch and brilliant at anything they do. However, Nicole Kidman, even with a distracting and off-putting prosthetic across the bridge of her face does not look like Lucille Ball. Also, Javier Bardem is a ruggedly handsome man, but he looks nothing like the pretty boy that Desi Arnaz was. Desi Arnaz in his prime was more of a Ricky Martin body type as opposed to Bardem’s boxer-like physique and large nose. These actors are so good at their craft I think they could probably switch the roles. With Kidman playing Ricky and Bardem playing Lucy. They could pull that off just as well as they pulled off the roles they are in now. 
The stand-out character actor JK Simmons, as Fred Mertz, steals the show. He not only does a great job with his lines he matches the physicality of the original actor. 
The story for Being the Ricardos takes place over the time span of one critical week. They are at the top of the show’s popularity when the accusation that Lucille Ball is a communist hits the papers. This could be a career-ending news story during the MacCarthy era. We get a behind-the-scenes glimpse of the couple’s complex romantic and professional relationship. The movie takes the audience into the writer’s room, onto the soundstage, and behind closed doors with the rehearsals for their groundbreaking sitcom, I Love Lucy.  
I give Being the Ricardos a 3-star rating. It’s a case of a great script but poor casting. Was Debra Messing not available for the making of the film? She looks like she could be the real Lucile Ball’s long-lost daughter. Also, Messing has the acting chops to pull off a role like this. Too bad for this film that she was not cast in the lead. 
  
Directed by: Aaron Sorkin
Written by: Aaron Sorkin
Rated: R
Selig Rating: 3 Stars
Running Time: 2hr 5min
Drama / Biography
Wide Theatrical Release: December 10th and Amazon Prime Video Dec 21st
Starring: Nicole Kidman, Javier Bardem, Nina Arianda, J.K. Simmons
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### BEING THE RICARDOS – Review By Gadi Elkon
Aaron Sorkin’s dive into the film world has truly changed the notion of pacing and immersive story telling.  In BEING THE RICARDOS we are once again given something untold and unique about iconic figures from the iconic writer/director.

BEING THE RICARDOS isn’t necessarily what you’d expect from a bio pic of Lucy and Desi Arnaz.  Sorkin delves directly into a specific week in the filming of the I LOVE LUCY show.  We are treated to a behind the scenes fill as the movie opens with the writers of the famous show discussing their memories of that specific week.  As we take the jump back in time to the set and behind the scenes of the readings, writer’s room activity, and even major studio meetings at NBC we see all aspects of this week.  There are two tabloid style stories out that week.  One involves potential photos of Desi Arnaz cheating on Lucy and the other is a tie of a young Lucille to possibly being a member of the communist party or at least a socialist party.  Both stories maybe devasting to the tremendous success of Lucy and her wild Cuban Hubby’s epic show.  The Arnaz weight in their creative process mingling with the impact of Big Tobacco (a major sponsor) and of course the Studio itself not wanting negative publicity of it’s famous show is the massive trifecta of the tale.  Sorkin has an amazing ability to tell a large important story about a small specific set of moments or in this case a week in the life of Lucy and Desi.  The story is so eye-opening and forgotten the film is worth just finding about this week in time.  Add in the pacing of Sorkin in which a character’s legs move as fast as their tongue.  Walking and talking Sorkin is a treat on the small or big screen.  In the hands of this cast Sorkin’s biting commentary is superbly done.  JK Simmons and Nina Ariande battling moments are worth their own sitcom of the sitcom their characters were so famously the other couple.   Tony Hale steals every scene he is in and really showcases a huge internal battle that the Arnaz family dealt with even though they were so successful in their business prowess in the system world of the 50s and 60s.  Alia Shawkat is also a real gem in the film and she has one scene with Nicole Kidman that should scream to all woman making film and tv!
But Being the Ricardos comes down to Nicole Kidman as Lucy and Javier Bardem as Desi.  Both are utterly captivating and deliver A+ performances.  It will be hard to find fault in their performances especially Bardem’s loose feel in flashback scenes.  He has the IT quality just as much as Kidman does.  If there is a problem I have in the movie it is I think both are two big stars themselves it’s hard to really see them outside their own sphere of importance.  Casting is a massive thing in looking at how much a film will be pushed by a studio project.  I get why Nicole and Javier are in it and they need to hold the power over the film as much as Sorkin’s name does, but geez wouldn’t it be amazing to have seen Debra Messing as Lucy.  I mean the reality behind the reality may be to big to imagine but we can dream can’t we.  I disgress though as it is obvious that Nicole and Javier bring it in the film.  Sorkin’s story is so refreshing and new to audiences you can look past the wish this actress game.
The film is a real triumph in not just giving a generic bio pic that dives into the stories we have heard.  Sorkin has written a vibrant tale that could have forever impacted TV and society if things had unfolded differently.  The film not only is a wonderful look back at that time but speaks to a modern world and tackles subjects that are being addressed and analyzed right now.  A lovely dive back in time that will keep you talking for days after.
BEING THE RICARDOS
Written & Directed by: Aaron Sorkin
Rated: R
Running Time: 2hr 5min
Biography / Drama
Release: December 10th in Theaters and will release on Amazon Prime Video on December 21.
Starring: Nicole Kidman, Javier Bardem, Nina Arianda, J.K. Simmons, Alia Shawkat, Jake Lacy, Tony Hale, and Clark Gregg
RATING: 4 Stars out of 5
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### BEIRUT – A Review by Cynthia Flores
 

	BEIRUT – A Review by Cynthia Flores

	 

	The new film Beirut starts in the 1970s when the city was considered the Paris of the Middle East.  There’s a dinner party with important people that goes terribly wrong.  Flash forward to the 1980s when Beirut was burning and CIA operatives Sandy Crowder (Rosamund Pike), Donal Gaines (Dean Norris), and Gary Ruzak (Shea Whigham) must reach out to Mason Skiles (Jon Hamm), a former high ranking U.S. diplomat, for help negotiating the release of Cal (Mark Pellegrino), an operative with a lot of info locked away in his head.  If he talks, lots of undercover identities would be blown.  He’s also the ex-business partner and best friend to Mason whom he hasn’t seen since the death of Mason’s beloved wife Nadia (Leila Bekhti) at that infamous dinner party ten years earlier.  Cal blamed himself for Nadia's’ death that was triggered by helping out an orphaned young Palestinian boy.  Nadia and Mason really cared for the boy and were actually going to sponsor him so he could go to school.  Unfortunately for everyone involved, he ended up having a hunted PLO terrorist for an older brother and that brother had other plans for him.

	 

	Mason left Beirut to bury his wife's body back home in the US and never returned or spoke to his friend Cal again.  He didn’t see the civil war that broke out in his beloved city of Beirut.  He spent the last ten years crawling into a bottle of booze and running a small two person negotiation business.  A lousy little life far removed from his days of flying high in the Middle East political scene and negotiating for US politicos.  It’s through his eyes, as he returns to the city of Beirut and drives around it to his hotel, that we see the formerly glorious city turned into piles of rubble and men with guns harassing people.  His life of privilege and happiness was broken by loss and is in shambles just like the city he loved around him.  

	 

	Beirut was written by Tony Gilroy, who’s the same man that gave us the screenplays for Rogue One: A Star Wars Story and all the Bourne action films, so he knows how to tell a thrilling story with a few twists and turns thrown in for good measure.  The director, Brad Anderson, is known for tense, and more introspective films like 2004’s The Machinist starring Christian Bale.  His type of sensibility is not usually applied to most spy films where action is key to the film.  He did seem to spotlight the backstory and inner workings of the flawed hero Mason, as played by the always handsome Jon Hamm.   

	 

	Beirut is fast-paced, tension-filled, and a pretty good ride for a story told in such a volatile place. It's not the best spy film I've ever seen, but it has a lot of heart.  Beirut is definitely worth seeing on the big screen so I give it a solid B+ rating.

	 

	Directed by Brad Anderson

	Written By Tony Giloy 

	Rated R

	Selig Rating B+

	Running Time 1hr 49min

	Drama / Thriller

	Wide Release April 10th 

	Starring: Jon Hamm, Rosamund Pike, Mark Pellegrino, Dean Norris, Shea Whigham, Ben Affan 

	 

	Movie Site: bleeckerstreetmedia.com/beirut

	 

	 

	The Selig Rating Scale:

	 

	A – Excellent movie, well worth the price.

	B – Good movie

	C – OK movie

	D – No need to rush. Save it for a rainy day.

	F – Good that I saw it on the big screen but wish I hadn't paid for it.

#### BELFAST – Review by Gadi Elkon
Academy-Award nominee Kenneth Branagh’s intimate showcase of 1960s Belfast is told through one family’s story.  Our Gadi Elkon gives his full review of the latest film from Sir Kenneth Branagh.

Belfast is a poignant story of love, laughter and loss in one boy’s childhood, amid the music and social tumult of the late 1960s.
The film opens with Aireal coverage going from the shipping yards of Belfast, tinted with the golden yellow structures, through the historic town’s famous statues over the country landscape onto our one street setting.  The street and area was an amazing fabrication by Branagh’s frequent production designer Jim Clay who replicated the tight community of Sir Kenneth’s youth.  The real touch of genius was the way in which Kenneth Branagh and his DP Haris Zambarloukos take us into the past of 1960s Belfast.  As we creep up a brick facade the color is spliced out giving the film a black and white look throughout.  This one choice really is the start of a ton of treats Branagh gives us with what must be his most personal film to date.  There is a rather amazing touch of color later in the film that adds another magical moment, but I won’t spoil that for you.  Instead realize that Belfast being shown in Black and White is done with a nice touch of nostalgia and love.
Cast wise this film is filled with real brilliance.  Frequent Branagh muse Judi Dench steals ever scene she is involved.  The fit of her granny glasses to her final farewell moment are further proof of the master work of Dame Dench.  Ciaran Hinds though may be the most fantastic casting choice as his moments with young newcomer Jude Hill are pure joy to watch.  Hinds tough exterior has made him a perfect gruff hero or total big baddy, but here as the sickly Pop he is a revelation.  Some of the most profound dialogue comes from Hinds advice either to young Jude or to Jamie Doran’s Pa character.  The elder grandparents in the film allude to the historical nature of the tale and ground the family dynamic so well.  Jude Hill is such a lovely find as a young actor.  His innocent inquisitive nature is the hallmark element of the film and allow the audiences who are less knowledgeable to be brought fully into 1960s Belfast.  But for me the real treat of the film is Caitriona Balfe as Ma.  The strong overbearing mother figure is dutifully done by Balfe and even the sparse moments between her and Jamie Doran allow for us to understand her deep love.  Jamie Doran has a masterful moment where his singing and dancing take centerstage but only because we are treated to Balfe’s amazing gaze that shows why she fell for Pa.  Balfe’s magic happens throughout the movie but in the film’s more harrowing moments that she shines.  Ma searching for her boys or in particular young Jude Hill’s Buddy we get so much connection.  A scene at a looting of the local grocery is the film’s most unexpected, with its incredible tension, Balfe contribution as she has to battle over trying to reign in her young son during a riot.  Overall the casting choices sell Branagh’s slice of personal life in the most honest of ways.
Belfast has that perfect historical note tied in with a real powerful family tale.  Feels like this film will act as an amazing hug of inspiration and hope just in times for the holidays.  Branagh’s most personal story is maybe his most rewarding.
BELFAST
Directed by: Kenneth Branagh
Written by: Kenneth Branagh
Rated: PG-13
Selig Rating: 4 Stars
Running Time: 1 hr 38 min
Drama
Theatrical Release: November 12th
Starring: Caitriona Balfe, Judi Dench, Jamie Dornan, Ciaran Hinds, Jude Hill
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

Director Kenneth Branagh (left) and actor Jude Hill (right) on the set of BELFAST, a Focus Features release. Credit : Rob Youngson / Focus Features

#### BELIEVE ME – A Review by John Strange
 

	BELIEVE ME

	 

	By: John ’Doc’ Strange

	 

	Directed by: Will Bakke

	 

	Cast: Alex Russell, Zachary Knighton, Johanna Braddy, Miles Fisher, Sinqua Walls, Max Adler, featuring Lecrae, with Nick Offerman, Christopher McDonald

	 

	MPAA Rating: PG-13 (for some language)

	 

	Selig Rating: FULL PRICE

	 

	Runtime: 93 Min.

	 

	 

	Sam Atwell (Alex Russell) discovers that his scholarship has run out leaving him owing over $9000 for his final semester.  Without paying the money, he doesn’t graduate.  As the college official who drops this bomb on Mr. Atwell, the director cast Nick Offerman. He was the perfect choice with his deadpan face with red-rimmed eyes who offers a shot of liquor from the bottle he keeps in the desk drawer after dropping this bomb on Sam.

	 

	Sam goes back to the house in a daze.  He is talked into going to church with his best friend, Pierce (Miles Fisher) on a double date.  There Sam watches the church’s missionary group soliciting funds to help kids in Africa.  When he discovers how much the group is pulling in he hatches the plan to prey on this fervor to make the money needed to get him out of the hole.

	 

	He talks his friends into working with him for a share of the loot.  At their first rally, they are approached by the promoter for Cross Country (the number 2 religious promotion company in the country), Ken Huffman (Christopher McDonald).  His spiel really grabs them, especially the part about bringing in about a QUARTER OF A MILLION DOLLARS!

	 

	This is a story filled with greed and religion, love and lust, jealousy and compassion.  The boys, or as they are called on the tour, The God Squad, all have “Come to Jesus” moments along the way.  But is it enough to save them or are they going to get caught and sent to jail for embezzlement and more?

	 

	This film has a lot of elements that make buddy films work; good plot, recognizable bad guys (Gabriel played ably by Zachary Knighton), sweet and a bit sexy ingénues (Johanna Braddy as Callie, Ken’s #2 on the tour), and best of all, a clothing line they call – Cross Dressing!  Bottom line is that Believe Me works.  Believe me.

	 

	 

	Movie Site: http://believemefilm.com/

	 

	 

	The Selig Rating Scale:

	 

	FULL PRICE – Excellent movie, well worth the price

	MATINEE – Good movie

	DOLLAR – OK movie

	CABLE – No need to rush. Save it for a rainy day.

	FREEBIE – Good that I saw it on the big screen but wish I hadn't paid for it.

	COMMERCIAL TV – Commercials and cutting to the allotted time will not hurt this one.

	FORGET IT! – Bad. If you see this one, do yourself a favor and keep it to yourself.

	GET YOUR TORCHES – BAD! – Burn the script, the writer, the director and maybe even the actors!

#### Believe Me Interview with Director Will Bakke, Producer Alex Carroll, and Writer Michael B. Allen
Click through for my interview with the local talent that made Believe Me possible. 

	

	Interview with Director Will Bakke, Producer Alex Carroll and Writer Michael B. Allen.

#### BELLE
BELLE

	By Gary Murray

	Starring Gugu Mbatha Raw, Tom Wilkinson and Miranda Richardson

	Written by Misan Sagay

	Directed by Amma Asante

	Running time 151 min

	MPAA Rating PG-13

	Selig Film Rating Matinee

	 

	For some reason, Americans think that slavery was just a US problem.  The fact is that a few centuries back, slavery was the norm throughout most of the world.  England was one of the biggest players in the slave trade.  As man became more enlightened, the idea of owning another person became more and more abhorrent.  It is this backdrop that the film Belle takes place. 

	Part mystery and part melodrama, the film Belle is about Dido Elizabeth Belle (Gugu Mbatha-Raw).  When we first see her in 1769, she is a little mulatto girl living in the slums of London.  She is taken by her father to live with her uncle and lawyer William Murray, 1st Earl of Mansfield (Tom Wilkinson).  He is the second more powerful man in England, behind the King.

	The child Belle is the result of a tryst but is still a part of stature.  Her father insists that William raise the little girl until he comes back from his service with the Royal Navy.  Everyone knows that his returning safely is a long-shot proposition.  Dad insists that the young Elizabeth be accorded all the rights of her blue-blood stature.  William Murray sees this as a very big societal problem but respects the wishes of his nephew.

	We flash forward a few years and Dido is a young woman with no place.  She is not considered a part of true society being mulatto.  But she also has a fortune which is attractive to society suitors who have title but no cash.  According to Lady Mansfield (Emily Watson) he cannot marry above her status due to her skin color but cannot marry below her station due to her blood.  This is a time of courtly manners where status is the rule of the day. The family has no idea what to do, but they do love the young woman.

	She lives in the manor with her cousin Lady Elizabeth Murray (Sarah Gadon).  She is a simple woman who needs a wealthy match to keep her in finery.  Her father has abandoned her with William Murray and the man has taken up with a new family.   Basically she has title but no money and she needs to marry above her station.  Half of the film is about moving up and down the social ladder.  She tries to land Lord Ashford (Alex Jennings), a horrible man of wealth and status.  He is represented by his mother Lady Ashford (Miranda Richardson), a vicious shrew looking for land and title.

	The other half of the film concerns a case before William Murray, 1st Earl of Mansfield who is also the Lord Chief Justice of England and Wales.  A slave ship The Zong was running low on water and had to drop their cargo.  In other words, in order to save the crew, they drown all the slaves.  They are suing the insurance company for loss of cargo. 

	The how and the why of the death of the slaves is the other driving plotline in Belle.  William Murray must decide if the incident was a simple matter of survival or a plot to scam the insurance company.  William takes on an apprentice lawyer John Davinier (Sam Reid).  He is a man who believes that slavery is wrong and that the case will change how England views the slave trade.  John is also smitten by Belle.  All of the plot threads tie together with the final judgment by the Lord Chief Justice of England and Wales.

	The film is directed by Amma Asante.  She does a strong job keeping the story moving and weaving different elements into a cohesive whole.  With the stunning costumes and beautiful scenery, half of her job is done with the secondary arts.  Since little is known of the actual story of Belle, screenwriter Misan Sagay has to build scenes from whole cloth.  The events did happen but this is not a documentary.

	Gugu Mbatha-Raw is just brilliant as a woman caught in a world not of her making.  It is a society where no one marries for love but for consolation of power and privilege.  She has money which means she has power but being only half-white she is considered half a person.  Also being a woman, she is considered half a citizen.  Without a husband, she is not to be considered to have power.  It is hard in the 21st century to imagine how station could be more important than the person, but the actress puts a very human face on the situation.

	The females in the cast are all catty to the point of this being a telling tale along the lines of a Real Housewives of the manor born.  They all scheme to get the best of each other, working angles and trying to one-up each other.  It is a verbal cat-fight with manners and statue on the line.   Mix Dowton Abbey with a reality show and one gets most of the motivations behind Belle. 

	Belle was released in 2013 in hopes of getting Oscar buzz but never could rise above the fray.  It is finally being released in 2014.  While elements of the film are stunning, the overall film is a bit too of posing in costumes than an in-depth study of how race and society intermix. 

#### BEN 10 VS. THE UNIVERSE: THE MOVIE – A DVD and Digital HD Review by John Strange
BEN 10 VS. THE UNIVERSE: THE MOVIE – A DVD and Digital HD Review by John Strange
Warner Bros. Home Entertainment provided me with a free copy of the DVD I reviewed in this Blog Post.  The opinions I share are my own.
Ten-year-old Ben Tennyson is Ben 10, the central character of this movie.  The Cartoon Network show has existed for a couple of decades in various formats including one-of shorts (two), full TV series (four that I found), video games (three), and TV movies (three, including this one).
I got these numbers from Tara Short’s IMDb page.  She is the voice actor who has voiced young Ben Tennyson since 2004.  This 47-year-old voice actress has nearly 600 acting credits working on Ben 10, Teen Titans, DC Super Hero Girls, My Little Pony, and many more.
This is one of the interesting things about voice actors.  The actor’s gender rarely determines what characters they work with.  Their voice impersonations are what get them roles.
In Ben 10 Vs. The Universe: The Movie, Ben and Team Tennyson are faced with the destruction of Earth by an old foe, Vilgax.  Ben disappears from radar as he is heading out into space to stop what they think is a meteor streaking toward the planet that could destroy all life.
While the remaining team members (Grandpa Max, Gwen, and Phil Billings) are left behind to do their best to stop Vilgax, Ben must prove to the creator of the Omnitrix that he is worthy to wear it.
Team Tennyson teams up with Kevin and his anti-Omnitrix to fight the villain.  Eventually, Ben is allowed to get back to the Earth and the final battle begins.
For fans of the Ben 10 universe, this will be a “must-have” for the film.  Sadly, the extras they included on the DVD are a mixed bag.
There are animated storyboards of several of the scenes from the movie (Animatics).  Most people will look at these and go, “Huh?”  There is also a slide show with stills from the movie, mostly character examples showing the front and back of each one (Image Gallery).  Of the two, the Image Gallery is the one most worth viewing.
The overall rating that I have assigned to Ben 10 Vs. The Universe: The Movie is 4.5-stars, which I base on the story and the film overall.  The extras are a 3-star rating, brought down by the Animatics featurette.
 
Directed By:

Henrique Jardim, John McIntyre

Cast:

Tara Strong, Montse Hernandez, David Kaye, Greg Cipes, Yuri Lowenthal

Extras:
DVD:

Animatics
Image Gallery

Specifications:
Runtime:
Feature:

69 Minutes

Enhanced Content:

10 Minutes

Studio:

Warner Bros. Home Entertainment Inc.

Release Date:
Digital:

10/11/2020

DVD:

10/27/2020

Region:

A/1 (U.S. and Canada only)

MPAA Rating:

TV-Y7

Selig Rating:
Film Rating:

5 Stars

Bonus Features Rating:

2 Stars

Picture Quality Rating:

5 Stars

Audio Quality Rating:

5 Stars

 
Selig Rating Scale:
5 Stars: Should add to your DVD collection at any cost
4 Stars: Worth owning, but try to catch it a sale
3 Stars: Plan to get it, but wait to buy it used
2 Stars: Worth taking a look at, but not owning
1 Star: Pick it up at a garage sale and use it for drinks
0 Stars: Makes a great Trap Shooting target

#### Ben 10 vs. The Universe: The Movie Blasting Off On Digital October 11 & On DVD October 27
 
Ben Tennyson is back on the alien-fighting scene, and expanding to take on the universe as Warner Bros. Home Entertainment releases Ben 10 vs. The Universe: The Movie globally on Digital October 11 and on DVD October 27, 2020. Follow the alien-transforming kid hero with all-new powers and settings on this intergalactic adventure, filled with action-packed bonus content including Animatics, exclusive to the DVD. Ben 10 vs. The Universe: The Movie carries a suggested retail price of $14.99 for Digital, $19.99 for the DVD ($24.99 in Canada), and is rated TV-Y7. Ben 10 vs. The Universe: The Movie has an order due date of September 22, 2020.
The action-packed movie, which will air globally first on Cartoon Network, will focus around a blast from Ben’s past returning to do double the damage on Team Tennyson and planet Earth itself, forcing Ben to go interstellar to save the day. Meanwhile, Gwen and Grandpa Max team up to help protect the world in Ben’s absence. But when our boy hero is confused for the villain in space, Ben must figure out a way to get back to Earth to help save it!
“After 15 successful years, the Ben 10 franchise continues to thrive around the world,” said Mary Ellen Thomas, WBHE Senior Vice President, Originals, Animation & Family Marketing.  “From its Emmy Award-winning series to its robust toy line from Bandai, merchandise in all forms have all combined to generate more than $4.5 billion in global retail sales to date. We know that fans and newcomers alike will want to own this latest installment in the franchise’s home entertainment catalog to add to their Ben 10 collections.”
Ben 10 is produced by Cartoon Network Studios and created, and executive produced by Man of Action Entertainment (Big Hero 6, Generator Rex), with John Fang (Mixels, Generator Rex) as executive producer.
DIGITAL
Ben 10 vs. The Universe: The Movie will be available to own on October 11, 2020. Digital allows consumers to instantly stream and download to watch anywhere and anytime on their favorite devices. Digital is available from various retailers including iTunes, Amazon Video, Google Play, Vudu, PlayStation, Xbox and others.
 
DVD BONUS FEATURES
·        Animatics
 
 
BASICS
Digital Release Date: October 11, 2020
DVD Release Date: October 27, 2020
Presented in 16×9 widescreen format
Total Runtime: Approx. 69 minutes
Enhanced Content: Approx. 10 min
1 DVD-9s
Audio – English (5.1)
Subtitles – English SDH
Rated: TV-Y7
Digital Price: $14.99 SRP
DVD Price: $19.98 SRP ($24.99 in Canada)
UPC #: 883929723577
Catalog # 100778092

#### BEN-HUR – A Review By Nick Askam
Russian Director Timur Bekmambetov teams up w/ talents Jack Huston, Toby Kebbell, legend Morgan Freeman and Rodrigo Santoro to retell the classic in Paramount Pictures' BEN-HUR.  Our reviewer Nick Askam breaks down the modern Ben-Hur.  Click through for his in-depth review of the film.

	

	Ben-Bad (I’ll see myself out) 

	 

	 

	I think the trailer shows off the main flaws and the best parts of the film. I came in to the film with super low expectations seeing as remakes this year haven’t been the most well received (Ghostbusters especially and Poltergeist last year). I haven’t seen the original, so I thought I’d give this a shot. I think my fundamental problem is with the shooting of the film. It almost tried by an “epic” while giving such a small perspective of everything going on around the character. I think films like Son of Saul use this technique super well. This film on the other hand struggles to stay away from being claustrophobic and unemotional. It’s truly apparent that the story was compelling at one point in time, but the actors struggle to keep up. It’s kind of odd watching a film that Morgan Freeman just feels so out of place with these brand new actors that I never care or feel for. There were some special effects moments that I did enjoy, but they were all shown in the trailer for the most part. 

	 

	 

	

	 

	 

	 

	This picture especially highlights the worst part of the film. The whole time, this film is building to this chariot race and when we finally get it, they’re running in a small oval. I’m sorry but I thought this was supposed to be epic and compelling. I didn’t care for any of the other riders and immediately knew that they would lose the race and it would come down to these two so why didn’t they just save money and just make it these two? There’s absolutely no tension until the final lap because it’s obvious that none of the other riders stand a chance. Also, the first scene has both of them racing. So when Morgan Freeman walks up and bets on Judah Ben-Hur, it’s pretty obvious that the king will say yes. This is another shot when the camera feels too close. I understand that they put so close to make it feel intense, but seeing the film in 3-d made it feel lame. I didn’t understand why it was in 3-d because nothing popped. There were no moments in the film when I thought, 3-d was worth the extra expense. 

	 

	This whole film feels like it’s missing something. I think it’s the little things. I never felt like anyone was struggling when the characters are in perfect makeup and Esther has perfect eyebrows. They all should be disgusting. I didn’t watch the film to see what perfect humans would’ve looked like ancient times. Another problem was it looked like the characters got on this horse and were wearing jeans. It’s almost like the costume design team forgot what they were supposed to be wearing. It would’ve been one thing if they weren’t tight either. Good thing they had technology not invented for 1870ish years to ride their horses (http://www.historyofjeans.com). 

	 

	

	 

	 

	 

	 

	 

	 

	 

	 

	 

	 

	 

	 

	 

	 

	 

	*Spoiler warning*

	I’ll keep this point brief. But the slave ship bothered me a lot. It was the only part that I thought being claustrophobic was worth it. But how did they eat, go to the bathroom, and not go insane? I get that humans are resilient and all. I just wish there was more explaining. I was also super confused by how quickly Judah regained his strength and his ability to speak.

	This film wasn’t super terrible until the last 10 minutes. The whole time, Jesus relatively unaddressed. Then he becomes the main character and then everything is happy. Wow, was it heavy handed. I didn’t see any reason for it. I guess to get an extended run time to make your film seem more like an epic. It didn’t seem to be allegorical at all, so I didn’t understand why it was necessary. It really threw off the tone of the film. There were people crying in the theater when it happened, so maybe it was powerful. But I just wanted the film to be over. I thought the fractured family would’ve been a stronger conclusion and would’ve made the film a little more thought provoking then just slapping a bow on it and saying “everything is better”. This movie is not Barney and Friends, it’s a film about overcoming obstacles. 

	*Spoilers over*

	Overall, this film is bland, boring, and lacks any luster to keep my attention for more than 2 laughably terrible delivered lines. My favorite part of the film is when Judah falls off of his horse and Messala looks around, sees no one, and then yells “HELP!” He knows full well that no one is within earshot. Then picks him up to go home. That was hilarious! Unfortunately, that wasn’t the tone that the film was going for and it never found it throughout the whole film.

	Score: 3 out of 10

#### BENTONVILLE FILM FESTIVAL ANNOUNCES CALL FOR ENTRIES FOR 2020
 
The Bentonville Film Festival announced that its 6th annual event will take place on April 29 – May 2, 2020 in Bentonville, Arkansas. Since it’s inception in 2015, the Bentonville Film Festival has been a platform that champions inclusion in all forms of media. Co-founded by Academy Award® winner Geena Davis & Inclusion Companies CEO Trevor Drinkwater, BFF will continue its tradition of curating a program that convenes artists, industry and audiences to support inclusive & intersectional storytelling.
Submissions for 2020 are open via Film Freeway. The competition film program will include mission-aligned Narratives, Documentaries, and Family feature films; as well as a global Short film and Episodic program. In addition, the 6thannual festival will include a powerhouse of discussion events in the areas of Advertising & Brand, Film & TV, Culture & Connection, and Kids & Family Entertainment.
“BFF has an unwavering commitment to support groups and people historically underrepresented in media. This year, 86% of the films selected included key representation by female filmmakers and 62% included representation by filmmakers of color, LGBTQIA, or different abilities. We saw sold out houses for the competition and spotlight films and full audiences for impactful discussions held during the festival,” said Wendy Guerrero, President of Programming for Bentonville Film Festival. “BFF has  made great strides in the last 5 years. We’ve also expanded and enhanced our year-round programming adding membership, monthly screenings and educational programs, filmmaker retreats and mentorship. BFF continues to focus on our role in creating positive and social change and look forward to increasing our base of support and impact on the community.”
The 2019 Festival featured speakers included Jason George, Jamie Brewer, Frankie Grande, Jackie Cruz, Jon Cena, Kim Bass, Jordana Spiro, Noelle Stevenson, Sandra Gonzales and more.
BFF screened 162 Films including 65 films in competition (including 27 short films and episodics) in 5 venues across Bentonville.
Information regarding submissions, eligibility, and selection criteria is available on Film Freeway at https://filmfreeway.com/BentonvilleFilmFestival and the Bentonville Film Festival website at www.bentonvillefilmfestival.com.
The Bentonville Film Festival’s competitions for 2020 include:

Narrative films
Documentary films
Family Feature films
Episodics
Shorts

Submission Deadlines
Early Bird:                 October 10, 2019
Regular:                    December 23, 2019
Late:                           January 7, 2020
Extended Late:         January 14, 2020

#### BERLIN SYNDROME – A Review By Nick Askam
 

	 

	I don’t think there’s ever been a time where I wanted to leave more, but what was on screen was so good that I was glued to my chair. The disturbing thriller kept me at the edge of my seat and left me wondering what I had gotten myself into. There were moments that were eye-catching and some that made me want to close my eyes for a very long time.

	I haven’t been shaken by a movie like this in quite some time. It reminded me of Room, and I liked it significantly more than Room. I remember seeing the poster and knowing nothing about it. I thought it would be about someone finding themselves in the big city. I guess that’s kinda what it’s about except in the most twisted way imaginable. This movie has stuck with me for weeks and I have recommended it to many of my friends who like the thriller/ horror genre.

	Berlin Syndrome is about this girl, Clare (Teresa Palmer), who has just come from Australia and decides to stay in Berlin for a few days. She meets Andi (Max Riemelt) who is a charming teacher from the area. Well, things happen and she ends up hooking up with him. Then, he traps her in his apartment. At first, she thinks it’s all fun and games. She quickly realizes what is actually happening.

	The performances in this movie are wonderful especially from Palmer. You can tell how much she put into this movie as her whole performance is incredible. Riemelt’s performance can’t go without notice either. The way that his character opens up as events transpire is astonishing and great. There were moments when you know exactly what he’s thinking and then he composes himself and surprises you. I was blown away by the acting. I thought it was top-notch.

	The directing by Cate Shortland made this movie interesting. I think its strongest attribute is that Shortland directed it because the film is largely from a woman’s perspective. It gets a woman’s perspective. The cinematography is stunning for what I know was a smaller budget, and the way that the film is paced is great, too. I think that it was wonderful to have a different perspective behind the camera. I can’t wait to see what she does next.

	My only flaws with the film is that it is too predictable for my taste and to get to the ending, a few things had to happen. The whole story line with Franka (Emma Bading) felt out of place. Maybe I don’t know the culture well enough, but it just felt like it shouldn’t have happened. Those were honestly the only parts that bothered me.

	I loved the lead up and the way that the film was paced. Each element occurred as it should’ve for the story. It almost stone-walled the audience in parts. I felt like it made you stay with something longer than normal to foreshadow what would happen or to make you experience the pain that Clare felt.

	Overall, I was blown away by this film. It surprised me and is easily my favorite film of the year. I think there’s some minor flaws with it, but the rest of the film is so great that it makes it worth it. I will definitely check it out when it comes out on DVD.

	 

	Grade: A 

#### Berlin World Premiere of International Revenge Thriller, OUTRAGE, with Julie Gayet, Adelaide Kane and Jay O. Sanders
Actress Adelaide Kane
 
Clay Epstein’s Film Mode Entertainment and MadPark Films announce the new international revenge thriller, OUTRAGE, its Berlin and EFM world market premiere, and first-ever screening. The film stars Julie Gayet (THE PERFECT MOTHER), Adelaide Kane (THE PURGE), Jay O. Sanders (THE DAY AFTER TOMORROW), Clemens Schick(ANDOR), and Manuel Cauchi (13 HOURS). OUTRAGE is French-American filmmaker Mathieu Bonzon’s feature directorial debut, which he also produced. The film has just been completed. OUTRAGE will be screening on Friday, February 17, at 5pm Berlin time at the CinemaxX 12.
“We’re excited to be working with the talented Mathieu Bonzon on his feature directorial debut. This is a tight thriller with a fantastic twist, and we can’t wait for audiences to join in on the fun,” said Epstein.
OUTRAGE takes place in a secluded French château, where a group of international media and political personalities gather for a private dinner party. Beneath the glitz and glamor lie dark conspiracies between an extremist group and a burgeoning news media company. As Ivy, a level-headed reporter, begins to unravel the tangled web of secrets, the partygoers realize that they have stumbled into a deadly trap. At the center of it all sits an unassuming mother with a mysterious agenda and revenge on her mind. The partygoers must not only fight for the truth, but for their lives.
“I’m grateful to Clay and his team for championing my directorial debut and look forward to sharing OUTRAGE with audiences around the world,” said Bonzon.
OUTRAGE features a highly popular, award-winning international cast with hundreds of credits to their names and combined box office earnings that exceed the $1B mark.
Julie Gayet is an award-winning French actress with over one hundred film credits. She most recently appeared as the lead in Netflix’s international hit A PERFECT MOTHER. She was nominated for a Cesar Award for best supporting actress in Bertrand Tavernier’s THE FRENCH MINISTER and was previously awarded the prestigious Prix Romy Schneider for her role in Laurent Bouhnik’s SELECT HOTEL.
Adelaide Kane had been acting since she was 6 and got her first major role, in 2006, when she won the role of “Lolly Allen” on NEIGHBOURS. She entered a Dolly Magazine Competition and won the role in late 2006. She recently appeared in a critical guest arc in for THIS IS US and in a recurring role on CBS’ SEAL TEAM opposite Max Thieriot. She recently appeared as the lead in HULU’s UNCANNY ANNIE, part of their new Holiday Anthology Series. She can next be seen in the independent film COSMIC SIN opposite Bruce Willis. She had a recurring role on the ABC series ONCE UPON A TIME. Prior to that, she starred in the hit CW series REIGN as “Mary Queen of Scots”. She has also had a recurring role on MTV’s TEEN WOLF. On the film front, Adelaide co-starred in THE PURGE opposite Ethan Hawke and Lena Heady. Currently, Adelaide can be seen as a series regular on ABC’s GREY’s ANATOMY as Dr. Jules Millin.
Jay O. Sanders may be best known for his appearances in JFK, THE DAY AFTER TOMORROW, TUMBLEWEEDS, ANGELS IN THE OUTFIELD, and GLORY. Recently, he appeared in Alejandro Iñárritu’s latest film BARDO and Jesse Eisenberg’s WHEN YOU FINISH SAVING THE WORLD. Clemens Schick Clemens Schick is an acclaimed German actor with an extensive international career in both Film and Television. He most recently appeared in ANDOR for Disney+. Manuel Cauchireceived a nomination for the National Arts Council’s Artist of the Year Award – Malta’s highest creative honor. Known for his ability to play roles from a wide range of cultures, his credits include Joachim Roenning’s Academy Award and Golden Globe nominated KON TIKI, Michael Bay’s 13 HOURS, CBS mini-series THE DOVEKEEPERS and 11x Goya nominee AGORA.
The film is further bolstered by its international award-winning filmmaking team, including Mathieu Bonzon, whose impressive producing credits include Kurt Wimmer’s modern reimagining of CHILDREN OF THE CORN, Sony’ Spiderman Universe movie MORBIUS, and 20th Century Fox’s FORD V FERRARI.
OUTRAGE features an original score by Eric Neveux who has composed original music for 60 feature films, and numerous TV movies and series, including Cannes official selection WHO LOVE ME CAN TAKE THE TRAIN, the 2001 Berlin International Film Festival Golden Bear award-winner INTIMACY, and PERSECUTION which debuted at the 2009 Venice Film Festival. Recent highlights include scores for the TV Show SOLDIERS (OCS), Ziad Doueiri’s mini-series INHUMAN RESOURCES (Netflix) and forthcoming series BLACK HEARTS (Amazon). Other notable projects include 2015 Cannes Film Festival’s opening film STANDING TALL by Emmanuelle Bercot, THE ATTACK (2013), and THE INSULT (2017), by Ziad Doueiri which was nominated for Best Foreign Language Film at the 90th Academy Awards..
The score includes an original song by acclaimed French rap artist Médine.
DP Mathieu de Montgrand previously worked on Netflix’s BAFTA and Golden Globes nominated hit show LUPIN.
Editor Clemence Samson credit’s include Martin Scorsese-produced PORT AUTHORITY nominated at the Cannes Film Festival 2019
Executive Produced by British screenwriter Rory Haines whose credits include BLACK ADAM starring Dwayne Johnson, Pierce Brosnan, and Aldis Hodge, and BAFTA nominated and Golden Globe winning THE MAURITANIAN starring Jodie Foster, Tahar Rahim, Benedict Cumberbatch, and Sheilene Woodley.
Executive Producer Allen Jo is one of the top stunt coordinators in Hollywood. His credits include UNCHARTED, THE KING’S MAN, and THE AVENGERS. Allen received a SAG Award for Best Stunt Ensemble in a Motion Picture for WONDER WOMAN.
OUTRAGE also features powerful female leads at a time when films featuring and led by women are continually on the rise in popularity and receiving accolades across the board, evident in box office earnings as well as the upcoming 2023 Oscar contenders like BLONDE, WOMEN TALKING, TAR, EVERYTHING EVERYWHERE ALL AT ONCE, THE WOMAN KING, and TILL, in addition to numerous recent hits over the past few years like BOMBSHELL, CAPTAIN MARVEL, OCEAN’S EIGHT, I TONYA, and LITTLE WOMEN to name just a few.
“Filming Outrage was a fantastic ensemble experience, tucked away together in a beautiful French Chateau guided by the sure hand of Mathieu Bonzon,” said Sanders.
Film Mode Entertainment continues to bridge the gap between filmmakers and audiences and raises the genre-bar for feature films by nurturing high-quality, engaging commercially viable movies like OUTRAGE and bringing them to the global marketplace with great success.
OUTRAGE is produced by Mathieu Bonzon and Aurélien Bonzon under their MadPark Films banner. Executive producers are Sarah Mitchell, Rory Haines, Allen Jo and R.F.I. Porto who wrote the screenplay with Marlène Poste.
Gayet is repped by Laurent Grégoire at Agence Adequat.
Kane is repped by Jasmine Mausner, Alexander Yarosh, Melanie Elman at Gersh, David Rosario at ROAR and Steve Warren at Hansen, Jacobson, Teller, Hoberman, Newman, Warren, Richman, Rush, Kaller, Gellman, Meigs & Fox.
Sanders is repped by Brian Davidson at Innovative Artists.
Schick is repped by Subtitle Talent, and Agentur Lambsdorff.
Cauchi is repped by manager Stacey Castro and Peikoff Mahan.
Bonzon is repped by Daniel Passman at Gang, Tyre, Ramer, Brown & Passman.
Film Mode Entertainment is handling the world on OUTRAGE.
 

#### Bernhardt on Broadway
 

	Bernhardt on Broadway

	Margo Jones Theater, Magnolia Lounge, Fair Park, Dallas

	 

	John Strange

	 

	    Carol grew up with the acting bug, to the point that her mother called her a little Sarah Bernhardt.  Jump forward many years and Carol decides to write her own show.  Following research into Mme. Bernhardt, reading some of the books in the lady’s native French, Carol sat down and wrote a one woman musical.

	     Channeling Sarah Bernhardt to tell us of her life and adventures, Ms. Dunitz breaks into song to help tell the story.  The songs are original and at times a bit bawdy livened with the occasional dance step.  These stories tell of her hardships and friendships, her loves and her adventures.

	     Carol has been performing her show all over the country this summer with the hopes of moving the show to Broadway.  I liked this play.  I hope someone steps up and assists her to bring her show to the Great White Way.

	 

	Written and Composed by: Carol Dunitz

	 

	Starring: Carol Dunitz

	 

	Dallas Show Dates and Times: 

	    August 13th

	        Tues: 7:30 pm

	        Matinee:

	            Tues: 2:00pm

	 

	Ticket Price: $25.00

	 

	Run Time: 2 hours plus a 15 minute intermission

	 

	Appropriateness Rating: "PG-13. Some language and subject matter”

	 

	Website: http://www.bernhardtonbroadway.com/

	 

	 

	 

	 

	 

#### BERNIE
 
BERNIE
 
By Gary Murray
Starring Jack Black, Shirley MacLaine and Matthew McConaughey
 
Written by Skip Hollandsworth and Richard Linklater
Directed by Richard Linklater
 
Running time 104 min
 
MPAA Rating PG-13
 
Selig Film Rating FULL PRICE
 
I believe that Jack Black is a comic presence best used sparingly.  Much like Jon Lovitz, the funny actor is best when he’s used in a smaller role.  In films like High Infidelity and Saving Silverman, Jack seemed to wait for the proper moment and just nail an over the top jolly beat.  As he has become a leading performer, Jack has become too much of a good thing.  Envy, Orange County, Nacho Libre and Shallow Hal were comedies in a very loose sense of the word, not truly funny at all. 
 
The other thing about Jack Black is that he slowly has become a solid actor.  In King Kong and Tropic Thunder, he gave a reading that was much more an acting role and not so much his regular shtick.  In his latest effort Bernie, Jack Black takes the skills he has honed as an actor and the God given talents as a comic and delivers one of the best performances of his career.
 
The film is structured in a faux documentary style, where a group of town folks give the audience information directly to the camera.   Some of the biggest laughs come from this Greek Chorus of people and how they tell their little part of the tale. 
 
The story is of Bernie Tiede (Jack Black) who is a mortician’s assistant and new member to the Carthage, Texas community.  Everybody in town believes that Bernie is gay but they all just accept him because he is such a nice fellow.  He does everything he can for everyone in the town and the town appreciates his gentle ways.
 
The second part of this dramatic triangle is Marjorie Nugent (Shirley MacLaine) a widow many years the senior of Bernie.   She is a miserly old woman who is mean to everybody in the town.  Every person in Carthage has an opinion of Marjorie and it is not a flattering picture.  Bernie believes that Marjorie is a wonderful person underneath and reaches out to her.  The two become fast friends and maybe lovers.  Eventually, Marjorie begins to take over Bernie’s life, controlling every aspect of his life.  One day, Bernie snaps and puts four bullets in her back.
 
The last leg of the Bernie saga is Danny Buck Davidson (Matthew McConaughey).  He is the prosecutor who sees putting Bernie behind bars as a feather in the cap in his prosecution headdress.  As Danny goes around town, he begins to realize that everyone in the community loves Bernie so much that Danny cannot get a guilty verdict.  He pushes for a change of venue in order to make sure that Bernie is found guilty.  The film ends with the trial.       
 
This is the best performance Jack Black has ever done.  He is actually playing an individual, a fully thought out and dimensional persona.  There is none of the ‘Hey look, I’m Jack Black playing a wacky character’ but a person with depth and feeling.  He gets to show off his singing abilities without all the Tenacious D silliness.  He finds all the correct beats in playing both an effeminate male and an East Texas character.  While taking on this role, Jack Black never demeans the actual man.
 
Shirley MacLaine is still a national treasure but is overshadowed by Jack Black time and again.  Her Marjorie is one heck of a wicked woman but in the hands of MacLaine, she finds some humanity in the characterization.  There are moments of vulnerability combined with moments of cruelty that paint a complex portrait. 
 
The weakest link of the trio of actor is Matthew McConaughey as Danny Buck Davidson.  The performance feels more like a stunt than a role.  While he does have down all the mannerisms of being a Texan down to a perfection, the role still feels like a vanity project and not a fully thought out acting job. 
 
The film is written by Skip Hollandsworth, the reporter behind the Texas Monthly article.  He knows the material and crafts an unusual screenplay, full of colorful Texas people who seem to populate rural areas.  He captures both the timbre and resonance of being a Texan while never demeaning the people in the film.  It is a very sympatric offering.
 
Richard Linklater, the man behind Dazed and Confused, Before Sunrise, School of Rock and Me and Orson Welles, directs the film.  He crafts a wonderful tale that could only happen in Texas.  He tells the story in almost documentary fashion while still crafting a compelling drama.  We know the outcome of the story but still follow the path the characters take. 
 
Bernie is a great little dark comedy that goes for so macabre elements on more than one occasion.  The best part of the film is that it is true because a story like this one would be hard to make up.  If someone is looking for a different little comedic film, this is of the best of the year.
 
   

#### Best Wishes From Millwood – Interviews
Best Wishes of Millwood was Austin Film Festival's 2015 audience award winning short film.  The producers and lead actresses sat down with us to discuss the World Premiere of the short film, the inspiration behind Writer/Director Max Baker's story, musical comedy routines, naughty fun stories and really good magical cookies!  Click through for my chat with Stars Emily Tarver & Nadia Quinn and Producers Sam Schectman & Jason Kaminsky.

	

	

	 

	 

	 

	 

	 

	Best Wishes of Millwood Interviews with Stars Emily Tarver & Nadia Quinn

	Interview with Producers Sam Schectman and Jason Kaminksy

	

	 

#### BETTER MAN – A Review by Cynthia Flores
Jonno Davies as “Robbie Williams” in Better Man from Paramount Pictures.
BETTER MAN – A Review by Cynthia Flores
At first, I wasn’t sure that using a computer-animated anthropomorphic chimpanzee for the lead in the Robbie Robinson biopic would work. It’s voiced by both Robbie Williams and Jonno Davies. Everyone else in the film looks human. This really should have come across as a cheap gimmick. Still, surprisingly, it actually works, and now I’m hard-pressed to imagine the movie any other way.
Better Man is amazingly inventive, and beautifully shot by the team of Matt Toll, Erik Wilson, and Ashley Wallen who did double duty as the choreographer of the film. With a team like that it’s no wonder the film looks and sounds fantastic. All this was brought together with some magical storytelling from Director and co-writer Michael Gracey. Michael started his career working and winning every award for his innovative style in music videos and viral commercials. In 2017, he debuted as a feature film director with the blockbuster musical The Greatest Showman. Better Man is his sophomore feature film and lets the world know that the success of his debut film was not a fluke. With this film, Micheal Gracey has cemented what should be a long career making movie magic for us to enjoy.
Better Man tells the story of British pop star Robbie Robinson. We see him as a child who got his love of singing and performing from his dad (Steve Pemberton). Robbie’s friendship with his grandmother Betty (Alison Steadman) and his loving relationship with his long-suffering Mum (Kate Mulvany) is sweet and tender. They tried to teach him to love himself, but he struggled with crippling self-doubt and was on a self-destructive path. He was shot to mega fame at the tender age of fifteen when he was picked to be part of a boy band called Take That from 1990 to 1995. After much fame and debauchery, Robbie was forced to pursue a solo career in 1996. And as they say, the rest is pop history. 
This film mixes Robbie’s iconic hit classics with new music destined to be on the radio constantly this year, songs such as Forbidden Road. Weaving song and dance scenes that seem natural and not forced into the storyline, allows this film to take the audience behind the shiny curtain of fame. It exposes the pain that Robbie Williams worked through to become the genius songwriter and musician he is today.
At the beginning of the film, we see a young Robbie as a kid singing joyfully along with his father as Frank Sinatra performs on television. That’s when his dad tells his son you either have “It” or you don’t, and you’re a nobody. After seeing this film, I can honestly say this stunning biopic about the very talented Robbie Williams has “it” in spades. Better Man will thrill both fans of his music and those introduced to him through this film.
I give Better Man 5-stars. It’s definitely worth seeing on the big screen in a theater. Don’t be surprised if the audience applauds at the movie’s end.
 
Directed by: Michael Gracey
Written by: Simon Gleeson, Oliver Cole, Michael Gracey
Rated: R
Running Time: 2 hrs 14 min
Biography / Musical/ Fantasy
Release: In theaters only on January 10th.
Starring: Robbie Williams, Jonno Davies, Raechelle Banno, Steve Pemberton, Kate Mulvany, Alison Steadman, Damon Herriman
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### BETTER MAN – A Review by Jenn Rohm
Jonno Davies as “Robbie Williams” in Better Man from Paramount Pictures.
BETTER MAN – A Review by Jenn Rohm
Biopics of musicians have achieved lots of press on the love ‘em or hate ‘em scale, with little to no middle spoken of.  Personally, my biggest hang-up is actors attempting to be someone known to the audience.  If the look is a little off, the mannerisms are too robotic, or the voice is pitchy I lose the story and start focusing on what doesn’t work for me.  Michael Gracey and Robbie Williams pushed until they got a green light to use CGI in the telling of Willams story in Better Man.  This kept me focused on the story and added multiple levels of things I liked about the film.
In the movie, Williams provides his own voice with his ‘role’ being portrayed by Asmara Feik, Carter J. Murphy, Jonno Davies, and himself with the aforementioned CGI creating the look of a monkey.  This is a result of his referencing himself as a “cheeky monkey, performing monkey, and unevolved man” in interviews he had with Gracey for over a year.  The image is used as a representation of how Williams sees himself and this added a layer of vulnerability not often provided in films when the person is still alive.  There are several similarities in the stories of celebrities of the 70’s to current and the sex, drugs, and rock n roll life.  The facts are the facts and these details will repeat as long as they are true.  One theory presented in this movie is that fame stunts growth, basically, the celebrities’ maturity is frozen in time at the age they became famous.  In this specific case around the age of 15, the world opened wide with anything and everything becoming available.  Williams takes ownership for what he has done and who he is, he doesn’t blame it on his home life, or other influences, they aren’t sugarcoating it nor are they cramming it down the viewer’s throat.
For those who fell in love with the stunning visuals in Greatest Showman and the storytelling in Rocket Man, you will not be disappointed.  This is a current musical with all the bells, whistles, and double-decker buses.  For those familiar with Willams music you will be pleased with the versions used in the film and the musical numbers created along with the re-creation of prior events.  The vignettes created with the lyrics add to the music and understanding of “the price paid” for the songs being created.
I am looking forward to going again and seeing this on a big screen, and later owning it for my home collection.
 
Director: Michael Gracey           
Cast: Robbie Williams, Jonno Davies, Steve Pemberton
MPAA Rating: Rated R for drug use, pervasive language, sexual content, nudity, and some violent content.
Selig Rating: 4 stars
Runtime: 2h 14m
Release Date: January 09, 2025
Genre(s): Biography, Fantasy, Musical
Movie Site: Better Man website
Trailer: Better Man official trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### BETTER NATE THAN EVER – A Review by Cynthia Flores
BETTER NATE THAN EVER – A Review by Cynthia Flores
This coming-of-age movie is based on the award-winning book by the same name written by Tim Federle. He is the man that created the hugely popular High School Musical: The Series on TV. The book, he has stated, was semi-autobiographical about how he learned that he didn’t need to change to fit in. Instead, he simply needed to change his zip code. This is Federle’s feature film directorial debut, and he has packed a lot of fun and music into it. 
In this upbeat and funny film Better Nate Than Ever, we meet thirteen-year-old Nate Foster (newcomer Rueby Wood). He has big dreams of making a life on the stages of Broadway. He has talent and a great voice, but he gets no respect at his local high school in a small Pittsburg town. He can’t even land a real part in the school play. Commiserating with his BFF Libby (Aria Brooks), she tells him of an open audition for a musical on Broadway. Nate’s dad Rex (Norbert Leo Butz), and mother, Sherrie (Michelle Federer), are away for the weekend Which gives him a perfect chance to make a break for it and go to the tryouts. Libby and Nate plan to take the bus into NYC, do the audition, and be back before anyone is wiser. What could possibly go wrong? You will have to watch the film to find out. Luckily for Nate, he has an actress Aunt named Heidi (Lisa Kudrow). She has been estranged from the family for a few years but comes to the rescue and helps him navigate tryouts and the big city. 
Better Nate Than Ever is a fun film with vital lessons to share about bullying, being different, and staying true to your dreams. For some reason, the fact that Nate is gay is only hinted at and never made a huge sticking point. Even when his best friend Libby declares her undying devotion to him. There is a deliberate avoidance of the topic spoken about in the film with a wink, wink, and silly throwaway jokes. At first, I was unsure why the director chose to play it off this way, but it works. Instead of being an outcast at school for being gay, Nate is an outcast because of his passion for the art of musical theater. So just like some kids will nerd out about dinosaurs or science, Nate is a total theater nerd. He just wants the chance to prove he’s got what it takes to make it big. 
I give Better Nate Than Ever 4-stars. It’s more than just a kids’ film; it’s a film for anyone that loves musicals and Broadway shows. 
 
Directed by: Tim Federle
Written by: Tim Federle
Rated: PG
Selig Rating: 4 Stars
Running Time: 91min
Comedy / Musical
Exclusive Release: Original Movie only on DIsney+ April 1st 
Starring: Lisa Kudrow, Joshua Bassett, Rueby Wood, Aria Brooks
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### Between Heaven and Hell–The Press Tour
BETWEEN HEAVEN AND HELL
By Gary Murray 
The path to make an independent motion picture is serpentine at best. While there are grand plans that take place between the driven individuals who want to communicate cinematic truths to the masses, it takes different miracles to make the dream a reality.
Take the case of the new DVD release Between Heaven and Hell. The film was written years ago by Marvin Faulkner a double board certified physician as a way to deal with the emotions behind losing his wife. Once it was finished, it went on a dusty shelf. 
Years later Marvin was waiting for his daughter to get off from work. His daughter was helping a customer who was a photographer. The photographer, Jason Ward, asked her if she would be interested in posing for him. Jeff is the owner of Storm The Beach, a creative work-shop. The reluctant dad wanted to tag along just to make sure everything was legitimate for his daughter’s sake. 
At the shoot, the two men began to talking, finding out that they had much in common from similar backgrounds to similar views. Jason mentioned that even though he was a photographer, he wanted to direct motion pictures and the only thing stopping him was the equipment. Marvin bought a camera and Jason offered to shoot a music video for Marvin’s daughter. 
Later, Marvin mentioned that he had a script. After Jason read the work, he knew he wanted to make the film. The two began to work together to make it a reality. Two years of weekend shooting later they had Between Heaven to Hell in the can, a first-time feature from a first-time director. 
Then came the part of crafting fifty hours of footage and putting it into a narrative whole. Marvin and Jason kept trying but were becoming overwhelmed by the process. They were about to give up on the entire project when fate made another serpentine path toward them. 
Marvin was getting quotes on insurance from a new agent. During their talk, Marvin mentioned the problems he was having with editing the film. The agent, Johnn Hudson, used to teach the Apple editing software the team was using. Soon, they had their editor for Between Heaven and Hell.
Now a scant two years later and a few hundred thousand spent, they have their film which has had a few special preview showings and makes its debut on DVD this November. 
The film is of Mike Taylor played by Marvin. He’s a former Golden Gloves fighter who is having his faith tested He goes to a seedy bar and gets drunk while making the acquaintance of two ladies of questionable reputation. After a night of hard drinking, Mike passes out behind a dumpster. In his alcoholic haze, he thinks he sees a man kill one of the ladies. The next morning, he finds the necklace that belonged to the woman beside the dumpster. 
Mike takes the evidence to the local police detective. Unknown to Mike, the detective McGill (Jeff Wallin) is the murderer. In trying to help his brother, McGill accidently killed the woman. Though there are some deeper reasons he is involved with protecting the family. 
As the film twists and turns in a film noir gritty realism, it also finds a moral Job-like center. It is a religious film without being a ‘G’ rated family flick. It is very real, with coarse language and adult themes. Jason refers to the film as a conservative film with F-bombs. The element of murder, redemption, lust and forgiveness blend together in a tale not easily forgotten. 
When talking to the filmmakers, one can feel the abject pride on delivering this film. Marvin called the process “entertaining this insanity.” He added, “Two years later, we had accomplished the impossible. We had shot a full-feature film.”
“The screenplay had been shelved and it was not perfect,” said Marvin. “I started off writing a novel and I never thought a movie would be made from it.” He admits that it was 75% sound and 25% in need of help. “It needed to have a few loose ends tied-up.” 
Johnn added, “As we went further and further along, the story started to line up. As an editor you think what parts are the meat and what are the fat.” 
The filmmakers never had a set budget and paid for the film as they shot it. Jason said, “We went through it with a completely novice approach, the backwards wrong approach.” 
But because they were a little independent film, the locals would get free-reign to locations which included a police station. “Half the time we would have three weeks getting ready for a scene in getting the props figured out. It is amazing how it all just came together.” 
“Every single time we came up against a hurtle, something we could not overcome, the solution would land in our laps like a gift from God.” Johnn said, “We all have a degree of pride about how we were able to pull it off without putting a mortgage on the house.” 
They wanted it to be real, the way real people talk, which included very adult language. The tone of the scene remains the same and as Marvin said, “The moments of heaven seem to be shorter than the moments of hell. We have more hell in this movie than heaven.” 
Economic considerations were the main reason for making Marvin the lead. “This story was testified as ‘based on a true story’ and we did feel that there was enough in there to be inspired by true events. I lived it. It came down to a matter of realistic opportunities.” 
“We didn’t know how far we were going to take the project,” said Jason, “we were stubborn and we were going to get this thing done. We really never even questioned who was going to play Mike Taylor. We have to rise to the occasion and make sure that this film gets done or it is all for nothing.” Marvin summed up the crew of Between Heaven and Hell by saying, “Without everyone who is here we would not have accomplished this.”
Jason, an accomplished musician, scored the film but it also incorporated the music of Johnny Cash, Bruce Springsteen, Kris Kristopherson and Leonard Cohen. It was a major challenge to get the rights to the songs. They are very proud of convincing the artists to grant them rights to the soundtrack that they wanted for Between Heaven and Hell.
The other challenge of the film was the dramatic climax. According to Johnn, “The stand-off at the end of the film is dialogue heavy. You gotta keep the audience’s attention and you gotta keep the tension. I think the final scene is a movie on it’s own. So many things are being said behind the dialogue and the actors just sell the underlying current. It is a very heavy scene and it still keeps my attention to this day.”
Jason added, “We were most intimidated by that scene so we saved it for the end. As filmmakers we would almost arrange our shoot on our experience level. We spent extra time on music and camera work. We wanted it to feel like a little ‘big’ film We set our mark as filmmakers where we can bring in all these elements and make this seem like a bigger budget film than it is.”
Marvin chimed in by stating, “As the movie grew into what it is, each scene got better.” Marvin said that the reason for the betterment was the quality of the professional actors used in the scenes. “As they stepped up their game, we stepped up our game.” Jason said that making the film was a crash course of film school. Johnn finished by saying, “We made the audience wait 90 minutes to get here and lets give them something.”
They showed the film first at the Studio Movie Grill in Arlington just to see if they had done the movie right. “There were three hundred people there and I was in shock,” said Marvin. When it was over he realized that they had done something.
At the moment, the creators of Between Heaven and Hell are working on their various day jobs. They have four separate scripts in development in different genres. They are now waiting for the DVD public to vote for their film with their dollars. Between Heaven and Hell is available in just about every way one can get the film on the Internet. These gentlemen know that just getting to this point is a major accomplishment.

#### BETWEEN THE TEMPLES – A Review by John Strange
BETWEEN THE TEMPLES – A Review by John Strange
I have reviewed many Jewish films over the years.  When I received the request for Between the Temples, I immediately decided that I wanted to see this one.
Why?  Because this one is not a “happy, great to be Jewish”-type of film.  It has a LOT of realistic touches blended in.
Between the Temples tells the tale of Ben Gottlieb (Jason Schwartzman), a Jewish Cantor who can no longer sing.  His life is a mess, losing his wife, moving in with his mother and her wife, and that, you know, singing thing.
As if life isn’t going bad enough, into his life rolls his old music teacher, Carla Kessler (Carol Kane).  She decides she wants to experience her Bat Mitzvah.  Most Jewish girls have their Bat Mitzvahs at 13 years old.  Carla didn’t. 
This film follows the two as Ben prepares Carla for the ceremony.  And as he experiences that most dreaded of all situations, motherly attempts to set him up with a “good girl”.
This is a gritty comedy that is interesting for its view of a different way of life.  The editing has left the story’s flow choppy which is annoying, but the twists and turns keep you from guessing how the film ends.
I liked this film as much because it made me think, as for the humor.  Not everyone will get or understand some of the humor of this film.  Regardless of all this, the ending caught me completely by surprise!  Good stuff!
 
Director: Nathan Silver
Cast: Jason Schwartzman, Carol Kane, Dolly De Leon, Caroline Aaron, Robert Smigel, Madeline Weinstein
MPAA Rating: R (for language and some sexual references.)
Selig Rating: 4 Stars
Runtime: 111 Min.
Release Date: 08/23/2024
Wide Theatrical Release
Language: English
Genre: Comedy
Movie Site: BETWEEN THE TEMPLES Website
Trailer: BETWEEN THE TEMPLES Official Trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### BEYOND HUMAN NATURE – Interview with Filmmaker Michael Neelsen
Filmmaker Michael Neelsen talked with our Gadi Elkon about the gripping documentary, BEYOND HUMAN NATURE.

When a man is murdered by drowning in a paper pulp vat, a small mill town clamors for justice and his brother comes face to face with the slippery nature of objective truth. 
Michael Neelsen’s documentary ‘Beyond Human Nature’ chronicles the grisly Tom Monfils homicide investigation of 1992 through the eyes of the people who lived it.
Michael and Gadi started out their conversation with their shared connection of Producer Kelly Williams.  Michael would discuss the 9 years of making this film, his great team and the fact that all sides were told in this documentary.
Interview with Filmmaker Michael Neelsen:

For more info on the film, BEYOND HUMAN NATURE.

 

#### BFF 2022 Interviews – THE BOND – Writer/Director Jahmil Eady
The 8th annual Bentonville Film Festival just finished and here is our interview with one of the award-winning filmmakers.  An honorable mention award was given out to Filmmaker Jahmil Eady for her powerful short film, THE BOND.  Here is our chat with Jahmil.

Fighting for her last connection in a system designed to isolate her, pregnant Aria applies to an in-prison nursery program. She is determined to keep her baby close, stay sober, and turn her life around but when faced with a drug-dealing cellmate and a dehumanizing environment, Aria finds her dreams for the future are in constant peril.

Writer/Director Jahmil Eady and I talked about Bentonville, her films, UCLA, and much more!

Interview with Filmmaker Jahmil Eady

For more information about, JAHMIL EADY.

#### BFFOUNDATION ANNOUNCES DATES FOR THE GEENA DAVIS LED 2023 BENTONVILLE FILM FESTIVAL, JUNE 13-25 AND EXPANDS TO INCLUDE AN ANIMATION CATEGORY
 

 
The festival takes place June 13 – 18, 2023 in-person with on-demand streaming through June 25 – including selections from competition titles (Narrative, Documentary, Animation, Shorts, Episodic, Adventure) alongside exciting work across all festival sections; featuring panels that challenge industry norms, and conversations that emphasize independent artists in the art of film, storytelling and technology; and curated studio spotlight films with celebrity conversations.
“We can’t wait for our 2023 festival and are so proud to be nearly a decade into formally championing underrepresented visionaries. BFF is designed to support storytellers from across the globe with opportunities to showcase their unique stories. We are thrilled to be the gathering place for these diverse artists sharing bold work while providing a global platform to give wider access to these artists and their stories,” said Geena Davis, Bentonville Film Festival Chair.
“We’re delighted to bring ground-breaking projects to the Heartland where we have been an annual convening place for independent film, artists, and audiences for the last eight years. With the culturally rich community, accessibility to outdoor adventure, and focus on innovative technology, we are excited about the added short film categories in Animation and Adventure at the 2023 festival. By expanding our program in these areas, it will further our mission in championing women; people of color; LGBTQIA+ individuals; people with disabilities; older persons (50+); and large-bodied individuals in two new categories for 2023,” said Wendy Guerrero, President of Bentonville Film Festival.
“Kickstart Entertainment has supported and produced the Bentonville Film Festival since its inception in 2015. We have a robust animation business with studio’s in multiple countries so we jumped at the opportunity to help create and support a new short category to introduce diverse artists, content creators and audiences into the BFF community. We are honored to provide 20,000 in cash prizes plus studio support for this category,” Jason Netter, Founder Ceo of Kickstart and Producer of BFF.
In 2022, the Bentonville Film Festival built a program with the following statistics: more than 82% of the competition program was from content creators who identify as female or gender non-conforming; 65% who identify as black, indigenous, a person of color, Asian, or Pacific Islander; 62% who identify as LGBTQIA+; 42% who are over 50; and 20% who identify as a person with differing abilities.
Program Submissions will open October 3, 2022 on FilmFreeway for Feature films; and open for Shorts & Episodic categories on November 14, 2022. Details on submissions, including frequently asked questions, are available here.
Members of the professional community accredited through the Press and Industry offices will have access to the 2023 program in person and online through on-demand viewing windows.
Information on ticket packages and venues will be announced in November.

#### BFI LONDON FILM FESTIVAL ANNOUNCES NEW FORMAT FOR 2020 EDITION
 
The BFI London Film Festival in partnership with American Express today reveals its plans for the upcoming edition of the Festival from 7th-18th October 2020. In the most accessible version of the festival to UK audiences yet, film lovers will be given an opportunity to connect for a unique and innovative festival experience, enjoying both live and digital screenings across the 12 days of the Festival.
Adapting to the extraordinary challenges of the year, the Festival will deliver up to 50 Virtual Festival Premieres in a programme that offers audiences the opportunity to see the best new cinema from around the world and with that same texture LFF’s audiences love, including fiction, documentary, animation, artists’ moving image, and restored classics from the world’s archives.  Every film will be presented with an intro or Q&A, and the programme will also include a range of free-to-access additional works and events to include: an international short film programme, Screen Talks with major filmmakers and actors, salons and roundtables and a brand new Virtual Exhibition of XR and Immersive Art.
Industry and Media delegates will have access to a rich professional programme, also delivered digitally.
In another new innovation, twelve highly anticipated new films from the programme will screen in previews across the UK, in partnership with UK-wide cinemas networks that deliver great independent and cultural films for audiences all year long, including London’s BFI Southbank.
BFI London Film Festival Director, Tricia Tuttle said: “Like many other live events around the world, we’ve had to make changes to our plans in response to a global pandemic, factoring in safety concerns and restrictions – some known, some still unclear. But as we’ve undergone this planning we’ve also witnessed historical international protests, an urgent reminder of just how much we need to do to combat racism and inequality.
This year has also given us an opportunity to think creatively about how we make the Festival more accessible. It was vital to us that we get back to cinemas, and are looking forward to working with independent and cultural venues across the UK who are such an essential part of our film ecosystem. The Virtual LFF programmes and these cinema screenings take the Festival out across the UK, giving people opportunities to engage in different ways.
It’s a pleasure each year to speak with audiences who share the ways filmmakers have made them laugh, think, weep, or shifted their way of seeing. Through a number of partnerships and platforms, we can’t wait to share many of this year’s extraordinary new films – from around the world, from artists of different backgrounds and with many bold distinctive filmmaking voices.”
At the heart of the 2020 edition, Virtual LFF features 50 screenings online, with each film scheduled to premiere at a particular time and include additional elements such as exclusive Q&A’s with filmmaking talent and programmers, online salons and discussions around films. Many of the films will include subtitles and Audio Description for audiences with access requirements.
The feature film programme will be complemented by a wide range of digital talks and events which will be free to access, including LFF Screen Talks, which offer in-depth conversations with some of the world’s most influential filmmakers and major on-screen talent. Short films from around the world will also be free to view and the Festival’s previously announced XR and Immersive Art strand will also debut this year, with works that can be experienced in a variety of ways online, with and without headsets.
Through LFF in Cinemas, the 2020 edition of the BFI London Film Festival will also work with UK exhibitors to offer a great range of new programming as they welcome audiences safely back. Anticipating many cinemas will be open during the Festival window, the LFF will partner with exhibitors in the BFI Film Audience Network and other key cinemas and venues around the UK to offer audiences up to 12 exclusive previews from the Festival. These films will also preview at the Festival’s flagship venue BFI Southbank and select other London cinemas over the Festival period.
As a one-off for this edition, we’ll ask our audiences to take the place of the Festival’s official jury. Viewers attending Virtual LFF will be invited to vote on Audience Awards in four categories: Best Fiction Feature, Best Documentary Feature, Best Short Film, and Best XR.  The winners will be announced in a live online ceremony on the final weekend of the Festival. Now in its fifth year, The IWC Schaffhausen Filmmaker Bursary Award in association with the BFI returns, benefitting an outstanding first or second time British writer, director, or writer/director. The recipient of the award will receive £50,000, which is the most significant of its kind in the UK film industry and awarded annually.
The 2020 Edition of the LFF will retain its distinctive strands which offer audiences many ways of exploring the programme: Love, Debate, Laugh, Dare, Thrill, Cult, Journey, Create, Family, Treasures and Experimenta. The new XR and immersive Strand will also be delivered online and will be free to access, with audiences able to explore a virtual gallery, experience different XR projects and join in bespoke talks and events.
The LFF Press & Industry Programme will also move online – UK and International delegates will have access to preview screenings via a secure viewing library, opportunity to attend online buyers and sellers’ meetings and enjoy a delegate exclusive programme of talks and events. The Critics Mentorship Programme – designed to encourage a more representative range of critical voices, and new talent programmes run in conjunction with BFI Network, BFI Film Academy and BAFTA will also return this year, providing access and support for aspiring and emerging creatives and new industry professionals.
The full programme will be announced at an online launch on 8th September 2020.

#### BHAVISHYACHI ASHI TASHI poster launch at the Goa Marathi Film Festival
Ladies and Gentlemen we are swollen with pride in attendance of the Producer which speaks tons about a film industry that is slowly and steadily making a mark for itself in the global spectrum. Seeking your support and blessing to reach a wider audience and take Marathi cinema to greater levels of success.  Ramesh Talware's 'Bhavishyachi Ashi Tashi' is a candid attempt to expand the horizon for Marathi film-makers and take, confined cinema, to the realm of positive reception. 

	Filming of a Marathi drama with unusual subject involving occult with its believers and un-believers on which it has been found wanting. Mrs. Chandra Ramesh Talware has written the script, who has been a journalist and has covered many interesting journeys while in her profession. A Film being centered around three females, the protagonists. To give an international feel keeping the values intact; the producer has also started taking interest in the look of the film and is making it contemporary.  

	The film poster was launched at Goa Marathi Film Festival on 28th June 2013 in presence of many celebrities from the Marathi Fraternity .

	 

	About Ramesh Talware Movies:

	From planning to its execution, it's completely a student like effort, Mr. Ramesh Talware, the founder of Ramesh Talware Movies, has been working in the real estate industry for more than three decades. He overcame a disadvantaged background to build an influential business in Nashik, 171 km from Mumbai, located in the state of Maharashtra. Talware has also established Helping Hands, an NGO that organizes charitable events to assist the under-privileged and to encourage social responsibility within India's business class and rising middle class…

	Mr. Talware and his wife Chandra Talware, the creative force behind the film company, will also be on hand to celebrate 100 years of Indian cinema during the film festival. Mr. Ramesh Talware Movies, based in Nashik Maharashtra India, aims to focus on producing organic and entertaining family films.

	 

#### BIG EYES
BIG EYES

	By Gary Murray

	Starring Amy Adams, Christopher Waltz and Krysten Ritter

	Written by Scott Alexander and Larry Karaszeski

	Directed by Tim Burton

	Running time105 min

	MPAA Rating PG-13

	Selig Film Rating FULL PRICE

	 

	Tim Burton has been behind some of the strangest films of the last few decades.  He was a part of Edward Scissor-hands, Ed Wood, The Nightmare Before Christmas and Frankenweenie.  There is this macabre element in all his films.    In his latest work, Big Eyes, there are no strange or supernatural elements.  It is basic, straight-forward cinema with no Johnny Depp.

	The story takes place in the middle of the last century.  Margaret (Amy Adams) is a young mother with an abusive husband.  She finally gets enough courage to leave him and head for San Francisco with her daughter.  She is a painter who hopes to find acceptance of her work.  She paints portraits where all the characters have exaggerated eyes. 

	Almost instantly, she meets Walter Keane (Christoph Waltz).  He is a landscape artist who studied in Paris.  She is smitten by him and his work and soon they become a couple and get married.  We see that Walter has a wicked tongue and a smooth demeanor.  He uses his charms to sell his works, which are not very good.

	Local art patron and dealer Ruben (Jason Schwrtzman) believes that the paintings are just the worst of popular drivel and have no artistic merit.   Most of the art world takes this track with the works of the Keane paintings.

	Eventually Walter convinces the owner of a jazz club to display the works of Keane.  He sets up his street scenes and some of Margaret’s child paintings.  The people seem more interested in the giant-eyed portrait paintings than the Paris buildings. Walter states that he is the Keane who painted the portraits.  He lies to make a sale.

	The rest of the film is about the building and eventual destruction of the Keane empire.  Almost instantly, Walter Keane becomes the darling of the San Francisco art world.  Much of this is done by his charms and not the strength of the work.  All of the other artists hate his work, but they hate his success ever more.  Single-handedly, Walter invents the idea of artistic reprints and turns the works into a million dollar industry with a massive studio.

	All this time, Margaret slaves away at creating the paintings and keeping the deceit going.  Not even her best friend DeeAnn (Krysten Ritter) knows the truth behind the success.  Margaret doesn’t want much, just recognition that she is the artist behind the work.  The film works along the line of a farce and builds to a trial.  The last act is where the film takes off.  Christoph Waltz as a crazed man defending his lie is a brilliant ending to a fascinating tale of art and deception.

	There are two reasons to see this film.  That is the performances of the two leads.  Christoph Waltz and Amy Adams are both brilliant in their roles and work perfectly together.  Tim Burton finds the ideal dynamic between the characters and lets his two talents do what they do best.  Waltz is especially brilliant with his role as a con man that gets in way over his head. 

	There are many people who have given up on Tim Burton.  To be honest, when he fails he fails epically.  Dark Shadows, Planet of the Apes and Charlie and the Chocolate Factory were all massive failures but they all had something interesting going on in some element.  This film is more for those who have an idea of what to expect from Burton and think they have seen all his tricks.  He crafts a film about people and not about elements, emotions and not extravagances. 

	To be honest, no one really truly knows what art is, they just know what they like.  It is the most subjective experience.  Some hate these painting while others love them.  If one thinks that the Keane paintings have an Anime feel to them, you’d be right.  The Japanese animation style is homage to those works. 

	In the end, Big Eyes is about the difficulties of building a marriage on anything other than trust.  It is of on Tim Burton’s more human films and a highlight of his career. 

#### BIG HERO 6
BIG HERO 6

	By Gary Murray

	Starring the voices of Ryan Potter, Scott Adsit and Damon Wayans Jr.

	Written by Robert L. Baird, Daniel Gerson and Jordan Roberts

	Directed by Don Hall and Chris Williams

	Running time 108 min

	MPAA Rating PG

	Selig Film Rating FULL PRICE

	 

	Disney has been trying to break into the fan-boy realm for years but with little success.  With films like Treasure Planet and Atlantis, they have been attempting to capture that anime look while still keeping with the Disney family spirit.  At best, they have been a moderate success.  Big Hero 6 should change that.

	The story takes place in a future place called San Fransokyo a metro-plex melding of San Francisco and Tokyo.  Two young orphaned boys Hiro (Ryan Potter) and Tadashi (Daniel Henney) live with their aunt.  Tadashi goes to the local technical university but Hiro is the true progeny. 

	When we first see Hiro, he is doing an illegal underground robot battle.  His little robot turns into a stunning destructive machine, showing that bigger does not mean better.  It is obvious that the kid knows more about robots than most adults will ever know.  His older brother has been working on a giant soft balloon of a medical robot called Baymax (Scott Adsit).  The robot’s job is to make patients feel better.

	Very soon, Hiro is a part of the Nerd Lab and soon after that he is creating mircobots.  They are small computer robotic components that work together as a larger complex system.  On the night of his unveiling of the mircobots, a tragedy happens and Tadashi is killed. 

	We forward a few months and Hiro still is not over the tragedy   He activates Baymax and the robot begins to comfort the young boy with big soft hugs.  Eventually a friendship begins between the two and Hiro finds that his microbots are not destroyed.  He and Baymax follow the clues that lead them to a Kabuki masked villain who is using the microbots as his minions.  Since they can be formed into anything, it is a formidable enemy.

	Hiro goes to the nerd lab and recruits the other university students to form a team to defeat the menace.  They include Go Go (Jarnie Chung), Wasabi (Damon Wayans Jr.), Honey Lemon (Genesis Rodriquez) and fan favorite slacker Fred (T. I. Miller).  The five young people and robot eventually form a fighting force called Big Hero 6.  Yes, this is an origins story along the lines of a comic book. 

	The film is of how they must battle the villain and the origin of said villain.  It twists and turns to a dramatic ending battle that thrills both the kids and adults.  It is an adventure ending that rivals The Avengers or The Incredibles in the category of cinematic action-adventure.  It is a joy to watch.

	  Big Hero 6 is a fun film that the entire family can enjoy. There is such a gentle humor with Baymax, much more character driven than the set-up punch formula.  The characters and their reactions to each other build the charm of the screenplay.  It is not ‘joke-y’ but situational comical.   

	The film just jumps off the screen with colors and palates that are seldom seen in an animated film.  The eye for detail gives even the slightest backgrounds a feeling of place.  The city comes alive under the sure direction of Don Hall and Chris Williams.  They have achieved what others have failed to do, melding animations styles of East and West.

	Also, this is a very pro-science film.  The heroes are not some mutants who are granted super power through some fluke but through their scientific skills.  It is refreshing to see the smart kids becoming heroes because they are smart.

	Big Hero 6 is a brilliant film that combines the best of Disney with the best of anime.  It is definitely going to be another huge series for The Mouse, a billion dollar franchise of games and toys.  But that doesn’t mean that the film is just marketing.  In the end, the actual film is a pleasure to experience.     

	There are two films that are in the race for best animated film of 2014.  One is How to Train Your Dragon 2 and Big Hero 6 is the other one.  It should be a top of the heap by the end of the year ballots are tallied. 

#### BIG HERO 6 – A Review by John Strange
 

	BIG HERO 6

	 

	By: John ’Doc’ Strange

	 

	Directed by: Don Hall, Chris Williams

	 

	Cast: Ryan Potter, James Cromwell, Damon Wayans Jr., Maya Rudolph, Scott Adsit, Daniel Henney

	 

	MPAA Rating: PG (for action and peril, some rude humor, and thematic elements)

	 

	Selig Rating: FULL PRICE

	 

	Runtime: 96 Min.

	 

	 

	Hiro (voiced by Ryan Potter) is a genius.  He graduated from high school at the age of 13.  He spends his time working underground robot battles.  I love Hiro’s battle bot.  When it throws the first fight it has a smiley face.  When he pulls out a huge roll of cash, his opponent agrees to a rematch.  Suddenly the smile face rotates and we see the angry face!  In short order, Hiro’s bot kicks the other bot’s backside!

	 

	Hiro grabs his winnings and his bot a step ahead of the heavies who want his head, his bot, and the cash.  Cornered in a back alley, big brother Tadashi (Daniel Henney), a student as San Fransokyo Tech, comes to the rescue on a scooter.  As they evade the goons, Tadashi chides Hiro about building robots for fighting when he could be going to college. 

	 

	Hiro wants nothing to do with school.  That is until Tadashi takes Hiro by his lab at the university and lets the young genius meet his fellow students.  Each has an amazing project that blows Hiro’s mind.  Then Hiro meets Baymax, Tadashi’s latest project, a robot designed to be a total healthcare provider.  Baymax (voiced by Scott Adsit) can scan you and provide healthcare on the spot.

	 

	Hiro, already pretty interested, is totally hooked when he meets Tadashi’s professor, Robert Callaghan (James Cromwell).  Hiro decides he wants to join this class of amazing techno-nerds which includes Fred (T.J. Miller), Go Go (Jamie Chung), Wasabi (Damon Wayans Jr.), and Honey Lemon (Genesis Rodriguez) but to get in he has to win a competition. 

	 

	Inspired by Tadashi’s fellow techno-geeks, Hiro comes through with an advance in robotics unlike anyone else.  He builds a mini-bot that can combine with others at the request of a headband that reads the thoughts and build anything the person can imagine.  Hiro wins the contest and receives the invitation to attend the school.

	 

	A fire breaks out in the hall.  Tadashi makes Hiro stay put and races into the building to find Professor Callaghan.  The building explodes right after the student races through the doors, leaving Hiro without a brother.

	 

	Hiro is devastated.  Aunt Cass (Maya Rudolph), who has raised the boys since their parents deaths, is at a loss on how to break him out of his grief.  She knows that if she can get him to take an interest in the world again, to get him to go to college, he will be OK.  She enlists the help of Fred, Go Go, Wasabi, and Honey Lemon but they strike out.

	 

	Hiro finds that Baymax has been moved to Tadashi’s sleeping area.  One of the mini-bots is found as well.  The mini-bot is moving around in its clear container.  It shouldn’t be moving if all of the other bots were really destroyed in the explosion.  They were designed to always know where all of the other mini-bots were located and do their best to connect with them.  This puzzles Hiro.  He talks to Baymax about it.  What gets him out of the house is Baymax taking the little robot and trying to find out where the other mini-bots are.  Hiro chases the big robot across town catching up with the bot at the door to a warehouse.  He quickly realizes that there is something to the notion that there ARE more mini-bots.  And they appear to be in the warehouse.

	 

	The two break into the warehouse and discover a robotic manufacturing unit steadily building thousands of the micro-bots.  This really puzzles Hiro until a man wearing a kabuki mask appears and commands the mini-bots to attack Hiro and Baymax.  The two barely escape with their lives.

	 

	Hiro now has a mission.  He must find out stop this man.  He enlists the aid of the techno-nerds.  Each creates a hero identity based on their research projects (and with the aid of Hiro’s 3-D printer).   The team is everything a nerd could ask for.

	 

	The battle between our heroes and the villain is well written and drawn.  The surprising plot twists are well thought out and enhance the story immensely.  This is a film that was made for 3-D.  The flow of the mini-bots under control of the head-band controller looked amazing.

	 

	This film is a departure from Disney’s past animated features in that there is a lot more violence.  I know from overhearing some conversations that this bothered a lot of the parents in the audience.  My feeling is that the violence was handled well is considerably less intense than most of the video games available to kids today.  This is no Aladdin or Snow White but Big Hero 6 is a wonderful tale of love and loss, and the despair that can make us all look like villains in our grief.

	 

	 

	Movie Site: http://movies.disney.com/big-hero-6/

	 

	 

	The Selig Rating Scale:

	 

	FULL PRICE – Excellent movie, well worth the price

	MATINEE – Good movie

	DOLLAR – OK movie

	CABLE – No need to rush. Save it for a rainy day.

	FREEBIE – Good that I saw it on the big screen but wish I hadn't paid for it.

	COMMERCIAL TV – Commercials and cutting to the allotted time will not hurt this one.

	FORGET IT! – Bad. If you see this one, do yourself a favor and keep it to yourself.

	GET YOUR TORCHES – BAD! – Burn the script, the writer, the director and maybe even the actors!

#### BIG HERO 6 THE SERIES – BACK IN ACTION! – A DVD Review by John Strange
BIG HERO 6 THE SERIES – "Baymax Returns" – Set in the fictional city of San Fransokyo, 14-year-old tech genius Hiro begins school as the new prodigy at San Fransokyo Institute of Technology and sets off to rebuild Baymax. However, his overconfidence and penchant for taking shortcuts leads him and the newly minted Big Hero 6 team – Wasabi, Honey Lemon, Go Go and Fred – into trouble. This one-hour series premiere airs Monday, November 20 (8:00 – 9:00 P.M. EDT) on Disney Channel. (Disney Channel)

	 

	BIG HERO 6 THE SERIES – BACK IN ACTION! – A DVD Review by John Strange

	 

	When Big Hero 6 came out in 2014, I really enjoyed the concept.  The movie took a mash-up of San Francisco and Tokyo to create a city that while superficially resembling our San Francisco was a city with qualities unique unto itself.  The story's heart was taken from the series found in Marvel comics.

	 

	The heroes were nerds.  Yes, nerds.  Scientific geniuses no one would expect to become super heroes, full of neuroses and fears.  But when they had to stand their ground they went one step further and took their areas of research and created their costumes which channel their powers.

	 

	Now the Disney Channel and Disney XD  have brought the stories of Hiro, Baymax, and all of our friends from the San Fransokyo Institute of Technology to the small screen.  On the DVD release of Big Hero 6 The Series – Back In Action! are the first seven episodes of the show's first season and all six of the shorts that ran between May 31, 2018 and June 20, 2018 on the Disney Channel YouTube channel.

	 

	I was not sure as I began watching the episodes that I would enjoy them as much as I did the original movie.  As I watched Fred cajoling the friends into donning the suits again, I started to get the feeling that the center of the stories was going to be less Hiro/Baymax and more Fred and the others or perhaps the villain du jour of the episode.

	 

	Slowly as the episodes played out, a balance worked itself out giving the entire crew turns in the limelight though Fred seemed to pop up in the forefront more often than the others.  The supporting characters from the film are joined by the new dean of students, Professor Granville (Jenifer Lewis), a tough instructor which is just what Hiro needs to keep his 14-year-old mind on the business of his education. 

	 

	The series also has other notable voices lending a "hand" with the characters.  Most notable of these are Stan Lee (as Boss Awesome / Frederick Frederickson III aka Fred's father), Andy Richter (as an inept villain), Susan Sullivan (Fred's mother, Mrs. Frederickson), and Gordon Ramsay (as what else, an arrogant chef).

	 

	The stories are well written and the action flows well.  Fred was my biggest hurdle to enjoying the early episodes.  At first, especially during Baymax Returns (the first episode), his character's craziness took away from the show for me but as the episodes went on the writers gave us the reasons behind his actions by showing us more of his life away from the school.  Suddenly, I realized that the backstory of Fred was much deeper than anyone (including me) would have ever imagined and it all made sense.

	 

	The series has many things going for it though perhaps the most important is that the writers can really develop the individual characters and more fully flesh them out as we watch.  Watching Aunt Cass (Maya Rudolph) blossom on the screen is a beautiful sight to behold.  I will never be able to see her onscreen again without looking for the snarkiness and self-assurance that her episode brought to the forefront of her character.

	 

	Yes, I loved the episodes.  I also enjoyed the shorts, each featuring Baymax with one of the primary characters, plus Mochi (Hiro and Aunt Cass' cat).  I don't know why they made these but they are fun to watch and enlightening in their own way as they give us a different way to look at both the highlighted character and Baymax in each one.

	 

	If you are a big fan of the movie, you will notice one more thing about the TV series.  The artwork in the series is different that the film.  The film was drawn much more life-like while the TV series is filled with angles instead of the film's ovals and curves.  It is something I am seeing in a lot of the animation taken to the small screen.  I am not sure why they are using this look (possibly less expensive to draw?) but Big Hero 6 the Series is drawn using this same technique used in many of the other shows I have seen in the last few years.  It is something that you will notice for a while and then slowly the difference will fade from your conscious mind as you get into the action.

	 

	I look forward to getting my hand on the next DVD when it is released.  This is a good series that has the prospect of running for years.  I hope it does.  I rate it a BRAND NEW on our scale.

	 

	 

	Executive Producer/Supervising Director:

	 

			Nick Filippi
		

	 

	Voice Cast:

	 

			Ryan Potter as Hiro; Scott Adsit as Baymax; Jamie Chung as Go Go; Genesis Rodriguez as Honey Lemon; Khary Payton as Wasabi; Brooks Wheelan as Fred; and Maya Rudolph as Aunt Cass
		

	 

	Episodes: 

	 

			Baymax Returns (44-minute Disney Channel Television Movie)
		

			Fred’s Bro-tillion
		

			Issue 188
		

			Big Roommates 2
		

			Failure Mode
		

			Muirahara Woods
		

			Food Fight
		

	 

	Bonus Features:

	 

			6 Bonus Shorts 
		

	 

			Baymax and Hiro
		

			Baymax and Wasabi
		

			Baymax and Go Go
		

			Baymax and Fred
		

			Baymax and Honey Lemon
		

			Baymax and Mochi
		

	 

	Specifications:

	 

	Runtime:

	 

			176 Minutes
		

	 

	Studio:

	 

			Disney XD
		

	 

	Release Date:

	 

			06/26/2018
		

	 

	Region:

	 

			A/1 (U.S. and Canada only)
		

	 

	Website:

	 

			https://disneyxd.disney.com/big-hero-6-the-series
		

	 

	MPAA Rating:

	 

			TV-Y7 FV (US)
		

	 

	Selig Rating:

	 

			BRAND NEW
		

	 

	Selig Rating Scale:

	 

	BRAND NEW: Should add to your DVD collection at any cost

	SALE ITEM: Worth owning, but try to catch it a sale

	SECOND HAND: Plan to get it, but wait to buy it used

	RENTAL: Worth taking a look at, but not owning

	COASTER: Pick it up at a garage sale and use it for drinks

	PULL!: Makes a great Trap Shooting target

#### BIG LITTLE LIES – A DVD Review by John Strange
 
BIG LITTLE LIES – A DVD Review by John Strange
Warner Bros. Home Entertainment provided me with a free copy of the DVD I reviewed in this Blog Post.  The opinions I share are my own.
When I first looked at Big Little Lies to do a review of this season two set, I saw that David E. Kelley created the show from a bestselling novel by Liane Moriarty.  Liane has writing credits along with Mr. Kelley for all 14 episodes produced to date.  Matthew Tinker has writing credits for 2019’s seven episodes with Mr. Kelley and Ms. Moriarty.  Season two was not originally planned.  It was supposed to be a miniseries but HBO wanted more after the show received a Golden Globe Award for Best Miniseries or Television Film (plus Golden Globe wins for Laura Dern, Nicole Kidman, and Alexander Skarsgård).
David E. Kelley has a long, storied history creating and writing this type of series.  Shows like Doogie Howser, M.D. (1989-1993), Picket Fences (1992-1996), Chicago Hope (1994-2000), and Ally McBeal (1997-2002) were created and written by this man.  Each of these shows dealt with diverse groups and families, all absolutely dysfunctional but all totally binge-watching worthy.
Big Little Lies continues that tradition of dysfunction, updated to attract today’s more savvy audiences!  Reese Witherspoon (Madeline Martha Mackenzie), Nicole Kidman (Celeste Wright), Shailene Woodley (Jane Chapman), Laura Dern (Renata Klein), and Zoë Kravitz (Bonnie Carlson) are the “Monterey Five”.  They got this moniker during the furor that surrounded the death of Celeste’s husband, Perry (Alexander Skarsgård) at the end of season one.
The whole season’s storylines revolve around the echoes of that death.  The ladies are dealing with hidden truths and the repercussions of the lies they told following the death.  This situation is exacerbated when Perry’s momma, Mary Louise Wright (Meryl Streep), comes to town to find out what really happened to her son.  Along the way, would you believe she decides to try to get guardianship Celeste’s two children, her grandchildren?  This leads to some interesting courtroom scenes filled with all the pathos you can handle.
The supporting cast is filled with faces you will recognize (even if you don’t know their names).  Adam Scott (Ed Mackenzie, Madeline’s husband), Jeffrey Nordling (Gordon Klein, Renata’s husband), and James Tupper (Nathan Carlson, Renata’s husband) each have prominent subplots in this season’s action.
I am not going to mince words here.  This IS a soap opera in every sense of the words.  The show is filled with back-stabbing and infidelity.  Angst oozes from its figurative pores.
Thankfully for all of us who are generally not into this genre, the writers and talent of this show are beyond amazing.  The season started with a situation that would destroy many of us and the storylines brought the cast through their dilemmas in a way that was both entertaining and make us want to watch the next season.
The only bonus we received was a nice sit-down with the six leading ladies.  Their discussion was good, highlighting the rapport that developed between these amazing talents as the season progressed.  It was an excellent cherry to top off the season.
As the season began, I began to fear that I would not like this show.  I had not seen the first season with its pivotal scene in the last episode and did not really comprehend what I was getting into.  Thankfully, by the end of episode one I was interested and by the end of the second, I was hooked.  However, I found that binge-watching may be rough on your soul.  I personally found my psyche could only take watching one or two episodes at a time.  Watching more left me really depressed, I mean REALLY depressed.  Still, I give this DVD of Big Little Lies: The Complete Second Season an A for its content and acting.  You’ll probably not find a single character you can honestly say you like but that isn’t such a bad thing, is it?
 
Created By:

David E. Kelley

Cast:

Reese Witherspoon, Nicole Kidman, Shailene Woodley, Laura Dern, Zoë Kravitz, Meryl Streep

Episodes:

What Have They Done?
Tell-Tale Hearts
The End of The World
She Knows
Kill Me
The Bad Mother
I Want to Know

Extras:
DVD:

“The Lies Revealed: A Conversation with the Cast” – Meryl Streep, Shailene Woodley, Reese Witherspoon, Nicole Kidman, Zoë Kravitz, and Laura Dern share laughs and mimosas as they look back at Season 2

Specifications:
Runtime:
Feature:

420 Minutes

Enhanced Content:

36 Minutes

Studio:

Warner Bros. Home Entertainment Inc.

Release Date:

01/07/2020

Region:

A/1 (U.S. and Canada only)

MPAA Rating:

TV-MA

Selig Rating:
Film Rating:

BRAND NEW

Bonus Features Rating:

A

Picture Quality Rating:

A

Audio Quality Rating:

A

 
Selig Rating Scale:
BRAND NEW: Should add to your DVD collection at any cost
SALE ITEM: Worth owning, but try to catch it a sale
SECOND HAND: Plan to get it, but wait to buy it used
RENTAL: Worth taking a look at, but not owning
COASTER: Pick it up at a garage sale and use it for drinks
PULL!: Makes a great Trap Shooting target

#### Big Tex “STATE FAIR” (1962) Production Still
The “State Fair” cast featured Pat Boone, Bobby Darin, Pamela Tiffin and Big Tex himself!

 
Source : State Fair of Texas – bigtex.com

#### BILAL: A NEW BREED OF HERO – A Review by Hollywood Hernandez
 

	BILAL: A NEW BREED OF HERO – A Review by Hollywood Hernandez

	 

	Bilal: A New Breed of Hero is a computer animated film like you haven't seen before.  There are many unique things about this movie.  First, it's based on a thousand year old true story.  It's the story of Bilal Ibn Rabah, an African slave who became an early follower of Muhammad.  Another unique twist on the movie is that it comes from a Middle Eastern film studio and animators from all over the world worked on the film.  That gives it a very unique style on screen.  Finally it's a pretty graphic animated film which earns it a PG-13 rating.  But overall, it's one of the best animated films I've seen in recent memory.

	 

	In the movie, Bilal is a young boy who dreams of becoming a warrior.  His whole world changes when his mother is killed and he and his sister are kidnapped and taken far away from their home.  As a grown man, Bilal does become a warrior who fights for justice and the fight scenes on screen are both graphic and stunning.  The grown up Bilal is voiced by Adewale Akinnoye-Agbaje who played Adebisi on the cable TV series "OZ". 

	 

	This is an amazing animated movie with great attention paid to detail.  Although violent, it is a movie that can be enjoyed by young people (age 12 and above) and adults alike.  Although it is the story of a Muslim follower, it's not preachy or self serving.  It's just an enjoyable story about a noble young man who believes that all people should be treated equally.  It's a simple story but if goes deep into many levels.

	 

	Bilal: A New Breed of Hero is rated PG-13 for graphic, bloody fight scenes and has a run time of 105 minutes.  It's a film, produced in Saudi Arabia, that deserves to be seen.  I think you'll enjoy it.  On my "Hollywood Popcorn Scale", I rate it a JUMBO! 

#### BILL COORS:  THE WILL TO LIVE – Interview with Filmmaker Kerry David
“The only person in the world you cannot cheat, you cannot trick, you cannot deceive, you cannot lie to is yourself. So be yourself, do your thing, and you’ll get there.”— Bill Coors

	
	Here is our interview with documentary filmmaker Kerry David.

	

	Bill Coors is known for being a titan of the brewing industry but what is less known is the heroic personal journey he undertook to discover a cure to the depression and anxiety that had plagued his family for generations. Bill's journey is told parallel to several young internet influencers – although 100 years divides them – their stories are eerily similar as is their fierce 'Will to Live.  

	BILL COORS: THE WILL TO LIVE. 
	 

	Filmmaker Kerry David has given us much more than a biography of a great person. The structure of the documentary, the moving interviews and the in-depth look into Bill Coors life has given us a profound examination into the true power of love.  A special documentary that will make you reevaluate your own choices in life.  Bill Coors is a fascinating figure who's legacy should not just be remembered but replicated and beloved.  I chatted with filmmaker Kerry David about the unique choice of structure and pacing of her documentary, how the Coors family opened up to her, the importance of telling Bill's story to all generations of people, the power of love and so much more.  Easily one of the best films of the year!    

	Interview with filmmaker Kerry David:

https://seligfilmnews.com/wp-content/uploads/2018/10/Bill-Coors-Doc-Director-Kerry-David.mp3

	It is rare for me to be truly moved by a film, but I can't stop saying Bill's powerful 11th commandment.  

	Thou Shalt Love Thyself.  

	Kerry was such an amazing filmmaker to chat with I couldn't help but ask her for more information about her next documentary.  

https://seligfilmnews.com/wp-content/uploads/2018/10/Filmmaker-Kerry-David-Sneak-Preview-BREAKING-THEIR-SILENCE.mp3

	Currently in production Kerry is hard at work in completing –  Breaking Their Silence: Women on the Frontline of the Poaching War.  In a world grappling with #MeToo and so much division between the sexes Kerry travels to the toughest of locations to tell the most harrowing stories.  I can't wait to witness her next documentary.  In the mean time don't miss out on seeing Bill Coors life story unfold in thi wonderful documentary, Bill Coors: The Will To Live.  

	For more information about this important documentary and it's filmmaker please go:

	BILL COORS:  THE WILL TO LIVE.

	KERRY DAVID  

#### Billie Eilish: Hit Me Hard and Soft – The Tour Live in 3D – A Review By Cynthia Flores
If you’re a Billie Eilish fan, you need to see this in 3D. If you saw her live during her year-long tour, it will bring back great memories. For those who missed out, this is your chance to experience the show. That’s good, because Ms. Eilish is one of the best performers today.
There is some traditional music documentary behind-the-scenes, making-of kind of stuff that goes on during this film. But believe it or not, there’s not that much of it; it’s mostly the performance that you get. Billie Eilish has co-directing credits on this and co-wrote it, so perhaps this is what she wanted. She’s more focused on the music and the connection between her music and her fans than anything else.
In fact, I would say the word ‘connection’ is the common thread that runs through this whole documentary. Her fans are deeply devoted. And she gives the appearance of being just as devoted to them and to using her music to help people. As well as touching on why she dresses the way she does and why she does the things she does on stage, without getting bogged down in anything that would take away from the actual performance she gives each night on tour. I was extremely impressed with the connection you feel between her music and yourself while sitting in the theater. It is pretty impressive to achieve something like that in this medium.
​If the storyline was from Ms. Elish, then the production style for this film was driven by James Cameron. He emphasized using his 30 years of 3D movie-making experience to create this immersive, deep-focus experience that captures the energy of being in the crowd. Even down to people walking in front of you or the audio that’s around you when you’re in a mass of people like that.
Instead of using traditional filmmaking processes for this documentary, he chose to have his team of specialized camera people, led by Michael Laakmann and Florian Maier, who call themselves stereographers rather than cinematographers, use 3D technology from Cameron’s Lightstorm Vision company to capture the live show portion of the documentary. Lightstorm has always focused on revolutionizing 3D stereoscopic production and mixed reality content. All that being said, this gives the documentary a richer experience for anybody willing to wear those crazy 3D glasses.  These are not just any ordinary 3D glasses; if you choose to take them out of the theater, they set off alarms like you stole something from Target.  So don’t forget to leave them behind with your friends if you decide to go to the restroom or go grab some popcorn once you’re in the theater. The glasses themselves are still bulky, and if you’re prone to headaches from wearing 3D glasses, it won’t be as severe with these. Just remember not to set off any alarms, and you’ll be okay.
​I give Billie Eilish: Hit Me Hard and Soft – the Tour Live in 3D 4.5 stars. It’s a wonderful capture of her Manchester shows. You’ll feel like you’re in a great seat. See it in 3D for the full effect.
Directed by: James Cameron, Billie Eilish
Written by: Tarik Mikou, Billie Eilish
Rated: PG-13
Running Time: 1 hr 54 min
Documentary, Music
Release: In Theaters May 8th
Starring: Billie Eilish, Finneas O’Connell, Andrew Marshall, Solomon Smith, Agraham Nouri, Tom Crouch, Jane and Ava Horner, James Cameron

#### BILLY ELLIOT–THE MUSICAL
BILLY ELLIOT—THE MUSICAL
 
By Gary Murray 
 
Starring Faith Prince, Patti Perkins, Rich Hebert and Jeff Kready
 
Book and lyrics by Lee Ball 
 
Lyrics by Elton John
 
Billy Elliot was a 2000 movie about a young boy yearning to dance.  His desire comes into direct opposition to poverty and prejudice as he learns the ballet.  His fight to get an audition with the Royal Ballet School as the miners in his Dunham village strike for better conditions was just the kind of cinema experience that harked back to movies of the 1940s.  So it would make sense to turn it into a musical.  
 
Sir Elton John has had much success lately with the Broadway stage.  He was the force behind The Lion King and Aida.  He seems to have a magic touch with the Great White Way.  He is also the musical genius behind he music of Billy Elliot—The Musical.
 
The play follows the basic plot of the movie.  Billy Elliot (Kylend Hetherington) is a kid just trying to survive in the rough little hamlet he calls home. The opening number is “The Stars Look Down”.  It takes place on the eve of the Dunham Miners’ Strike in 1984.   We see most of the full company, a large production of miners and family members.    
 
All of the family lives it their little abode.  Billy’s mom has passed on but we do see her in Billy’s imagination.  In Act 1 Mum appears in the song “Dear Billy (Mum’s Letter)” and again in Act II in “Dear Billy (Billy’s Reply)”.  Those two songs carried such emotional weight that the audience was in pin-drop silence with only sniffles being heard.  Beverly Ward brings such pathos to her voice and performance.  The moments with her and Kylend work on so many levels.  
 
Billy is late going to boxing lesions and has to stay after to give the community room key to the next class instructor.  The class is ballet and the instructor is Mrs. Wilkinson (Faith Prince). Faith is a Broadway mainstay who has been on television and in the movies.  She just steals her opening coming across as a distant cousin of Cruella DeVil.  She runs a school of few talents but solid determinations.  
 
As Billy watches the girls the feels something stirring down in his soul, it is the desire to dance.   He knows that ballet is his calling but he and every other male in town know that dancing is for ‘poofs’ otherwise known as homosexuals.  Billy is in fear of telling his Dad of his desire to dance.  
 
Dad has other problems.  In the song “Solidarity” we see how bad it is for the union men in their strike.  The police crack heads, doing the bullying tactics to break the men.  The big number of Act 1 is “Expressing Yourself.”   Billy goes to see the only ‘poof’ kid in town Michael (Griffin Dirney).  The two boys trying on ‘girls-clothes’ turn the number into a Busby Berkley  style musical number, with giant dancing dresses and twinkling lights.  It is one of those fun “Hairspray” style pieces that elevate the dour aspects of the mining town.  
 
The second act is Billy going to the audition and the breaking of the union.  As Billy’s life gets a first chance, the town looses it last chance.  It is a bittersweet moment as we learn the fate of all those we have rooted for on stage.  The number “Electricity” shows both the promise of Billy and the hope for his future.  
 
The entire production of Billy Elliot—The Musical rivals the best of Broadway.  The sets glide over the stage, never becoming a burden but an effective tool to help tell the tale.  The sound at the Winspear Opera House was note perfect and every utterance could be heard.   The acting and singing is all first-rate, perfectly executed.   
 
There needs to be a warning about Billy Elliot—The Musical.  As the play goes on, obscene finger gestures and rough language are peppered within the dialogue.  The workers are definitely from the poorer classes and the lack of breeding shows in the characters.  This uplifting story is not for children.  If it were a motion picture, it would be rated R just for the language.  I would love to see a more kid friendly version of the work produced, so families could take their children without being exposed to the more base elements of the work.
 
That aside, Billy Elliot—The Musical is a wonderful musical experience worthy of those 10 Tony Awards it received.   This is a show that should not be missed.  
 

#### Billy Joel Surprises a Sold-Out Carnegie Hall as 20 Artists Celebrated His Songbook at Michael Dorf’s Annual “Music Of” Tribute
A sold-out Carnegie Hall came together on March 12, 2026 for Michael Dorf Presents: The 21st Annual Music Of tribute concert, celebrating the catalog of legendary musician Billy Joel, who made a surprise appearance in the audience for the evening, honoring his iconic songbook. Among those in attendance was global superstar P!NK, joining the Carnegie Hall audience for the special tribute. The annual event once again brought together an extraordinary lineup of artists performing Joel’s beloved songs while raising funds for music education programs.
Backed by Billy Joel’s touring band, serving as the evening’s house band and led by Joel’s longtime musical director and keyboardist David Rosenthal, the full ensemble featured Mark Rivera, Crystal Taliefero, Tommy Byrnes, Andy Cichon, Chuck Burgi, and Carl Fischer. Together they supported an extraordinary lineup of artists performing Joel’s beloved songs, including Rob Thomas, Alexa Ray Joel, Pat Monahan (Train), Mary Chapin Carpenter, Marc Roberge (O.A.R.), Ledisi, Lawrence, Natalie Merchant, Curtis Harding, Matt Nathanson, Itzhak Perlman, Wyclef Jean featuring students from Music Will, Rufus Wainwright, Andrew McMahon (Jack’s Mannequin), Gavin DeGraw, Bettye LaVette, Yola, Sammy Rae, Neal Francis, and Jon McLaughlin.
The evening held special significance with Joel himself in the room as artists reimagined songs that have defined generations of music fans.
The night opened with Michael Dorf welcoming the audience before Yola launched the concert with “Movin’ Out (Anthony’s Song).” Throughout the evening, artists delivered memorable interpretations of Joel’s catalog, including Rob Thomas performing “Vienna,” Pat Monahan with “She’s Always a Woman,” Mary Chapin Carpenter’s moving rendition of “And So It Goes,” Matt Nathanson performing “I Go to Extremes” and “Miami 2017 (Lights Go Out on Broadway),” Jon McLaughlin with “Everybody Loves You Now,” and Alexa Ray Joel performing “This Night.”
Additional highlights included Rufus Wainwright performing “Lullabye (Goodnight, My Angel),” Ledisi delivering a soulful version of Joel’s recent single “Turn the Lights Back On,” and a special collaboration between Marc Roberge and legendary violinist Itzhak Perlman on “The Downeaster Alexa.” Bettye LaVette performed “He’s Got a Way,” followed by a solo piano sonata interpretation of “The Longest Time” by David Rosenthal.
Continuing the long-standing tradition of spotlighting a beneficiary organization during the concert, Wyclef Jean performed “My Life” alongside students from the music education nonprofit Music Will. The evening continued with Neal Francis performing “Stiletto,” Sammy Rae with “River of Dreams” and “Get It Right the First Time,” Natalie Merchant performing “Allentown,” The Billy Joel Band and Dan Orlando performing “Scenes from an Italian Restaurant,” Curtis Harding with “Uptown Girl,” Gavin DeGraw performing “Big Shot,” and Lawrence with “Only the Good Die Young.”
The concert culminated with Andrew McMahon (Jack’s Mannequin) leading the audience in a sing-along performance of “Piano Man,” before the full cast returned to the stage for an encore performance of “You May Be Right.”
The event followed a sold-out live rehearsal show at City Winery New York on March 11, offering fans an intimate preview of the performances the night before Carnegie Hall.
Together, the two sold-out performances welcomed more than 3,500 attendees and raised over $225,000 to support music education initiatives — marking the largest fundraising total in the event’s history.
“It was an incredible honor to celebrate Billy Joel’s extraordinary songbook at Carnegie Hall and to have Billy himself in the room for the evening,” said Michael Dorf, founder and producer of the Music Of series. “Seeing so many remarkable artists come together to interpret his music — and witnessing the audience’s response — was truly special. What makes the night even more meaningful is the impact it has beyond the stage, helping support music education programs and ensuring the next generation of musicians has the opportunity to learn, create, and be inspired.”
Now entering its third decade, Dorf’s Music Of series has become one of New York’s most anticipated annual musical events. Since its inception in 2004, the series has honored legendary artists including Paul McCartney, Carly Simon, Prince, Bob Dylan, Joni Mitchell, The Rolling Stones, Aretha Franklin, Van Morrison, R.E.M., David Byrne, and Patti Smith, among others.
These concerts have directed 100% of net proceeds — $100,000 annually and over $2.4 million to date — to nonprofit organizations supporting music education. Beneficiaries include Music Will (formerly Little Kids Rock), Young Audiences NY, FIXS, Church Street School of Music, Partnership with Children, The D’Addario Foundation, Exploring the Arts, Jazz Foundation of America, Jazz House Kids, Long Island High School of the Arts, Musicians on Call, Save The Music, Midori & Friends, Grammy in the Schools, The Orchestra Now, The Perlman Music Program, Theatre Within, Third Street Music School Settlement, and the Newport Festivals Foundation, among others.

#### Billy the Kid Film Festival 2025 announces films for 7th edition in November 2025
The Hico-based Billy the Kid Film Festival today announced the films and events for the 7th edition of the outlaw-themed film festival taking place November 7-9. This edition’s film lineup will lead with an Opening Night free-to-the-public presentation of short films, including two documentaries with a Dallas connection: Dallas film influencer Bart Weiss’ Rolling Film, Rocking History, Al Maysles Captures the Beatles where Al Maysles tells the story of how he shot the Beatles coming to the USA for the first time and Justina Walford’s Tattler’s Tale about a legendary stray dog that finally finds a home in South Dallas. Along with the two short documentaries, two narrative shorts will be included: Robby Robinson’s Hub City about a singer dealing with the mysterious death of his brother and The Strange Story of Blasting Betty directed by William Samson about a woman in the Wild West. The evening’s program will be capped by screenings of music videos I Remember the Alamo (But Can’t Recall Her Name), Let’s Keep Austin, Texas and The Elephant (Dear Valentine).
The 7th edition of BTKFF includes 55 films (9 feature-length, 46 short films and music videos) that have outlaw and/or western themes, with the film festival’s annual focus on celebrating the work of local and Texas-based filmmakers.
Along with the free-to-the public Opening Night screening under the stars in Green Canoe’s Beer Garden (108 Elm Street), a film festival workshop with filmmaker consultant Rebecca Smith will be offered to aspiring filmmakers and those navigating the film festival circuit, as well as the return of Dennis and Amanda Moore from Pine Moore Old West Studio to present BTKFF’s annual Pine Moore Award, in honor of the famous western and Old West location set and stages which has been utilized by countless films, television shows, commercials, and music videos for scenic backdrops.
Beloved Film/TV and Texas legend, Barry Corbin will appear at the Billy the Kid Film Festival on both Friday and Saturday as a special guest. The festival will also feature the locally produced film Reel Hico, which was filmed entirely in Hico and showcases many of the town’s residents. This hometown favorite will screen as a Friday night feature presentation. Also, adding to this year’s excitement, the festival is introducing a new venue, the Wild Saddle Saloon, where films will be shown throughout the day on Saturday.
The VIP and Red Carpet Party will take place under a Big Party Tent provided by Event-O-Matic, offering attendees a lively and festive atmosphere to celebrate the weekend’s events.
Festival founder Luci DiGiorgio, said, “In our magical seventh year, the Billy the Kid Film Festival feels the confidence of a long-standing festival. We are ecstatic to bring the best of Texas filmmakers as well as daring films from all over the world. We’ve truly developed a filmmaker family here in Hico.”
BTKFF kicks things off on Friday, November 7 with selected short films made in Texas or produced by Texas filmmakers: Bart Weiss’ Rolling Film, Rocking History, Al Maysles Captures the Beatles, William Samson’s The Strange Story of Blasting Betty, Robby Robinson’s Hub City, Justina Walford’s Tattler’s Tale, Victor Quinton’s I Remember the Alamo (But Can’t Recall Her Name), Francine Sustaita’s Let’s Keep Austin, Texas, and Smitch Sifuentes’ The Elephant (Dear Valentine) featuring multiple award-winning BtKFF alumni Michael Payton.
Sunday will celebrate inspirational films following a student shorts block early in the day. Screenings include Gary Richard Milliken’s Cowboy Meditations and Diego Joaquin Campos’ Mission and will end with Ride Of Faith The Jeff Tackett Story. Zach Kepple’s documentary about Jeff Tackett. After suffering a near death accident on the back of a bull, Jeff embarks on a journey of faith to overcome the odds and find the courage to compete again, along the way finding his true calling to minster and disciple a new generation of cowboy.
The Billy the Kid Film Festival sponsors include: The City of Hico, FilmsGoneWild.com, Green Canoe, Hico Chamber of Commerce, Tarleton State University School of Liberal Arts and School of Communications, Event-O-Matic, Bosque Film Society, and The Bosque Film Society.
Film festival passes and tickets are on-sale now. For more information on the Billy the Kid Film Festival go to https://www.billythekidfilmfestival.com.
The 2025 Billy the Kid Film Festival official selections:
 
OPENING NIGHT TEXAS FILMS
 
Hub City
Director: Robby Robinson
Country: United States; Running Time: 17 minutes
Singer/songwriter Billy Dan Hanson is faced with what to do after his older brother is mysteriously killed in prison. Should he go home to Lubbock for the first time in 10 years to investigate? And why has his old flame suddenly returned to urge him to do so? Set against Austin’s cosmic cowboy music scene of the early 70’s, Hub City follows a reluctant seeker hero into the past he hoped to leave behind.
 
I Remember the Alamo (But Can’t Recall Her Name)
Director: Cynthia Garcia
Country: United States; Running Time: 6 minutes
Capturing a night on the River Walk with two young guys enjoying San Antonio.
 
Let’s Keep Austin, Texas 
Director: Jan Francine Sustaita
Country: United States; Running Time: 3 minutes
Music video written during COVID lockdown. Written by Scott Grace & Will Kimbrough, video by Francine Sustaita aka Nanomercial
 
Rolling Film, Rocking History, Al Maysles Captures the Beatles
Director: Bart Weiss
Country: United States; Running Time: 11 minutes
Al Maysles tells the story of how he shot the Beatles coming to the USA for the first time.
 
Tattler’s Tale
Director: Justina Walford
Country: United States; Running Time: 8 minutes
Rescuing a stray dog turns into much more in this short documentary about Dallas dog rescue.
 
The Elephant (Dear Valentine)
Director: Smitch Sifuentes
Country: United States; Running Time: 5 minutes
One “nice guy” refuses to finish last.
 
The Strange Story of Blasting Betty
Director: William Samson
Country: United Kingdom; Running Time: 13 minutes
A lone woman enters a saloon in the wild west but gets into all sorts of trouble with the locals.
 
 
NARRATIVE FEATURES
 
Blue Evening
Director: Jett Jansen Fernandez
Country: United States; Running Time: 40 minutes
A homeless addict in Los Angeles stumble upon a lost masterpiece in a thrift store, setting him on a desperate journey of redemption, survival, and self-discovery as he fights to reclaim his life before the painting slips through his fingers.
 
I Voted
Director: Tyler Mann
Country: United States; Running Time: 110 minutes
A polling location goes under lockdown during a tense presidential election, forever changing the lives of a group of strangers as they inevitably do what most do not recommend…talk politics.
  
Nowhere Fast
Director: Shaheer Naqvi
Country: United States; Running Time: 116 minutes
Murder binds the lives of a desperate woman and a haunted man as the two try for one night to outrun a maniacal cop, and the toxic lives they’re trapped in.
  
Stitched
Director: Zach Goodwin
Country: United States; Running Time: 106 minutes
Ted Terger, a former counterfeit criminal, is forced to listen to every single conversation that’s ever been held about him. He must relive his entire life from the perspective of his friends and family speaking honestly and gossiping about him. The decades spanning experience is divided into the four prominent family members from his life, his mother, ex-wife, son and granddaughter.
 
 
DOCUMENTARY FEATURES
 
The Absolutely Amazing, Wonderful, Frightening, Threatening Edge of Tomorrow
Directors: Springna Zhao, Hayden McComas
Country: Singapore, Switzerland, United States; Running Time: 85 minutes
The Absolutely Amazing, Wonderful, Frightening, Threatening Edge of Tomorrow is a cinematic exploration of the world of Web3, including AI, Blockchain and NFTs. Using evocative imagery, in-depth interviews, and thought-provoking narration, the documentary delves into the profound questions raised by Web3 technologies and their implications on the human condition.
 
Cowboy Meditations
Director: Gary Richard Milliken
Country: United States; Running Time: 55 minutes
Cowboy and poet Dick Gibford embodies the landscape where he lives: tough, timeless, resilient and real. He is a link to the Old West and an antidote to modern times.
 
Mission
Director: Diego Joaquin Campos
Country: United States; Running Time: 80 minutes
Mission follows the college campus ministry in a rural Texas town, exploring the spiritual journeys of the students involved, uniting them as one Body of Christ.
 
Ride Of Faith: The Jeff Tackett Story
Director: Zach Kepple
Country: United States; Running Time: 106 minutes
After suffering a near death accident on the back of a bull, Jeff embarks on a journey of faith to overcome the odds and find the courage to compete again, along the way finding his true calling to minster and disciple a new generation of cowboy.
 
We’re Here
Director: Lee E Wells
Country: United States; Running Time: 40 minutes
Director Lee Wells quickly gathers a camera crew and heads West with feed for the surviving livestock as the record-breaking wildfires subside across the Texas Panhandle. After sitting across kitchen tables and walking through burned-out barns with ranchers who have lost almost everything, a challenging and life-changing story emerges from the ashes. Hope springs up after the fires have destroyed so much. Help arrives from all over the nation.
 
 
                                                  SHORT FILMS AND MUSIC VIDEOS
 
A Walk with Kate
Director: Gaia Mitting
Country: Australia; Running Time: 14 minutes
Kate Kelly, sister of infamous Australian outlaw Ned Kelly, embarks on a bush walk which draws her through increasingly visceral memories of her own extraordinary, tumultuous life.
 
Almost Home
Director: Menhaj Huda
Country: United States; Running Time: 20 minutes
A decorated Muslim-American Marine battles his inner demons, prejudice, and a fractured sense of identity as he seeks self-discovery from the haunting memory of a life-altering event at war.
 
Bailar
Director: Hannah Marie Benavides
Country: United States; Running Time: 8 minutes
An elderly woman with late-stage dementia rediscovers an old pair of dance shoes, unlocking a lost love story from her past.
 
B.I.E
Director: Jesse Cowell
Country: United States; Running Time: 7 minutes
 
The Bounty Hunter
Director: Enrique Novials
Country: Spain; Running Time: 9 minutes
A young detective is on a mission to find a woman who has run away from her husband.
 
Butch & Mandalin: The Search for the Golden Morral
Director: Riley Engemoen
Country: United States; Running Time: 18 minutes
Two unlikely companions – a grumpy old trucker and a young, free-spirited hippie – embark on a river trip down the Rio Grande in far West Texas, chasing legends of buried Spanish treasure.
 
Cascades
Director: Brian Russell
Country: United States; Running Time: 14 minutes
A couple walks towards a crossroads on the day of their 30th wedding anniversary. Marcus and Denise have been happily married for 30 years. Well, almost happily married. Can they overcome the one thing that just might tear them apart? They both love Danny, but what happens when parents have radically different takes on what it means to love an adult child? What does it mean to let go of our children?
 
The Cowboy & the Rich Man
Director: Ian Mundie
Country: United States; Running Time: 12 minutes
In the old west, a cowboy, Jim, and a college graduate, Jack, face-off in a duel for the affections of Melissa, the local “desert flower”. Things aren’t so lucky for her though when she finds out that Jim, in his old age, has one foot in the grave and that Jack’s prospects are wrapped in massive college debt. Melissa takes control of her own future by pitting the clumsy men against each other. Will Melissa end up with the right man?
 
Crave Necklace
Director: Norry Nevin
Country: United States; Running Time: 1 minute
CRAVE is a brand renowned for its iconic pleasure jewelry and fine bedside products that inspire sexual empowerment and expression of desire. This advert is promoting the launch of their new vibrator necklace – the Vesper Mini
 
EL Lloron
Director: Rodrigo Moreno-Fernandez
Country: United States; Running Time: 17 minutes
Felipe is a professional mourner. He is compensated for lamenting and comforting grieving families during funerals.
 
Fishy, Fishy
Director: Amaya G. Elijah
Country: United States; Running Time: 4 minutes
A suicidal girl tells her therapist about how she envisions her next life as a fish.
 
The Girl
Director: Mandy Kowalski
Country: United States; Running Time: 11 minutes
A young girl and mother travel a long way to their new home, only to discover the neighborhood is a bit rougher than they expected.
 
Golden
Director: Hank Bagwell
Country: United States; Running Time: 6 minutes
A short documentary film about a long iconic beard! William Lee Golden of Country Music Hall of Fame group, The Oak Ridge Boys hasn’t trimmed or shaved his beard since 1980. Music legends Jamey Johnson (You Should Have Seen it in Color, High Cost of Living, Stars in Alabama), Eddy Raven (Operator Operator, I Got Mexico, Joe Knows How to Live), Tony Brown (producer of over 100 #1 records including George Strait, Reba, Chris Stapleton, Wynonna Judd, Steve Earle and more) and famous photographers weigh in on it in this animated short doc.
 
Grey Matter
Director: Kildare Riordan
Country: United States; Running Time: 10 minutes
A desperate woman flees one monster—only to find herself in the home of another. Trapped between a brutal past and a man with even darker secrets, she must decide: escape, or finish what he started. Violence saves her life… but will it cost her soul?
 
Hellvette
Director: Amiel Peter Matthews
Country: Australia; Running Time: 15 minutes
A young mechanics dream build becomes his worst nightmare when his missing 1978 C3 Corvette resurfaces, transformed into a death machine leaving a trail of bodies-and every clue points back to him.
 
J.P. United
Director: Sidney Timmons
Country: United States; Running Time: 8 minutes
An isolated German college student seeks to build community in the United States by organizing a co-ed football team.
 
Just the Janitor
Director: Sterling Gates
Country: United States; Running Time: 25 minutes
Harold Miller was once a henchman for some of the most dangerous criminals in the underworld.  It wrecked his mind, his body, and his life.  Now, Harold’s an elementary school janitor, doing his best to keep the floors clean and his sordid past behind him. But when Harold’s old hench buddies ask to use his school for a huge score, Harold has to decide what’s more important: money… or protecting children’s lives?
 
Kidd
Director: Britt Crisp
Country: United States; Running Time: 11 minutes
A violent incident forces an outlaw to finally come to terms with the consequences of her actions by the hand of her father, the local sheriff. While both have differing opinions between right and wrong, the outlaw and her father are forced to make a difficult decision that could tearing family apart; life or death?
 
Kingman Stables
Director: JC Tovar, JR Molina
Country: United States; Running Time: 9 minutes
Brothers JC and Sebastian Tovar dream of refurbishing their family’s horse stables into a premier place to house a horse. The first step? Make a great commercial. They hire filmmaker Victor De La Cruz to produce a high quality commercial sure to bring in new clients. For De La Cruz, it’s an opportunity to revive his failed filmmaking career, but the brother’s overbearing personalities annoy Victor to the brink of quitting the project.
 
Let Go
Director: Jacob Christopher Sizemore
Country: United States; Running Time: 8 minutes
 
Makin’ Progress
Director: Simon Flory
Country: United States; Running Time: 17 minutes
In February of 2025, people gathered at Record Town in Fort Worth,  Texas to celebrate Roger Harvey and Simon Flory’s new album of early country, folk, and protest songs by artists like Woody Guthrie, Pete Seeger, and Joe Hill. An album called Progress. Makin’ Progress chronicles the duo’s nearly five year journey from their cancelled tour due to the global pandemic, to recording in-studio and live performances, interviews, and the album’s ultimate release and reception in the midst of social and political upheaval.
 
The Motorcycle Man
Director: Jason Ward
Country: United States; Running Time: 11 minutes
A 21st century trip set in the birthplace of the 60’s, this slice of Americana stars Tony Award winner John Glover as an easy-riding and sharp-tongued guide to two young travelers looking for Ken Kesey’s cabin deep in Northern California’s Santa Cruz Mountains. Examining ideas of autonomy, cultural literacy, and unexpected connection, the film was shot by National Geographic’s Emmy winning director of photography Ben Mullin and directed by Northern California filmmaker Jason Ward.
 
Neon Moon
Director: E’an Verdugo, Francis Juarez
Country: United States; Running Time: 3 minutes
Music Video
 
Out on a Limb
Director: Filip Kojic
Country: United States; Running Time: 18 minutes
In the Old West, a soul-searching son returns home to rescue his ill-fated mother. Out on a Limb is an original twist on the classic Western. A smart and engaging meditation on coming to terms with our violent pasts while forging a new road with Eastern influences.
 
Predator’s Mark
Director: Jacob Mejia
Country: United States; Running Time: 10 minutes
PhD biology students Oliver and Vega, former lovers turned reluctant colleagues, encounter a strange phenomenon in a remote part of Texas while on a field research trip. What begins as a study into natural wildlife becomes a terrifying ordeal when they discover an unnerving predator preying on the local ecosystem. As their expedition takes a deadly turn, they are forced to confront their own vulnerabilities in the face of an unknown and relentless force.
 
Pregnancy Smart
Director: Marisa Mendoza
Country: United States; Running Time: 6 minutes
Two young women take a pregnancy test for the first time… they are not taking it because they think they aren’t pregnant.
 
Reditus
Director: Stephen Bouldin, Michael Kelley
Country: United States; Running Time: 12 minutes
A decorated combat veteran struggles with PTSD and the loss it has caused in his life.
 
Ritual- Heir to Nothing
Director: Alessia Devecchi, Ryn
Country: United States; Running Time: 7 minutes
Music video for the release of Heir to Nothing’s song ‘Ritual’
 
Samuel Flint & the Magpie Gang
Director: Alessia Devecchi
Country: United States; Running Time: 8 minutes
 
Second Chance
Director: India Anne Mitchell
Country: United States; Running Time: 9 minutes
An inspired young filmmaker who witnessed a disturbing incident at school looks inside Juvenile Hall and Court, through the moving account of a juvenile offender and his parents, as well as the insights of the judge, attorneys and probation officer. Second Chance takes a step towards better understanding, compassion and ultimately, hope for juveniles who are some of the most vulnerable in our society, and who are also part of its future.
 
Slick
Director: Nick Thompson
Country: United States; Running Time: 11 minutes
Two environmentalist thugs enlist the help of a cat burglar to vandalize valuable art in the name of their righteous cause. However, they fail to foresee that their plan to protest pollution has a problem.
 
Stubborn
Director: Robert Gamperl
Country: United States; Running Time: 11 minutes
A horse breeder stumbles upon an injured man and discovers a gold nugget that could change her life. A horse breeder stumbles upon an injured man and discovers a gold nugget that could change her life. Driven by greed, the horse breeder descends into violence, only to become trapped in a mysterious cycle.
 
Toxic Abuse
Director: Robert Cantu
Country: United States; Running Time: 20 minutes
As ambitious Det. Rachel doesn’t realize how her alcohol addiction is ruining her career professionally and personally. Like all alcoholics, Det. Rachel doesn’t see the path awaiting her.
 
Unseen in Plain Sight
Directors: Rae’Dawn Rebert, Abigail Newlon, Samantha DiFiore, Juan Manosalva
Country: United States; Running Time: 14 minutes
We pass them on street corners, beneath interstate overpasses, and along busy shopping districts—yet we often fail to truly see them. The unhoused community, often at their most vulnerable, faces immense challenges and rarely receives the help they need. Unseen in Plain Sight is a compelling documentary that explores the lives of individuals experiencing homelessness, many of whom are battling addiction and mental health struggles.
 
Up In Flames
Director: Christopher Botvidson
Country: United States; Running Time: 24 minutes
A woman, desperate for freedom, lures her vengeful ex into a final, violent showdown with the ruthless kingpin who destroyed their lives. But she’s not the only one playing a dangerous game, and no one is guaranteed to make it out alive.
 
What We Imagined
Director: Shubhavi Arya
Country: United States; Running Time: 3 minutes
In a magical park, two children meet across a divide — one fast like a cheetah, the other once feared. Through questions, sketches, and a desktop of dreams, they invite us into a story of transformation, truth, and imagination. Their message is simple but powerful: Be who you are. Even if you’re still figuring it out.
 
When the Autumn Comes
Director: Pedro Moreno del Oso
Country: Spain; Running Time: 10 minutes
 
Who’s Chico?
Director: John Salanoa
Country: United States; Running Time: 13 minutes
After one of his collections comes in short, crime boss Maka Kupa‘a thinks a lesson in torture is just what his crew needs to fall in line. But the crew has other plans. Will the strongest survive, or the most cunning?
 
You Ain’t Gotta Die
Director: Chris Beyrooty
Country: United States; Running Time: 5 minutes
In a blaze of bullets, poison, and pure sass, Kaitlin Butts’ ‘You Ain’t Gotta Die to Be Dead to Me’ follows cowgirl Kissin’ Katie B as she rides into town to settle the score with every no-good man in sight.
 

#### Billy the Kid Film Festival Announces November 2024 Film Lineup
 
The Hico-based Billy the Kid Film Festival today announced the films and events for the 6th edition of the outlaw-themed film festival taking place November 1-3. This edition’s film lineup will be led by Chris Hanna’s dramatic redemption tale On the Edge of Freedom, and Jason Vandygriff’s thriller Blood Dried Hands will be the Closing selection. Celebrated Western character actor Wally Welch (Killers of the Flower Moon, The Magnificent Seven, Javelina Run) will receive the film festival’s lifetime achievement honor.
The 6th edition of BTKFF includes 50 films (12 feature-length, 38 short films and music videos) that have outlaw and/or western themes, with the film festival’s annual focus on celebrating the work of local and Texas-based filmmakers.
Once again, the Billy the Kid Film Festival will offer a free-to-the public Opening Night screening under the stars in Green Canoe’s Beer Garden (108 Elm Street), a film festival workshop with filmmaker consultant Rebecca Smith, live music by Blacksmith Rose, an appearance by Kent Perkins, to present the film festival’s Ruth Buzzi Comedy Award, as well as the return of Dennis and Amanda Moore from Pine Moore Old West Studio to present BTKFF’s annual Pine Moore Award, in honor of the famous western and Old West location set and stages which has been utilized by countless films, television shows, commercials, and music videos for scenic backdrops.
Festival founder Luci DiGiorgio, said, “In our sixth year, the Billy the Kid Film Festival has really hit its stride in terms of the entertaining films we offer, many of which highlight our up-and-coming Texas-based filmmaking talent. It’s also wonderful to have this year’s lifetime achievement honoree, Wally Welch, here alongside returning BTKFF alumni and ambassadors like Barry Corbin, Kent Perkins, and Rebecca Smith to add to the mix of our filmmakers and film fans here in Hico.”
BTKFF kicks things off on Friday night, November 1 with Chris Hanna’s drama On the Edge of Freedom about a man who takes a deal to forgo jail time in favor of a rehab center stint designed to help people find their way back via total immersion in the cowboy way of life. The film will be preceded by an encore screening of Lisa Belcher’s past BTKFF award-winner Javelina Run. The crowd-pleasing western comedy about fake fugitive train robbers also stars honoree Wally Welch. Filmmakers from both films, Hanna, and Belcher, will be on hand for a Q&A following the screenings
Jason Vandygriff’s Blood Dried Hands will serve as a special late-night Closing selection on Saturday, November 3. The cat and mouse thriller pits a reluctant serial killer fighting his lethal instincts while being pursued by a small-town detective dealing with her own trauma as she works to stop his killing spree. Vandygriff will attend and participate in a post-screening Q&A.
Additional narrative highlights include Johnathan Paul and Josh Gilbert’s Harsh Treatment about a pair of outlaws who’ve run afoul of a dangerous tracker who’ll stop at nothing to catch them and retrieve a priceless artifact they have no idea is in their possession. Vic Quinton and Cynthia Garcia’s Kielia is a time travel yarn in which the title character journeys back in time to Austin, Texas to discover the true meaning of love. Brett William Mauser’s Lady Outlaw is a survival tale focusing on three outlaws attempting to stay one step ahead of he law and bounty hunters and they trek from Arizona to Oklahoma.
Additional highlights among the documentaries include Ravit Markus and Dan Katzir’s international award-winning American Pot Story: Oaksterdam about a small group of concerned committed citizens who made cannibis history at Oaksterdam University in Oakland , California. Will Fitzpatrick’s The Roping Fools looks at the captivating history of the western art of Trick Roping as it evolves from the Mexican Vaqueros to the dazzling arenas of American Rodeos.
The Billy the Kid Film Festival sponsors include: The City of Hico, FilmsGoneWild.com, Green Canoe, Hico Chamber of Commerce, Hico Hall, Tarleton State University School of Liberal Arts and School of Communications, Cast-O Matic, Wiseman Chocolates, Blue Star Trading, and The Bosque Film Society.
Film festival passes and tickets are on-sale now. For more information on the Billy the Kid Film Festival go to https://www.billythekidfilmfestival.com.
 
The 2024 Billy the Kid Film Festival official selections
 
OPENING SELECTION

On the Edge of Freedom
Director: Chris Hanna
Country: United States; Running Time: 61 minutes
After being arrested on a night of partying, Kai Green is presented with an opportunity to forgo jail time in favor of rehabilitation at a facility in Texas – he begrudgingly takes the deal. At this unique ranch rehabilitation center designed to help people reconnect with nature through total immersion in the cowboy way of life, Kai meets an enigmatic ranch hand who with a firm hand teaches Kai valuable lessons to bring him closer to God.
Preceded by
Javelina Run 
Director: Lisa Belcher
Country: United States; Running Time: 23 minutes
Two idiot ranch hands pretend to be fugitive train robbers to get attention from the ladies at an old west saloon.
CLOSING SELECTION
Blood Dried Hands
Director: Jason Vandygriff
Country: United States; Running Time: 116 minutes
A reluctant serial killer grapples with his base desires and longs for his own death, as a small town Detective closes in on his trail to stop the killing spree in time, while dealing with her own trauma
ADDITIONAL FEATURES
American Pot Story: Oaksterdam
Directors: Ravit Markus, Dan Katzir
Country: United States; Running Time: 95 minutes
American Pot Story: Oaksterdam is a documentary about how change transpires in America. The account of “a small group of concerned committed citizens” (to quote Margaret Mead) who took a huge risk in order to bring about a massive shift in public perception. It all happened at Oaksterdam University in Oakland , California – a magical place where cannabis history was made, falling right in place with Oakland’s rich history of civil resistance.
City Of Hate: Dallas And The Assassination, 60 Years Later
Director: Quin Mathews
Country: United States; Running Time: 50 minutes
City of Hate reveals what Dallas was like 60 years ago when President Kennedy was about to visit the city, told by people who lived there, including the filmmaker, who saw Kennedy just before the assassination, a documentary sixty years in the making.
Harsh Treatment
Directors: Johnathan Paul, Josh Gilbert
Country: United States; Running Time: 111 minutes
When a pair of failed outlaws botch a big score, they have to settle for a much smaller one instead – putting them in the crosshairs of a dangerous tracker who’ll do just about anything to recover the priceless treasure they don’t realize they’ve stolen.
Kielia
Directors: Vic Quinton, Cynthia Garcia
Country: United States; Running Time: 45 minutes
A love story 10,000 years in the making. A time traveler (Kielia) goes back in time to Austin, Texas to discover the true meaning of a word that was forbidden and removed from all data sources for thousands of years…love.
Lady Outlaw
Director: Brett William Mauser
Country: United States; Running Time: 110 minutes
Based on the true story of Rose Dunn, Lady Outlaw is a survival tale as three outlaws attempt to make it from Arizona to Ingalls, Oklahoma while hunted by the law and bounty hunters.
Lucky 7 Angus: An Art of a Cowboy Story
Director: Chris Hanna
Country: United States; Running Time: 61 minutes
Cowboy artist Steve Boaldin (The Art of a Cowboy Series) features the Lucky 7 Angus Ranch in Boulder, WY, an innovative ranch that focuses on feed efficiency and heartiness with their unique cattle breed, the DaVinci Cattle. Episode 1 takes us through the community of Boulder and Pinedale, WY with the Pinedale Rendezvous and shows how the community is an integral part to the Jensen family success.
The Roping Fools
Director: Will Fitzpatrick
Country: United States; Running Time: 87 minutes
In The Roping Fools, we journey through the captivating history of the western art of Trick Roping as it evolves from the Mexican Vaqueros to the dazzling arenas of American Rodeos. This documentary unveils a story of resilience, entertainment, and the enduring legacy of an underground culture. The film explores the unique characters who made their names in the spotlight, early figures like Will Rogers and Montie Montana, and more modern figures like legendary Charro, Tomas Garcilazo (Winner of Go Big Show) and Wild West Performer Loop Rawlins (AGT, Kingsman The Golden Circle).
Showdown On The Brazos
Director: Bill Foster
Country: United States; Running Time: 90 minutes
Two Texas Rangers go after Nate Jones and his gang, partially out of duty, partially out of revenge for killing Captain Ryan’s family.
Texas Music Revolution
Director: Troy Paff
Country: United States; Running Time: 103 minutes
The covid pandemic of 2020-21 was perhaps the greatest disruption to American society and pop culture in this country’s history. This documentary follows Joshua Jones, general manager of Dallas-based indie Americana radio station KHYI-FM, as he struggles to produce the silver anniversary of a beloved roots music festival in the wake of that pandemic. Against a backdrop of stories and performances by Texas music artists Ray Wylie Hubbard, Charley Crockett, Joshua Ray Walker, The Derailers, and Kiefer Sutherland, Joshua’s heroic journey mirrors the themes that express the genre of Texas Country Music itself: Dedication, heartbreak, faith, and redemption.
The One That Got Away
Director: Pablo Federico Schmitt
Country: United States; Running Time: 68 minutes
The town’s richest man is missing, and P.I. John DeWitt has been hired to find him. But as the clues unravel, finding him might prove to be deadly.
SHORT FILMS / MUSIC VIDEOS
A Second Chance
Director: The Fox
Country: United States; Running Time: 5 minutes
Will wakes to find himself in another realm. Awaiting judgment, he must find redemption or face losing his life forever.
Alisher’s Gift
Director: J Matt Wallace
Country: Kyrgyzstan; Running Time: 16 minutes
An Uzbek and Kyrgyz blended family learns there are more than ethnic issues behind their historic misfortune. The recent death of their uncle Alisher prompts the delivery of gifts to a nephew and niece who learn important truths about both their recent and ancient past.
Ambush at St. Mary’s
Director: Anthony Parisi
Country: United States; Running Time: 15 minutes
Two outlaws disguise themselves as priests for a robbery at a desert chapel, but their plan is disrupted when Hannah, a parishioner, comes by looking for help.
The Ballad of Sheriff Kid McLain
Director: Gui Pereira
Country: United States; Running Time: 9 minutes
In the rugged town of Ferro Grande, nestled deep within the Wild West, a legend is born in the form of Sheriff Kid McLain. This family-friendly short film takes you on a thrilling journey to a time when courage and justice were the only currency that mattered. Sheriff Kid McLain, a young and determined lawman with a heart as big as the prairie sky, finds himself facing the notorious outlaw, Dirt Man Duke, and his unruly Lightning Gang. The gang terrorizes the peaceful town of Ferro Grande, leaving a trail of chaos in their wake.
The Ballad of Skipjack & Atticus
Director: Dani De Guzman
Country: Canada; Running Time: 7 minutes
Nothing ever happens in the desert town of Meekspring, until Skipjack, a smooth talking con cat, and his protégé Atticus roll into town. But before they can get away with pulling off the heist, bounty hunter Barkley steps into the fray. Will they live to steal another day or will this be the end of their conniving career?
Billy The Kid Pilot Episode
Director: Michele Zempieri
Country: United States; Running Time: 19 minutes
Billy The Kid is a CGI 3D short series. Billy is a cowherd. After the kidnapping of his wife, he leaves for the “Red Lands” in search of two killers: The “Storm brothers”. During the trip he will be helped by a native American named “Hawken Eye” and a corrupt Sheriff. Will Billy get revenge for his wife?
Bisected
Director: Danny Pineros
Country: United States; Running Time: 8 minutes
A couple witnesses a paranormal event that separates them into two distinct dimensions.
Black and Amber
Director: Nina Shakes
Country: United States; Running Time: 10 minutes
In 1894, after Canada invades the Pacific Northwest, a bounty hunter sets out to seek revenge.
Blyth
Director: Tom Dream
Country: United Kingdom; Running Time: 5 minutes
This short film music video hybrid is an exploration of the witch burnings and the dancing plagues of the 16th Century which swept across Europe like wildfire. The film itself wanted to explore a surrealist take on these topics, as well as creating a realm for viewers to dive into, as it is færy’s debut single. Liana Cornell and Tom Dream came together to explore this world, weaving magic throughout the film’s experience, coupled with the healing frequencies of the music itself, as well as mysterious symbolism linking back to real pagan practices performed by Liana’s matriarchal ancestors.
The Castle of Baron Finch
Director: Don Cunningham
Country: United States; Running Time: 22 minutes
English physician Dr. Cushing comes to Germany on the trail of the sadistic vampire that captured his wife. Can he save his spouse’s soul or will she be another victim to Baron Finch?
The Curmudgeon Factory
Director: Joshua M Thomas
Country: United States; Running Time: 17 minutes
An old-timer asks himself if he has anything left to give. He finds the answer…in The Curmudgeon Factory.
Cycles
Director: Will Darbyshire
Country: United States; Running Time: 15 minutes
When a dinner with the new neighbours goes awry, an antisocial and severely codependent couple reignite the spark in their relationship by covering their tracks.
Darkes Forest Blues
Director: Emma Johnston
Country: Australia; Running Time: 10 minutes
Mrs Ratchett, the Sheriff of a small town, fears for her life after investigating a murder case. She calls upon the Bounty Hunter, Miss Poirot, for help.
The Deep Rolling: Magma
Director: Robin Scovill
Country: United States; Running Time: 10 minutes
When an explosive Detroit jazz sextet begins rehearsing in a desolate industrial lounge, their music awakens iconic producer Warren Defever from a transcendental hibernation and, guided by unseen forces, he drives his classic Ford to where they are playing, and utilizing vintage gear and old school recording techniques, captures and inspires—live on tape—the band’s virtuoso, unrivaled performance.
Don’t Bet the Horse you Rode in On
Director: Cole Brakebill
Country: United States; Running Time: 8 minutes
Solitude is dangerous. Morris Bellinger is traveling alone, and on foot after losing his horse in a poker hand. He’s heading to Oneida, the center of the Texas Panhandle to participate in the cattle boom. In between walking he stops to read letters his Uncle wrote him.
The Drowning Pool
Director: Enrique Novials
Country: Spain; Running Time: 13 minutes
Ariadna, a former police officer, is now a detective shocked by the recent death of her mother due to Covid. In the midst of this, she must find a child who has been kidnapped after school.
Every Heart Breaks The Same
Director: Michael Scott Payton
Country: United States; Running Time: 5 minutes
“You watch it fall away!”
False and Baseless
Director: Robert Cantu
Country: United States; Running Time: 12 minutes
A college student is a victim of rape and during her statement to the police detective, the victim’s statement goes from empathy to confrontational.
The Fork
Director: Jay Haru Potaraju
Country: United States; Running Time: 15 minutes
Divorced Dad, Rockwall, wants to reconnect with his son, Jimmy. Can a game of Chess unite them?
Gone Fishin’
Directors: Jason Mattingly, David Neal Butterfield
Country: United States; Running Time: 4 minutes
A short western comedy of a man who shows up at a saloon to look for some whiskey and a hot woman.
Grace – My Heart’s Desire
Director: Jan Francine Sustaita
Country: United States; Running Time: 5 minutes
Melodic inspiration beckoning the spirit into a moment of repose. Soulful lyrics that remind us of the essence of experiences, deeply rooted in each one’s life. The video seeks to resonate with a broader audience, encouraging them to recognize and cherish the grace they encounter in their own lives. Original song written by Scott Grace and Will Kimbrough.
Guiding Light
Director: India Anne Mitchell
Country: United States; Running Time: 5 minutes
Through the compelling interviews of the lead prosecutor, the defense attorney and the police chief, Guiding Light tells the story of a young teen (Polly Hannah Klaas) in a small town in America who was kidnapped from her bedroom during a slumber party while her family was in the house.
Introvert Club
Director: Vered Rodriguez
Country: United States; Running Time: 13 minutes
A shy writer tries to navigate the social nightmare of a film festival while deciding whether she wants to pursue a career in film.
The Key to Restoration
Director: Mackenzie Cunningham
Country: United States; Running Time: 4 minutes
A girl decides to take a shortcut late at night and is faced with a terrifying but mysterious being.
The Last Cowboy In Salford
Director: Jakob Lancaster
Country: United Kingdom; Running Time: 15 minutes
A darkly comic neo-Western set in Manchester, England. Jonny Richman is a seventeen year old Jew. He is also a cowboy, much to his parent’s frustration. Jonny Richman is a teenager who appears to be living his life as a modern day cowboy. When he should be at Jewish Sunday school, he’s out on his horse patrolling the streets. When he should be in for Friday night dinner, he’s sleeping out under the stars in his back garden. Why? What planet is he living on? Certainly not planet Manchester, with its rain and grey buildings.
The Last Posse
Director: Matt Poitras
Country: United States; Running Time: 37 minutes
Set in Texas in 1903, this historical fiction takes place at the end the Old West era. US Marshal Townson is tasked to form a Posse and bring in an infamous gang of outlaws. An experienced lawman, Sheriff Codwell leads the Posse to apprehend the McCarron Gang. Cousins Mick and Ned McCarron on their way to find the founder of the gang, Cillian, to inform him of the death of his nephew. Mexican Bandidos show up and all hell breaks loose. The Posse is now outnumbered and is forced into a shootout.
Legend of the Cornpone Kid
Director: Charlie Walden
Country: United States; Running Time: 17 minutes
Rural Texas, 1914: a five-year-old boy and his father find themselves transformed forever by the winds of historical destiny. Based on the life of Lyndon B. Johnson (US President 1963-1969).
The Lily & The Scorpion
Director: Charlie Netto
Country: Canada; Running Time: 14 minutes
Infamous outlaws The Lily and The Scorpion are on the run after a bank job gone wrong, but as day turns into night, the partners’ trust in each other begins to fray.
Lithium
Director: Smitch Sifuentes
Country: United States; Running Time: 6 minutes
You don’t get better until you accept the process.
Nobody’s Perfect
Director: Joshua Collins
Country: United States; Running Time: 9 minutes
Two best friends become amateur hitmen in order to make ends meet, but they soon realize they are in over their heads.
Not the Same Clarence
Director: Brian Russell, Samuel B Russell
Country: United States; Running Time: 15 minutes
A man must come to terms with his fathers Alzheimer’s disease.
Rockgut Whiskey
Director: Trevor Rock
Country: United States; Running Time: 2 minutes
A chicken thief is attempting to escape from the town.
The Satchel
Director: Joseph Stevens
Country: United States; Running Time: 15 minutes
Riding aboard a steam locomotive in the heart of the Wild West, a mysterious traveler enlists the help of a seasoned outlaw to retrieve his stolen satchel, which contains a deadly secret.
SilverSizzle
Director: Brian Russell
Country: United States; Running Time: 14 minutes
A cemetery caretaker embarks on a quest to help two recent widowers find new love among widows visiting their departed spouses. Widower Buddy has some experience being alone when he meets Jamie while visiting the graveside of his recently departed wife. Engulfed in loneliness, Jamie gets pulled into life in all its messiness when Buddy tells him about getting old, “the options are not kind. Loneliness, irrelevance, invisibility.”
Titty Boy
Director: Austin Ford Franklin Culp
Country: United States; Running Time: 14 minutes
Titty Boy tells the story of a teenage boy with gynecomastia (aka “man boobs”) who attempts to change his body by taking matters into his own hands.
Top Secret Jazz
Directors: Tommy Simms, Joe Ludwig
Country: United States; Running Time: 7 minutes
A lone stranger rides into a weathered settlement and tussles with the locals. After a lethal encounter, the gunslinger is transported to a mysterious lounge, where he learns secrets of a trade he never imagined.
Toska
Director: Alessia Devecchi
Country: United States; Running Time: 12 minutes
A hunter’s obsession with the creature that has eluded her leads her down a dangerous and lonely path.
Yesteryear Once More
Director: George Meyers
Country: United States; Running Time: 21 minutes
Episode #4 in the “Robo Hills” Time Travel/Old West/Sci-Fi series.
 
 

#### BIRDMAN
BIRDMAN

	 

	By: Gary Murray

	 

	Directed by: Alejandro González Iñárritu

	 

	Cast: Michael Keaton, Emma Stone, Kenny Chin, Jamahl Garrison-Lowe, Zach Galifianakis, Naomi Watts

	 

	MPAA Rating: R (for language throughout, some sexual content and brief violence)

	 

	Selig Rating: Matinee

	 

	Runtime: 119 Min.

	 

	 

	Michael Keaton was one of the biggest stars in the world in the 1980s and 1990s.  From Batman to Multiplicity to Pacific Heights, the actor could do it all.  Being equally adept at action, comedy and thrillers, he was the artist of this time.  The 21st century had not been as high profile for the actor, with voice-over work and small roles such as Need for Speed.  His latest film Birdman or (the Unexpected Virtue of Ignorance) feels more like his comeback picture.  

	 

	The film is written by Alejandro Gonzalez Inarritu, Nicolas Giacobone, Alexander Dinelaris and Armando Bo and it directed by Inarritu.  He is best known for Babel and 21 Grams.   This film is a definite departure from those works.

	 

	The story is of an actor Riggan (Michael Keaton).  He is an movie star who had much success many years ago with a super hero character Birdman.  The role has made him millions of dollars but garnered little respect.  He has bankrolled what is left of his fortune on this play; writing, directing and acting in an adaptation of the Raymond Carver stories 'What we Talk About when we Talk About Love."  In his mind, he hears the Birdman character talking to him and taunting his abilities.  At times, Riggan believes he has super powers and it is played for seriocomic delusions.  

	 

	As the play finishes rehearsals, Riggan knows that one of the actors just does not get the material or understand how to deliver it.  His co-star Lesley (Naomi Watts) suggests they hire her off-again, on-again boyfriend Mike (Edward Norton) for the part.  He is a brilliant actor with a perfect memory but very method.  He pushes the buttons of the cast, challenging everyone at every turn.

	 

	Added to the mix of problems getting the show going is Riggan's daughter Sam (Emma Stone).  The very young woman is fresh out of re-hab and trying to clean up her life.  She has taken a job as Riggan's assistant which brings its own set of challenges.  She also catches the eye of Mike who still lives with Lesley.

	 

	As if all this were enough, Riggan has been sleeping with his other co-star Laura (Andrea Risenborough).  She may or may not be pregnant. There is also the ex-wife Sylvia (Amy Ryan) and his worrisome lawyer/show co-backer Jake (Zach Galifianakis).  If it all feels like a soap opera, that is a fairly right comparison.  It is also a world where they confuse love for admiration. 

	 

	The more the previews go, the worst the play seems to become.  All of the pressures of live theater melded with the idea that Riggan may or may not be going insane drive the plot.  In the end, we discover that actors are temperamental, crazy and driven.  

	 

	This is easily the best performance of Michael Keaton's career. If he were ever going to win a career Oscar, this would be the role to do it.  It has all the elements that the Academy looks for in a career rewarding accolade.  There are few chances left to honor the man and this role could be the one to get him that golden statue.

	 

	It is truly amazing how well Ed Norton comes across.  He is one of the more brilliant actors of his generation and has delivered such grand performances in The Score, American History X, Fight Club and The Illusionist (just to name a scant few).  While playing an actor may not seem like such a stretch, he does the egotist to perfection.  It is another strong reading from a strong actor. 

	 

	But, there are some major problems with the film.  First off, Director Inarritu does those long takes with a moving hand-held camera too many times.  By trying to get a documentary feel, he makes the audience seasick.  What was once used as a character, it is now used as a style choice and the choice has become stale over the years.  For gosh sake, buy and use a tripod.

	 

	The music is basically 1950's style jazz drums which is supposed to give that gritty NYC feel.  But it is too much, too often.  More actual music and less beating of the skins would have made the experience feel more like a movie and less like a beatnik experimental short.   

	 

	At times, the entire work feels like a tangent of Brazil, the Terry Gilliam film of many years ago, mixed with something Wes Anderson would direct.  It has that manic feel that everything may fall apart at any given moment and quirky characters one would never meet in the real world.

	 

	Another problem is using Raymond Carver as the source material of the play.  While 99% of the planet have never heard of the author who produced half a dozen tomes of short fiction, he is known among some of the more literate readers of fiction.  His work is cherished by those who live and breathe The New Yorker magazine.

	 

	In Short Cuts, Robert Altman tried to capture the essence of Raymond Carver.  He got the words right but not the sentiments.  The same critique goes here.  There is a subtle degree of humor in the boozing, lost souls of Carver's work that is somehow missed in the reinterpretation of the material.  It is another group that does not 'get' Carver.  

	 

	While some people have been going crazy over Birdman, I found the film a bit too over-the-top, a bit too 'hip back-stage' and more than a bit too long.  In the end, there are few new ideas presented, just some good performances

	 

	 

	Movie Site: http://www.foxsearchlight.com/birdman/

	 

	 

	The Selig Rating Scale:

	 

	FULL PRICE – Excellent movie, well worth the price

	MATINEE – Good movie

	DOLLAR – OK movie

	CABLE – No need to rush. Save it for a rainy day.

	FREEBIE – Good that I saw it on the big screen but wish I hadn't paid for it.

	COMMERCIAL TV – Commercials and cutting to the allotted time will not hurt this one.

	FORGET IT! – Bad. If you see this one, do yourself a favor and keep it to yourself.

	GET YOUR TORCHES – BAD! – Burn the script, the writer, the director and maybe even the actors!

#### BIRDS OF PREY – A Review By Gadi Elkon
After splitting with the Joker, Harley Quinn joins superheroes Black Canary, Huntress and Renee Montoya to save a young girl from an evil crime lord.
Here is my review of BIRDS OF PREY.

A twisted tale told by Harley Quinn herself, when Gotham’s most nefariously narcissistic villain, Roman Sionis, and his zealous right-hand, Zsasz, put a target on a young girl named Cass, the city is turned upside down looking for her. Harley, Huntress, Black Canary and Renee Montoya’s paths collide, and the unlikely foursome have no choice but to team up to take Roman down.
Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn lives up to that wordy title.  Margo Robbie already made Harley Quinn the most lovable element of Suicide Squad and only amps things up in this solo breakfree film.  The Aussie actresses continues to shine with each role.  After two spectatular roles in BOMBSHELL and MARY QUEEN OF SCOTS Robbie got to dive back into crazy fun with Harley Quinn.  The film relies on how much you can stick with Robbie’s performance and she delivers perfectly.  Every costume change and violent interaction is filled with such enjoyment.
All about the LADIES!  The other refreshing and enjoyable element of this film is just how many ladies make this possible. Writer Christina Hodson is a hot figure in the writing world (Batgirl and The Flash coming up!!) and she gives us so many humor filled moments with the dialogue and the voiceover from Quinn herself.  That inner-monologue is one of the better structure elements of the movie.  Director Cathy Yan’s leap from China to America is well deserved.  Her film Dead Pigs was another unusual humor filled work of uniqueness and now she’s transitioned nicely into the wacky world of DC’s Birds of Prey.  Overall that combo working with tremendously talented DP Matthew Libatique gives us one of the year’s more fun rides.  His ability to add the blinding speed and violence in the film is worth your time and money.  Lastly add in the British touch of composer Daniel Pemberton.  His quirky musical tone really adds so much to the mystic of Quinn and her new female crew.  That crew is highlighted by Jurnee Smollett-Bell’s scene-stealing performance as Black Canary.  Mary Elizabeth Winstead isn’t as showcased sadly as the there is a mystery element to her role as Huntress.  But if sequels are coming Winstead could end up becoming a really fun character for fans as she kicks major ass.  Add in the anger of Rosie Perez’ take on Renee Montoya and you have a bad group of killer birds.  Newcomer Ella Jay Basco gets to have a lot of thieving fun and she skips through the movie with such delight.
One off villains aren’t always the best options in these comic movies.  You either don’t get enough time with the dastardly devilish figures as you’d like or they just suck.  Ewan McGregor as Roman Sionis debunks that and his slightly to close sidekick played by Chris Messina is also well fleshed out.  With each new moment with McGregor and the scarred Messina character you start to really enjoy the duo.  McGregor really seems to relish playing such an eccentric bad guy and by the second half of the film is in full over-the-top mode.  His wild ass nature is the perfect foil to Harley Quinn’s already wacky ways.  The costume/clothing department in the film deserves Oscar look next year just for the contrast of Quinn’s attire to Sionis’ suits.
In the end the film is visually stunning with Libatique behind camera and the Ladies, McGregor and the cast dominate throughout.  A fun filled 2 hours that will make you want to grab a bat and cause mayhem.
Fly birdies fly over to the theaters!
BIRDS OF PREY
Directed by: Cathy Yan
Written by:  Christina Hodson
Rated R
Selig Rating 4 Stars
Running Time: 1hr 49min
Action / Adventure / Crime
Wide Release: February 7th
Starring: Margot Robbie, Rosie Perez, Mary Elizabeth Winstead, Jurnee Smollett-Bell, Chris Messina, Ella Jay Basco, Ewan McGregor
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### BIRDS OF PREY – A Review by Hollywood Hernandez
BIRDS OF PREY – A Review by Hollywood Hernandez
Birds of Prey is a quirky action film with plenty of laughs and plenty of action. The movie starts with a narrative from Harley Quinn, who’s played by Margot Robbie, where she describes her version of her break-up with The Joker. Now that she no longer has Joker’s protection she’s wanted by every criminal-type in Gotham City and a lot of cops, mainly Rosie Perez’s character, Detective Montoya.
The first half of the movie belongs to Robbie as she dances through whatever comes her way and shows her deranged and demented point of view. Her half of the movie is a lot of fun.
Then the plot gets rolling when the evil Roman Sionis, aka Black Mask, played by Ewan McGregor, puts out a bounty on a little girl named Cass, 13-year-old actress Ella Jay Basco, and that’s when the movie kicks into overdrive. The little girl has swallowed a priceless diamond and there is nothing that Black Mask and his henchmen won’t do to retrieve it.
A singer at Roman Sionis’ club has an ear-piercing vocal range and some serious street fighting skills. She is known as Black Canary and played by young New York actress Jurnee Smollett-Bell. The rest of the kick-butt girl crew consists of Mary Elizabeth Winstead as Huntress, who’s hellbent on revenge after her entire family is killed in front of her and Rosie Perez’s Detective Montoya, who gets kicked off the police force.
All of the ladies are really good in their roles but it’s the badder than before Margo Robbie, who plays the demented Harley Quinn who has the blackest soul with a heart of gold. She doesn’t believe in anything and has the morals of a jackal, which by the way Harley has one as a pet. In the end, she just wants to be liked.
Birds of Prey is rated R and runs 1 hour and 49 minutes. The movie is a guilty pleasure. It will have you laughing at things that you really know you shouldn’t, but you won’t be able to help yourself.
On my “Hollywood Popcorn Scale” I rate Birds of Prey a JUMBO.

#### BITCOINBILEN/THE BITCOIN CAR – A Review by Jenn Rohm
BITCOINBILEN/THE BITCOIN CAR – A Review by Jenn Rohm
Movies do not have to follow logic or the rules of reality.  This provides a lot of options when someone decides to make a surreal film.  In his debut feature film, The Bitcoin Car, director, writer, and producer Trygve Luktvasslimo brings us to an island that agreed to allow bitcoin to be mined, like naturally occurring precious metals and gems.  The residents were paid for use of the land where the local graveyard sits, without having to move the bodies first.  So, when they don’t see digging or tunnels and then there are environmental impacts like warmer lake water the worries of what is happening begin.
The story has logic and a flow to it and Luktvasslimo had a complete vision that he brought to the screen.  Along with bright visuals, strong acting, and songs that may stay with the viewer this is a film that I believe will have a cult following.  I am not one of the people this movie was made for.  With all the different interests and likes out there for people, there should be movies made for those who will adore this one.
The film itself was well made and it held my attention rather well, all things considered.  I was glad for the English subtitles as I counted six different languages being used.  Of course, watching with English being spoken and English subtitles uses a different logic than languages I am not able to speak with English subtitles.  This threw me a little, but that is a me thing. 
For fans of surreal movies with musical numbers and wanting some insight into Norwegian life, check out The Bitcoin Car when you can.
 
Director/Writer/Producer: Trygve Luktvasslimo
Cast: Sunniva Birkeland Johansen, Henrik Paus, Espen Beranek Holm, England Brooks-Ellingsen, Arne Martin Fagerås
MPAA Rating: Not yet rated
Genres: Comedy, Drama, Musical
Language: Norwegian, Finnish, Estonian, English, Latin, and a little Spanish with English Subtitles
Selig Rating: 3 stars
Runtime: 1h 33m
Festival Entry: Slamdance Film Festival 2024
Trailer: The Bitcoin Car Trailer  
Website: The Bitcoin Car Website
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well there was nothing else…
1 Star – Total waste of time.

#### Bite Size Halloween – Interview Series – THE KAPRE Writer/Director Carlo Ledesma
This week we are highlighting 5 of the brand new shorts apart of Hulu’s Bite Size Halloween’s third season.  Up first is THE KAPRE’s Writer/Director Carlo Ledesma.

In celebration of #Huluween, 20 new horrifying shorts will debut for Bite Size Halloween Season 3! All episodes stream October 1 on Hulu.
From Writer/Director Carlo Ledesma comes THE KAPRE:
“Two unsuspecting Americans awaken a large and legendary creature while camping in an enchanted Philippine forest.”
Interview with Writer/Director CARLO LEDESMA:

In celebration of Huluween, 20th Digital Studio’s Bite Size Halloween series of spooky shorts is back for a third season! Twenty new shorts from exciting emerging filmmakers premiere October 1 on Hulu, blending genres like horror, comedy, sci-fi, thriller, and more.  Shot in seven different countries, this season takes on topical issues such as racism, gender, parenthood, sexuality, and identity.
For more information visit: https://www.20thdigitalstudio.com/ or follow: @20thDigital on Instagram & Twitter, or  facebook.com/20thdigitalstudio. 
For more info on Carlo Ledesma.

#### Bite Size Halloween – Interview with BUG Co-Writers and Co-Directors Coral Amiga and Nicole Hartley
A frustrated mother forces her misbehaving daughter out of the car and loses her in a mysterious forest. 
BUG Co-Writers/Co-Directors Coral Amiga and Nicole Hartley talked with our Gadi Elkon about their BSH short!

In celebration of #Huluween, 20 new horrifying shorts will debut for Bite Size Halloween Season 3! All episodes stream October 1 on Hulu.
Coral and Nicole talked with Gadi about the mask in the short, sound design for the film and much more!
Interview with Co-Writers/Co-Directors Coral Amiga & Nicole Hartley:

In celebration of Huluween, 20th Digital Studio’s Bite Size Halloween series of spooky shorts is back for a third season! Twenty new shorts from exciting emerging filmmakers premiere October 1 on Hulu, blending genres like horror, comedy, sci-fi, thriller, and more.  Shot in seven different countries, this season takes on topical issues such as racism, gender, parenthood, sexuality, and identity.
For more information visit: https://www.20thdigitalstudio.com/ or follow: @20thDigital on Instagram & Twitter, or  facebook.com/20thdigitalstudio. 
For more info on Coral Amiga & Nicole Hartley

#### Bite Size Halloween – Interview with Director Samantha Aldana
“A farmer caring for her dying mother has her prayers answered from above.”.
Director Samantha Aldana talked with our Gadi Elkon about her BSH short, ANGELS.

In celebration of #Huluween, 20 new horrifying shorts will debut for Bite Size Halloween Season 3! All episodes stream October 1 on Hulu.
Samantha talked with Gadi about her Mississippi roots, the awesome visual effects in the short and much more!

In celebration of Huluween, 20th Digital Studio’s Bite Size Halloween series of spooky shorts is back for a third season! Twenty new shorts from exciting emerging filmmakers premiere October 1 on Hulu, blending genres like horror, comedy, sci-fi, thriller, and more.  Shot in seven different countries, this season takes on topical issues such as racism, gender, parenthood, sexuality, and identity.
For more information visit: https://www.20thdigitalstudio.com/ or follow: @20thDigital on Instagram & Twitter, or  facebook.com/20thdigitalstudio. 
For more info on Samantha Aldana.

#### BLACK ADAM – Review By Gadi Elkon
Is it possible for an origin film to try so hard, to fit in every trope and idea imaginable, that the movie ruins the origin genre?  Black Adam gets awfully close, but hey Mo Amer is hilarious!  Here’s my full review.

In ancient Kahndaq, Teth Adam was bestowed the almighty powers of the gods. After using these powers for vengeance, he was imprisoned, becoming Black Adam. Nearly 5,000 years have passed and Black Adam has gone from man, to myth, to legend. Now released, his unique form of justice, born out of rage, is challenged by modern day heroes who form the Justice Society: Hawkman, Dr. Fate, Atom Smasher and Cyclone.
This bloated origin tale throws every conceivable idea as it can at the audience.  Instead of trashing the film as many, many others have been doing I’ll just give a couple of highlights.  These are not saving graces but more the only things I actually thought worked.
Mohammad Amer aka Karim in the film aka the brother aka the funny comedian with his really funny show is the only enjoyable part of this movie!  Look you need to watch Mo’s show or at least his stand up specials.  The Houstonian is easily the comedic relief for this “blockbuster”.  The Rock’s most catch-worthy lines are worked off of Amer’s wise cracking moments.  In a movie dominated by boring CGI battle fodder the comedic ebb and flow between Amer, The Rock, or any of the “protected” family members is all that seems worthy.  The historical breakdown is so rushed and holds a massive twist that honestly defeats the entire trope all together.  This is all before the ZOMBIES show up!
The Black Adam suit looks pretty cool is another positive.
The light connection to Egyptian life and history are handled with more woke hands but ultimately gets lost.
If you need to feel numb for 2 hours and 4 minutes, Black Adam is a decent choice.
BLACK ADAM
Directed by: Jaume Collet-Serra
Written by: Screenplay by Adam Sztykiel, Rory Haines, & Sohrab Noshirvanni.  Created By Otto Binder & C.C. Beck
Rated: PG-13
Selig Rating: 2 Stars
Running Time: 2hr 4min
Action / Fantasy / Sci-Fi
Release: In Theaters only on October 21st
Starring: Dwayne Johnson, Mo Amer, Pierce Brosnan, Aldis Hodge, & Viola Davis
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### BLACK AND BLUE – A Review by Hollywood Hernandez
 
BLACK AND BLUE – A Review by Hollywood Hernandez
In Black and Blue, Naomie Harris, the first black woman to play Moneypenny in the Bond films, is Alicia West, an Army veteran who spent time in Afghanistan and now she comes home to New Orleans to become a cop.  Her world is turned upside down when she witnesses a detective from her precinct kill a drug dealer.  The rookie cop is wearing a body camera and the entire incident is captured on video.  The cops involved in the murder, including her own partner, are out to kill her and retrieve the body cam.
The movie also stars Tyrese Gibson, from Transformers, who is a childhood friend of Alicia.  With no one else to turn to, Alicia turns to Mouse to help her while she’s being chased by the cops, drug dealers and the entire New Orleans neighborhood who are hassled by the local cops.  They think Officer West killed the nephew of the neighborhood’s biggest drug lord and everyone wants to kill the young rookie officer now that there is a price on her head.
The movie brings racism and the cops to the forefront, without being preachy or heavy-handed.  Director Deon Taylor puts the spotlight on the abuse that racist cops perpetuate in the low-income neighborhoods of African-Americans.  The movie makes a political statement that will have audiences talking.
Meanwhile, Alicia West is a hero in the movie.  Black or white she believes in the concept of right and wrong and justice for everyone.  Her spirit won’t allow her to stop as she struggles mightily to get her bodycam to the precinct and to get it downloaded.
Black and Blue is a real shoot-em-up thriller that’s rated R for violence.  There’s a lot more in the 1 hour and 48-minute long movie but I don’t want to give away any spoilers.
I really enjoyed Black And Blue.  On my “Hollywood Popcorn Scale” I rate this movie a JUMBO.

#### BLACK BAG – A Review by Jenn Rohm
BLACK BAG – A Review by Jenn Rohm
It has been a long time since I was so fully pulled into a movie that I barely moved, didn’t check the time, and was a bit sad when it was over, as I didn’t want to leave the characters or story. Black Bag did just that for me.
George Woodhouse, Michael Fassbender, works for a government agency and is the best at getting the truth out of people.  While it is widely known that using a polygraph is his strength, few know that playing games is his real strength.  At the start of the film, he is given a new assignment to find a traitor in their organization, and one of the names to be investigated is Kathryn, Cate Blanchett, who happens to be his wife.
The chemistry between Fassbender and Blanchett simmers throughout the entire hour and thirty-three minutes of running time.  At times, George’s character comes off as cold and calculating, yet when it is just the two of them, he is still deliberate with his words and movements, and the heat behind them cannot be missed.  Kathryn is a confident woman; I wish more of us could be in the real world.  She knows who she is, loves her husband deeply, knows he loves her deeply, all while being aware of what needs to be done and isn’t afraid to do it.
The opening scene was shot as if you were following George, trying to pick up possibly essential details, and not give in to possible distractions.  I am sure this helped me with my becoming invested at the start.  The witty banter and twists of the story kept me following along. 
Within the organization, there did not appear to be any rules against fraternization; it felt more like it was encouraged. This allowed for additional characters with more than just surface-level storylines. It wasn’t just during required therapy sessions that we learned what drove others to make their choices.  The selection of a strong cast that delivered quality performances will keep this one in my brain for a while.
I would appreciate having a better understanding of why a star filter was used during a dinner party scene with candles and later in the Woodhouse’s closet with bar lights. This created blind spots and the dull pressure of a headache.
I look forward to watching this film again and discovering things I missed during prior viewings.  I also will not be eating fish for a bit.          
 
Director: Steven Soderbergh     
Cast: Michael Fassbender, Gustaf Skarsgård, Cate Blanchett
MPAA Rating: Rated R for language including some sexual references and some violence.
Selig Rating: 5 stars
Runtime: 1h 33m
Release Date: March 14, 2025
Genre(s): Drama Thriller
Movie Site: Black Bag website
Trailer: Black Bag trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### BLACK BARBIE: A DOCUMENTARY – A Review by Jenn Rohm
BLACK BARBIE: A DOCUMENTARY – A Review by Jenn Rohm
When Lagueria Davis moved to LA, her aunt, Beulah Mae Mitchell, offered her a room to stay in.  Conversations to get to know one another began and Lagueria learned some fascinating history that helped lead to Black Barbie: A Documentary being made.  When Mitchell moved from Fort Worth, Texas to Los Angeles, California in the late 50s a friend helped her get a job with Mattel.  She worked her way up and remained with the company for over 44 years.
With the name of the film and near the start being conversations with Mitchell about her days at Mattel I expected the focus to be specifically about Barbie.  Davis brought so much more into the piece.  With the use of interviews, group conversations, puppeteering of Barbie’s by FunCo, and children’s feedback there is a lot to unpack.
There were some very powerful moments from history including footage of the Clark Doll Experiment from 1947 showing the impact of choices made by Politicians on how innocent children viewed themselves. I learned that this experiment was a deciding factor in the Brown v. Board of Education ruling.  The history of the Shindana Toy Company and Mattel helping it have a successful start was fascinating to me.
One of the biggest takeaways for me is that one person asked another person a question, leading to change.  It didn’t require lawsuits or national media coverage.  It was a moment between two people that respected each other that started the process.  The first option isn’t always the strongest or the best.  It can lead to more questions, ideas, and opinions being welcomed.
While I found the piece eye-opening, it does have me asking “Now what?”  There were important questions being asked and ideas being raised.  What does the viewer do with the knowledge they now have?  How do we create safe places to have discussions and ask questions?  What are other topics to be researched or actions to take? 
Bentonville Film Festival feature entry
 
Director: Lagueria Davis
Written By: Lagueria Davis
Cast: Monica L Bailey, Kitty Black Perkins, Raj Brown
MPAA Rating: Not yet rated.
Genres: Documentary
Selig Rating: 3 stars
Runtime: 1h 40m
Release Date: March 11, 2023
Movie Site: Black Barbie: A Documentary web site
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well there was nothing else…
1 Star – Total waste of time.

#### BLACK BEAR – A Review by Cynthia Flores
BLACK BEAR – A Review by Cynthia Flores
I told a friend of mine I absolutely loved this new arthouse film Black Bear from writer/director Lawrence Michael Levine. When asked what it was about, I told her, “I don’t know exactly, but it’s brilliant.” Few films can get this kind of reaction out of me since it’s my job to know what a movie is about. I know this is a breathtaking dramatic independent film that is a blast to watch.
Black Bear is a film done in two parts. Each has its own visual language. The first part is filmed with atmospheric cinematic framing that reminded me of old Akira Kurosawa films. And the second part is done in a more Cinema Verité style. Both have shared a fantastic score by Giulio Carmassi and Bryan Scary that would have been more at home in a big picture film.
Both parts of the film also share the same core leads. They just change character situations. The fantastic ensemble cast consists of Aubrey Plaza as Allison, Christopher Abbott as Gabe, and Sara Gadon as Blair. However, the film belongs to Aubrey Plaza. She gets to give a riveting performance that will keep your eyes glued to the screen. She gets to show off all her acting chops as the filmmaker Allison who is at a creative impasse.
When we first meet her, Allison is up at a remote lake house in the Adirondack seeking solace from her husband and working on her next project. Only to find that the young couple that run it will pull her into their drama. All this happens while a bear in the woods circles the home at night. It’s wildness calling to her own. As the film progresses in part two, Allison is the lead in an independent movie on its last shooting day. The set has as much going on behind the scenes as it does in front of the camera.
In the end, it’s up to you as the audience to decide. Which part of the film is the reality, and which is Allison’s creation as a writer/director/actress in the story? Black Bear is listed as a drama but has some hilarious momentum woven into its philosophical rants. It is such a satisfying bit of filmmaking.
I give Black Bear a 5-star rating. Catch it on the big screen or at home. But by all means, watch this film that is destined to make best-of lists for 2020.
 
Directed by: Lawrence Michael Levine
Written by: Lawrence Michael Levine
Rated: R
Selig Rating: 5 Stars
Running Time: 1hr 44min
Drama
Release: Select Theaters and VOD December 4th
Starring: Aubrey Plaza, Sara Gadon, Christopher Abbott
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### Black Film Festival Postponed For The First Time in 45 Years
 
The Newark Museum of Art today announced that the institution’s 2020 Black Film Festival, the longest running festival of its kind in the United States, and the Paul Robeson Awards will be postponed until 2021 in light of the ongoing global coronavirus pandemic.
Originally scheduled to kick off this July, The Newark Museum of Art Black Film Festival represents an enduring legacy in the history of U.S. film festivals that celebrate African American and African diasporic producers, filmmakers, directors and actors.
“We regrettably must take a hiatus this year from presenting the Festival, which has been running continuously for 45 years,” said Linda C. Harrison, CEO and Director of The Newark Museum of Art. “However, as a 110-year-old institution, we know how to take the long view, and have already begun planning for our re-opening of the festival in 2021.”
The Museum is already planning for a tremendous return next year and expects to announce details in the spring. Next year’s lineup of films and speakers will add to an already rich tapestry of artists and film professionals who have participated in the festival over the past forty plus years including Ava DuVernay, Danny Glover, Isaac Hayes, Spike Lee, James Earl Jones and many others.
In addition, the Paul Robeson Awards, a biennial competition recognizing excellence in independent filmmaking, will now be held in 2021. Submissions for the Robeson Awards will be considered next year with all entry fees for 2020 refunded.
Since 1971, the Festival has screened nearly 900 films to an audience of over 200,000 adults and youth, and has been generously underwritten by Bank of America for 19 years. “The Newark Museum of Art’s Black Film Festival has created greater cultural understanding that has enriched our community,” said Alberto Garofalo, Bank of America New Jersey Market President. “The way we support our community is a reflection of who we are as a company and our long-term partnership with the festival is another demonstration of the bank’s longstanding commitment to the arts, diversity and inclusion that have strengthened New Jersey through the years.”
Next year’s festival will also honor the many contributions of Patricia Faison, who is retiring this spring after joining The Newark Museum of Art in 1971. Faison, a Newark resident, holds the distinction of the longest-tenured employee on staff and the single most consistent force behind the Festival. As the marketing coordinator for the Museum, she has led the selection process to determine which films would be screened and served as the primary contact for corporate sponsorships.
“Pat has been a wonderful role model, exhibiting consistently how to care about your fellow colleagues. Her joie de vivre spirit walking through the halls of the Museum will be missed.  We look forward to celebrating her groundbreaking work on the Black Film Festival in 2021,” Harrison stated.

#### BLACK NATIVITY
BLACK NATIVITY

	By Gary Murray

	Starring Forest Whittaker, Angela Bassett and Jennifer Hudson

	Written by Langston Hughes and Kasi Lemmons

	Directed by Kasi Lemmons

	Running time 93 min

	MPAA Rating PG

	Selig Film Rating: Cable

	 

	The musical has been around for almost as long as there has been cinema.  It truly fell out of grace in the late 1960s but still keeps a toe-hold on the cinema experience.  Les Miserables, Chicago and Rock of Ages have all been recent films that started on the Great White Way.  The latest film to try and scale this mountain is Black Nativity. 

	The film starts out in Baltimore with a mom and son.  Langston (Jacob Latimore) lives with his mother Naima (Jennifer Hudson) but has no relationship with any other member of his family.  It seems that mom has been estranged from her family since before Langston can remember.  The family has fallen on hard times and mom sends Langston to New York City for the Christmas holiday.  Almost immediately, the young man gets in trouble and is thrown in jail. 

	Eventually he meets his grand parents, Reverend Cornell (Forest Whitaker) and Aretha (Angela Bassett).  They try to accept the child into their world but it is very difficult.  All the kid wants to do is get back to his mother.  He has no connection to his family.  Eventually, Langston steals a prized possession from the Reverend and tries to pawn it.  Even the owner of the pawn shop knows who item belongs to and refuses to take it. 

	The story is of how Langston begins to understand the ramifications of his family dynamic and how events that happened before he was born impact his life.   He is the angry young man who learns how to love.  Along the way to this realization, there is much song and a bit of dancing.

	That is one of the major problems with the film.  The songs don’t have a hook, they just ramble along.  After the film was over, I failed to remember even one tune from the last ninety minutes.  The songs become lost in the ether of the cosmos without making any impact on the audience.  A musical should have music that is memorable and Black Nativity fails to this jump this hurdle. 

	Even though the film is a scant 90 minutes, it drags along.  The work is based on a play by Langston Hughes.  It probably worked better as a play than a cinematic musical.  So much of the film is challenging but not challenging in a good way.

	The last third of the film goes into a surreal telling of the tale of the Christ birth.  Where this may have worked on the boards of a stage, it doesn’t translate that well to the cinema.  The ending has a big reveal that is not that much of a surprise, telegraphed well in advance.  The message of “Be grateful for everything you get” is almost beaten into the ground.  It is very over-handed in its message almost to the point of detriment. 

	Angela Bassett still looks wonderful but almost looks lost in the proceedings.  Her subtle reading is the only fresh voice in the film.  Forrest Whittaker and Jennifer Hudson chew every bit of the screen in a plethora of overacting.  They mug and play to the camera in such a way that it almost becomes a parody of the musical.  Both are good actors but they both needed a stronger director to tone them down. 

	The entire film boils down to the director.  Kasi Lemmons was at the helm of Eve’s Bayou, The Caveman’s Valentine and Talk to Me.  All of them are interesting works but here it is just too much.  She never finds the right beat to make the film work

	Though the film is well-acted in the secondary characters, it is not well executed.  All of the major talents have done better projects.  This is a Thanksgiving film that will be gone and forgotten by Christmas. 

#### BLACK PANTHER – A Blu-ray/DVD and Digital HD Review by John Strange
 

	BLACK PANTHER – A Blu-ray/DVD and Digital HD Review by John Strange

	 

	It is hard to believe that any of you might not have seen this film yet based on ticket sales.  Actually, I know that at least a few of you haven't so here is a quick synopsis of the film!

	 

	Black Panther is the story of T'Challa (Chadwick Boseman), the heir to the king of the African nation of Wakanda, but more, it is the story of a ruler and his beloved country that must wake up and step forward into the light of day, helping the people of this planet make our home a better place to live.  The film gives us a little of the backstory.  Wakanda has for decades kept a close eye on the major powers via a network of spies.

	 

	Spies?  That makes no sense to anyone who might not know the truth about Wakanda. As we find out about that backstory most of the audience in the theater with me sat with wide eyes and the occasional open mouth.

	 

	The events we witnessed would have repercussions for T'Challa and his people many years later…

	 

	When T'Challa successfully passes the test to ascend to the throne of Wakanda, his challenges are only beginning.  Helping him meet these challenges are his family and the royal guard.  His Mother, Queen Ramonda (Angela Bassett) and his younger sister (and tech/science genius), Shuri (Letitia Wright) are his staunchest supporters and advisors.  The captain of the guard, Okoye (Danai Gurira) and T'Chala's love interest/master spy, Nakia (Lupita Nyong'o), are also fierce champions of both their King and the country.  They each support their king as their conscience leads them to.

	 

	The action in this film is intense and exciting.  The characters are a large part of why this film has done so well.  Both heroes and villains are larger than life and watch-worthy.  They are well balanced with both sides performed by some of the best actors in the business.  Chadwick Boseman and the heroes are why we love movies.  On the other side of the coin, the villains led by Michael B. Jordan (Erik Killmonger) and Andy Serkis have to be thanking the writers who gave them roles anyone in the business would have fought tooth-and-nail for.

	 

	Overall, this is a film worthy of watching again and again.  I think this has been proven by the ticket sales.  It is already the #3 highest grossing domestic film of all-time having eclipsed Titanic in early April, 2018!  And the film is currently the top-grossing superhero movie of all time at domestic box offices!

	 

	But now I get to talk about my favorite part of reviews of the home entertainment packages.  Whether I am given blu-ray, DVD, or digital HD versions, all have great extras to complement the film itself.

	 

	For Black Panther I received a digital HD copy.  While in the past digital HD releases have had fewer extras than the disks, that is changing on many new films.  Black Panther's digital HD release actually has MORE bonus features/extras than the disks!

	 

	When I get one of these films, whether in blu-ray or digital format, I watch all of the extras.  These bonuses take a lot of time to watch.  Wonderful minutes and hours learning more and more about the making of the film and most importantly, the thought that went into the decisions that made  the final product what it is.

	 

	From deleted scenes to featurettes where the filmmakers discuss various aspects of the film.  Some are eye-opening while others you might ask why they are there.  For Black Panther, I had several favorites.  First were the two differing travelogues, showing the old view of Wakanda as well as the new.  I can just see watching them on Saturday mornings as a kid.

	 

	Next was the discussion on the film with several of the writers from the comic book incarnation of the character and Ryan Coogler (Writer/Director), moderated by Nate Moore, the Executive Producer of the film.  Listening the a few generations of writers (the book has been hitting shelves for over fifty years) was very interesting.  I loved hearing Don McGregor talk about the early days of the comic and the groundbreaking they did bringing the character to life and watching it flourish.

	 

	The last of my favorites were the featurettes showing how they made some of the effects and scenes work.  These stories from behind the scenes always give me ideas and dreams that I hope to one day bring to my own filmmaking.

	 

	The least favorite of the extras for this release were the Gag Reel because they are cute but nothing we haven't seen over and over before.

	 

	Normally, the director's commentary of the film would be right up at the top of my list of favorite bonuses.  This one is good and I enjoyed listening to it but there were just too many other extras to choose from that were exceptional.

	 

	While I love the tactile feel of a disk and the way they look in my collection, Digital HD is becoming a great way to grow your film library.  Not only do you save space in your home but you can literally watch them wherever you can access the internet (provided you can get sufficient bandwidth). 

	 

	I have sat in building and hospital lobbies and watched films to pass the time while waiting on family and friends.  I have watched in many places I never expected to such as restaurants and coffee houses while taking breaks.  The software remembers where you were so you can watch them in pieces when your free time is at a premium.

	 

	However you decide, disk or Digital HAD, you will enjoy this film.  It is certainly one I am going to watch many times in the coming years!  (But don't be surprised if you ask and I tell you I also have the blu-ray of the film.  I am. after all, set in my ways and love the disks!)

	 

	 

	 

	Directed By:

	 

			Ryan Coogler
		

	 

	Cast:

	 

			Chadwick Boseman, Michael B. Jordan, Lupita Nyong'o, Danai Gurira, Martin Freeman, Daniel Kaluuya, Letitia Wright, Winston Duke,  Sterling K. Brown, Angela Bassett, Forest Whitaker, Andy Serkis
		

	 

	Extras:

	 

	Blu-ray:

			 Director’s Intro
		

			From Page to Screen: A Roundtable Discussion – Delve into the film’s making
		

			Crowning of a New King – Explore the world of “Black Panther” in all its color and complexity
		

			The Warriors Within – Get to know Wakanda’s women and the actors who portray them
		

			The Hidden Kingdom Revealed – Wakanda’s diverse people
		

			Wakanda Revealed: Exploring the Technology
		

			Deleted Scenes
		

					U.N. Meet and Greet
				

					Okoye And W’Kabi Discuss the Future of Wakanda
				

					T’Challa Remembers His Father
				

					Voices from the Past
				

			Gag Reel
		

			Exclusive Sneak Peek at “Ant-Man and The Wasp”
		

			Marvel Studios the First Ten Years: Connecting the Universe
		

			Director’s Commentary
		

	Digital HD:

			From Page to Screen: A Roundtable Discussion – Delve into the film’s making
		

			Crowning of a New King – Explore the world of “Black Panther” in all its color and complexity
		

			The Warriors Within – Get to know Wakanda’s women and the actors who portray them
		

			The Hidden Kingdom Revealed – Wakanda’s diverse people
		

			Wakanda Revealed: Exploring the Technology
		

			Deleted Scenes
		

					U.N. Meet and Greet
				

					Okoye And W’Kabi Discuss the Future of Wakanda
				

					T’Challa Remembers His Father
				

					Voices from the Past
				

			Gag Reel
		

			Exclusive Sneak Peek at “Ant-Man and The Wasp”
		

			Marvel Studios the First Ten Years: Connecting the Universe
		

			Director’s Commentary
		

			Play Movie with Director's Introduction
		

	Digital Exclusives:

			In World Wakanda Tourism Ads
		

					Come to Wakanda “Before”
				

					Come to Wakanda “After”
				

			The Cast's Must-haves
		

			Creating the Chase: An Inside Look at Black Panther's Car Chase Scene
		

	 

	Specifications:

	 

	Runtime:

	 

			134 Minutes
		

	 

	Studio:

	 

			Marvel Studios / Walt Disney Studios Motion Picture
		

	 

	Release Date:

	 

	Digital HD

	 

			05/08/2018
		

	 

	Blu-ray

	 

			05/15/2018
		

	 

	Region:

	 

			A/1 (U.S. and Canada only)
		

	 

	Website:

	 

			https://marvel.com/blackpanther#/
		

	 

	MPAA Rating:

	 

			PG-13 (for prolonged sequences of action violence, and a brief rude gesture)
		

	 

	Languages/Subtitles:

	 

			English SDH, French & Spanish
		

	 

	Selig Rating:

	 

			BRAND NEW
		

	 

	Selig Rating Scale:

	 

	BRAND NEW: Should add to your DVD collection at any cost

	SALE ITEM: Worth owning, but try to catch it a sale

	SECOND HAND: Plan to get it, but wait to buy it used

	RENTAL: Worth taking a look at, but not owning

	COASTER: Pick it up at a garage sale and use it for drinks

	PULL!: Makes a great Trap Shooting target

#### BLACK PANTHER – A Review by Hollywood Hernandez
 

	BLACK PANTHER – A Review by Hollywood Hernandez

	 

	The first thing people will want to know about Black Panther is does it live up to all the hype surrounding it? Well, the answer is a very unabashed, yes! You have never seen a movie like this one. It is Marvel's first masterpiece on the big screen. 

	 

	Comparing it to the first super hero movie with a black lead character, Blade in 1998, Black Panther is the first major comic book movie with an almost entirely black cast. The movie also presents the women in the film in a positive light as warriors and as royalty. This is a movie that has been long overdue for a time that blacks and women are achieving great things in today's modern history. And it's not just a "black movie"; it's an eagerly anticipated film for all movie-goers.

	 

	Chadwick Boseman is regal as T'Challa/Black Panther. He is the heir to the throne of Wakanda, a country with the most advanced technology in the world. The African country has to be kept hidden from the rest of the world because of that advanced technology, which they fear could end up in the wrong hands. Those fears are realized when a traitor, Erik Killmonger (Michael B. Jordan) betrays his nation and sells the secrets and the raw materials to make advanced weapons to Ulysses Klaue (Andy Serkis), the only outsider to ever see Wakanda and who knows about the country’s advanced technology. 

	 

	T'Challa is unique because unlike the other characters in the Marvel Universe who simply fight for themselves, he is also a king and he has to balance his time away to fight evil with his time as the king of Wakanda. His dual roles force him to travel between two separate worlds and he is torn between the two. 

	 

	Lupita Nyong'o plays Nakia, the "new school warrior" who devotes her time to helping the less fortunate of Africa and also the object of T'Challa's affection, while Okoye (Danai Gurira) is the "old school warrior". She plays the queen's general and is fiercely loyal to both her queen and her country. The two actresses do a marvelous job of portraying strong women who support each other for a common goal.

	 

	The remainder of the cast, including Angela Bassett and Forest Whitaker, are equally strong and the vision of a current day African country, that is like none we've ever seen before in a movie, is created by director Ryan Coogler (Creed and Fruitvale Station). The director paints a painstakingly detailed tapestry of a royal African nation, weaving in colors like royal purple and lush greens. The cinematography is a treat to watch on the big screen.  

	 

	As a comic book/super hero movie Black Panther delivers, but the quality of the film is so much more than the standard action movie. According to industry sources, the movie has the highest production cost of any previous Marvel movie. Although that exact production cost has not been revealed the world that was created for Wakanda and the high-paced actions scenes used money that was well spent.   

	 

	There is so much more to enjoy about Black Panther but I want to be careful not to reveal any details that may ruin your movie going experience. I will say the movie has action, adventure, comedy and romance. Black Panther is everything a movie should be. It's rated PG-13 for violence and has a run time of 2 hours and 14 minutes. Also, as in all Marvel comics’ movies, there's a tease scene that runs after the closing credits and there's also the obligatory appearance by Marvel creator Stan Lee. 

	 

	On my "Hollywood Popcorn Scale" Black Panther gets my highest rating possible, a JUMBO (with extra butter)! Believe the hype! 

#### BLACK PANTHER – A Review by John Strange
 

	BLACK PANTHER – A Review by John Strange

	 

	 

	Sometimes you hear and see so much about a film that your expectations are not met when you see it on the big screen.  In the case of Black Panther, that is NOT the case.  The story of the people of the African nation of Wakanda and their ruler and protector, Black Panther, is a perfect story for our time.

	 

	The backstory of this larger-than-life character from the pages of the marvel comics is worth spilling to those of you who may not have heard of T'Challa aka the Black Panther and Wakanda, his home.  The country, located near the heart of Africa, is considered by the rest of the world to be a third-world country with nothing worthy of notice.

	 

	This perceived reality couldn't be further from the truth thanks to a very large meteor, largely made up of vibranium, which crashed into the region centuries ago.  The five tribes in the region fought wars over ownership of the strange and alien metal.  This kept going until the discovery that the mineral had leached into the earth, changing a "heart-shaped herb", which when ingested, gave someone superhuman strength, reflexes and instinct.  The man who discovered this plant's special properties was able use these powers to stop the wars and bring peace to the tribes.

	 

	The peace allowed the Wakandans to advance their civilization well in advance of that of "the colonizers" (what they call most other people in the world, especially white men).  To protect themselves, they hide their advances behind shields and holograms.  They also sent people out into the world to spy on everyone else.

	 

	In 1992, one of those spies, assigned to Oakland, California, was one of the king's sons, N'Jobu.  About this time, someone gave an arms dealer, Ulysses Klaue (Andy Serkis), the information he needed to sneak into Wakanda and steal a load of vibranium.  The King chose to confront his son in his apartment in Oakland to discover his guilt or innocence in this situation. 

	 

	The discussion gets heated, especially when N'Jobu (Sterling K. Brown) finds out his friend, Zuri, isn't American but is, in fact, a fellow Wakandan spy.  The King is forced to kill his son to protect Zuri's life.  The King and Zuri leave following the death.  What they leave behind will later come back to haunt them.

	 

	In present day, T'Challa (Chadwick Boseman) inherits the throne when his father is killed in a bombing while speaking at the U.N.  His ascension to the throne is marred by the discovery that an artifact made of vibranium has been stolen by Klaue.  T'Challa and his people make arrangements to stop the sale of the artifact.

	 

	From this point on, the similarities to films like Mission: Impossible, are obvious.  There is lots of action in exotic locales with wild fights and vehicle chases.  Like Doctor Strange, the film is loaded to the hilt with amazing CGI.  Unlike Doctor Strange, the CGI enhances our film-watching experience, pulling us into the wondrous futuristic world that is Wakanda without forcing us to constantly try to figure out what it is we are seeing (don't get me wrong, I LOVED Doctor Strange, but the CGI was rough enough that some folks got dizzy watching it).

	 

	The power of T'Challa and Black Panther lies in his spirit and his courage.  It is obvious to me that a least part of this is due to a family that is very strong.  His father, for all of his possible faults, raised his son to be a true leader.  His mother, Ramonda (Angela Bassett), is the epitome of a strong Queen Mother.  His sister, Shuri (Letitia Wright), is one of the country's leading scientists, constantly working to improve the devices that Blank Panther uses.  Her relationship with her brother shows that they aren't just siblings but best friends as well.

	 

	This is a film that you should certainly watch unfold on the big screen for your first viewing.  I see this film spawning more "solo" films (as opposed to the character’s next outing in Avengers: Infinity War due out in May, 2018).  There is simply too much to explore in one or even two films.  They simply MUST give us more films centered upon Black Panther and Wakanda.  On our scale, I have to give Black Panther an A+!

	 

	 

	Directed by: Ryan Coogler

	 

	Cast: Chadwick Boseman, Michael B. Jordan, Lupita Nyong'o, Danai Gurira, Martin Freeman, Daniel Kaluuya, Letitia Wright, Winston Duke,  Sterling K. Brown, Angela Bassett, Forest Whitaker, Andy Serkis

	 

	MPAA Rating: PG-13 (for prolonged sequences of action violence, and a brief rude gesture)

	 

	Selig Rating: A+

	 

	Runtime: 134 Min.

	 

	Movie Site: https://marvel.com/blackpanther#/

	 

	 

	The Selig Rating Scale:

	 

	A – Excellent movie, well worth the price.

	B – Good movie

	C – OK movie

	D – No need to rush. Save it for a rainy day.

	F – Good that I saw it on the big screen but wish I hadn't paid for it.

#### BLACK PANTHER: WAKANDA FOREVER – A Review by Cynthia Flores
Black Panther: Wakanda Forever. © 2022 MARVEL.
BLACK PANTHER: WAKANDA FOREVER – A Review by Cynthia Flores
How does one cope with grief and overcome loss? This is the theme and driving force of the narrative for the new film Black Panther: Wakanda Forever. Unless you live on the moon or under a rock, you are aware that the lead in the now iconic 2018 film Black Panther, Chadwick Boseman, died of colon cancer in 2020. 
When writer/director Ryan Coogler was asked about the untimely death of the star, he is quoted as saying:
“Chad’s passing affected filmmakers and the actors in a way that was incredibly profound,” said Coogler. “Chad was very much our artistic partner in this project, in this franchise, and in this storytelling. I would spend time with him, just he and I, talking about where we wanted to see the character go, where we wanted to see the story go, how much he admired the other characters and the actors that portrayed them. We realized that it would only be right for us to continue the story.”
Luckily for us, they didn’t decide to make an animatronic copy even though they have the technology. Or have another actor just appear as King T’Challa in the new film. Instead, they deal with his loss in a beautiful way that lets the audience grieve together the actual loss of such a talented man. 
I will keep this short and sweet to avoid giving away any spoilers. 
In Black Panther: Wakanda Forever, Queen Ramonda (Angela Bassett), his sister Shuri (Letitia Wright), M’Baku (Winston Duke), Okoye (Danai Gurira), and the Dora Milaje (including Florence Kasumba) fight to protect their nation from intervening world powers in the wake of King T’Challa’s death. 
The heroes must band together as the Wakandans strive to embrace their next chapter. With the help of War Dog Nakia (Lupita Nyong’o) and Everett Ross (Martin Freeman), they forge a new path for the kingdom of Wakanda. This new chapter introduces us to Namor (Tenoch Huerta Mejía), a mighty king of a hidden undersea Mayan nation. They, too, have vibranium, and they know how to use it. Namor has not decided yet if Wakanda will be a friend or a defeated foe. You will have to see this film to find out how it ends and how it all plays out for these two mighty nations.
The film Black Panther: Wakanda Forever has much of the same team in front of the camera and behind it that made Black Panther such a hit. So the cinematography, music, and costumes are amazing. And the chase and fight scenes really pack a punch. Add to the mix the inclusion of the Mayan civilization of Mesoamerica into this Black Panther storyline, and you have a bit of magic all over again. Because there is a whole world of brown-faced little children that will get the thrill of seeing people that look like them as fierce superhuman characters on the big screen. That is the gift that the first film gave to African Americans. And I gotta say, we people of color all look good in this epic and exciting new chapter in the Black Panther franchise. It is definitely worth a trip to the IMAX or other big-screen showings at a theater near you.     
I give Black Panther: Wakanda Forever 4.5-stars. It’s a fitting farewell to actor Chadwick Boseman who originated the role of the Black Panther. And a great way to carry on the story for hopefully more films about Wakanda. Also, you know it’s a good movie when you don’t even notice the long running time.
 
Directed by: Ryan Coogler
Written by: Ryan Coogler, Joe Robert Cole
Rated: PG-13
Selig Rating: 4.5 Stars
Running Time: 2h 41min
Action Adventure / SciFi
Wide Release: In theaters only November 11th
Starring: Tenoch Huerta, Letitia Wright, Angela Bassett, Lupita Nyong’o, Danai Gurira, Winston Duke, Martin Freeman
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.
 

#### BLACK SEA
BLACK SEA

	By Gary Murray

	Starring Jude Law, Scoot McNairy and Ben Mendlesohn

	Written by Dennis Kelly

	Directed by Kevin Macdonald

	Running time 114 min

	MPAA Rating R

	Selig Film Rating Matinee

	 

	There is a long history of submarine films.  From Run Silent, Run Deep to Das Boot to U-571, most have been war films.  Even 20,000 Leagues under the Sea had an element of war in the adventure mix.  In the new underwater flick Black Sea, we get the remnants of WWII in a modern treasure hunting adventure.

	Captain Robinson (Jude Law) is a Scottish man on the way out with his marine company.  He’s been a sailor for 30 years and knows nothing more that the ocean life.  This mistress of the deep has taken his wife and family and given him nothing more than a hard job that he loves.

	Drinking with some fellow sailors, one mentions that the company they worked for had come across a Nazi U-Boat that is rumored to have in the bellows two tons of Russian gold.  Conflicts on the surface have stopped salvage operations and the Black Sea is so cold that the boat should be perfectly preserved  

	The right men could swoop into the briny and pluck out the metals before any warring side could discover their plan.  That is just the idea that intrigues Robinson.

	But a plan like this needs some major cash.  Robinson meets with a money man who agrees to finance the adventure for a 40% cut.  He realizes that it will take a nefarious group of seamen to attempt this scheme.  Now, it is a time to assemble the crew and find a vessel. 

	Since the submarine is of Russian design, half the crew will be Russian and half will be guys that Robinson knows.  So, just setting out, there are language and ideology differences within the 12 men.  The money man sends along his representative Daniels (Scoot McNairy) to make sure that everything goes as plan. Daniels is a true greenhorn with both the sea-faring life and blue collar workers.

	The film is the rescue of the treasure, but that is not the climax.  When Robinson tells the crew that they will get equal shares, a rift happens between the Russians and the Scots. 

	Some of the crew believe that they should get a bigger share of the golden pie and snipping and backbiting eventually turns darker and deadlier.  Also, the lure of wealth drives Robinson just a bit deeper down the rabbit hole of greed.  All of these elements build to a twist that changes the entire last third of the film.    

	Black Sea is directed by Kevin Macdonald, the man behind The Last King of Scotland and One Day in September.  This film is not up to those works but it does hold up as an adventure yarn.  Between the claustrophobic nature of being trapped under water to the basal nature of greed versus survival, the director keeps jumping from beat to beat without ever letting the tension abate.  He draws from just about every sub movie to advance his plot. 

	Jude Law delivers another solid performance as Robinson.  While his leading man good-looks seem to be fading, he has developed his character acting skills.  Even though there are times when his accent is a bit hard to follow, there is a common man feel to the overall work.   We feel that he wants to score the gold to win back his old life more than to be rich.

	In the secondary cast, the real find is with Bobby Schofield as Tobin the youngest member of the crew.  Tobin becomes the audience’s eyes and ears as we struggle to understand the dangers and complexities of running a submarine with a skeleton crew.  No one on board trusts the young man and believe that his presence on board is bad luck.  He must prove his worth to the crew just as he proves his worth to the audience.

	The special effects are flawless to the point that they are unnoticeable.  We believe every moment underwater as if it were actually filmed in the briny, without the use of computers and cinema tricks.  The effects are an addition to the story and not the driving force of the work.

	For a January release, Black Sea is much better that most.  It has action, intrigue and adventure in a confined setting.  The overall experience is one that is exciting and believable. In the end, it is a satisfying cinema experience. 

#### Black Souls (Anime Nere) Interview with Director Francesco Munzi
Director Francesco Munzi's adaptation of the novel Black Souls by Gioacchino Criaco is a nearly biblical look into the depths of the real life Italian Mafia.  The story revolves around three different brothers and their impact on the younger generation.  The film takes unique turns that highlight the volatile nature of the real life southern area of Calabria.  Click through for an interview with Francesco about his dark and moving film.

	

	Black Souls is much more than just a gangster film it tackles the deep seeded hardships of brotherly love.  The mingling of the ancient farm lands with the violent nature of the just as ancient mafia community makes for a dynamic unflinching society.  The characters are all rich in unique quirks and histories just as the beauty of the region hides its dark ways.  I sent Francesco a series of questions and we started by chatting about adapting Gioacchino's novel.

	Q  What was it about Gioacchino's book that captured your attention?

	The book tells of the "criminal education" of some boys. It is a journey to hell told from the inside, directly and without mediation. It doesn’t use characters that are part of the legal institution such as the police or judges. It involved me. It did not romanticize or glamorize the evil. Crime is put in the proper perspective, as the bearer of grief and mourning.

	We jumped to the background of the brothers stories.

	

	Q  I am one of three brothers and am curious if you have brothers?  Did this help or hinder you writing the script or filming the movie.  Which brother is most like you personally?

	I tried to put something of myself in each of the three brothers. I used several aspects of my character. So, no one brother is like me in every way, but there is something of me in each of them. However, the brother who feels the closest is Luciano. It’s a character that excites me a lot.

	

	The cinematography in the film is absolutely breath taken at times.  Shooting a lot in the dark of night really creates a haunting character of its own in the film.  I asked Francesco about his relationship with his Cinematographer.

	Q  You and your DP Vladan Radovic have worked together for over a decade.  How do you two work together on creating the look for your films?  What was it like shooting in Southern Italy compared to Rome, Milan or North Italy?

	Vladan and I grew up together professionally. My first film was also his first film so we understand each other and we also have a very similar vision of cinema. We both place an enormous importance on using the scenery to build the image. For example, we chose the winter to shoot Black Souls because we liked the dark atmosphere. In a sense, we have tried to shut down the southern sun!  It was almost impossible, but we succeeded in the end!  In southern Italy, especially in Calabria, the region allows you to create great images. In this film we had the chance, just like you do in a documentary, to wait for the weather, to inform the look of the scene. Working in Calabria has meaning in this case. There was a great, passionate involvement of the population. This enabled us to have the time to get difficult scenes like the storm on the abandoned village and the procession of the goats who gather around the house of Luciano.

	Q  Your previous films deal with immigration, crime and corruption.  What is about these subjects that interests you so much?  

	I like to talk about minorities that are not always seen at the cinema and especially through them I can tell strong stories. When tackling dramatic stories you can touch the great themes or archetypes of humanity, the great feelings and great dilemmas. These are universal stories that can be understood everywhere.

	Q  Marco Leonardi is wonderful as Luigi.  What was it like working with him and since he's from Calabria did he enjoy going back "home"? 

	I agree. I think that Marco has given an excellent performance. For him to speak in Calabrian dialect, with the locals where he grew up as a child, had a very strong emotional impact that influenced his passion and involvement in the film. This passion has also influenced the style of his acting. He completely became Luigi. Although Luigi comes from a reality that is different from his, he knows Luigi’s reality very well.

	Q  The film showcases how the townspeople don't trust the cops or the mayor. I especially point to the scene where the Mother spits in the direction of the police.  Can you talk about the unique dynamic of having the N'drangheta literally rule over an area and how that impacts the townspeople.  Seems so different than how we look at Rome, Milan and the rest of Italy.

	It's amazing, but I have to tell you that when the film was released in theaters in Calabria, when we arrived at the scene, a part of the audience stood up and applauded the gesture of that woman. This thing is very serious and has even surprised me. A part of the population of southern Italy has no confidence in the institutions of the Italian state, nor in the police or the judiciary. This attitude has ancient roots – our country was born with difficult and often violently achieved territorial annexations and that still has an impact on the present. The relationship between the central state and our south has never been very balanced and very often was not ensured justice. Especially the crime has had too many related party diverted the state and politics and this has created confusion and disillusionment in the population. It has also created a mentality that romanticizes crime.

	

	Find out more information about the film, here.

	The film opens next month in Dallas and Plano Angelika Film Centers.  Don't miss this haunting docudrama style look into the mysterious Southern region of Italy, Calabria.

#### BLACK SWAN – A Review by Gary Murray
BLACK SWAN
By Gary Murray
Starring Natalie Portman, Vincent Cassel, Mila Kunis, Barbara Hershey and Winona Ryder
Written by Mark Heyman and Andres Heinz and John McLaughin
Directed by Darren Aronofsky
Running time
MPAA Rating R
Selig Film Rating Matinee
Darren Aronofsky gave the world The Wrestler, a tale about faded glory set in the venue of professional wrestling. He found the right balance of pathos in a stunning Oscar nominated performance from his lead actor Mickey Rourke. The latest from Aronofsky takes on high art with Black Swan.
The story of Black Swan is of a fragile ballerina Nina (Natalie Portman) who finally gets a chance to become the featured performer of the new season of the NYC ballet company. Her slimy artistic director Thomas Leroy (Vincent Cassel) wants to change-up the presentation of Swan Lake by making the same ballerina be both the Swan Queen and the Black Swan. He wants to show the duplicity of the role, that the bad and the good can be in equal parts of the same individual. It requires two dramatically different styles of dance for the dual roles. Thomas knows that Nina has all the technical perfection needed to do the Swan Queen role, she just doesn’t show the passion it will take to deliver the Black Swan. But, with a lustful eye, he gives the young woman her shot at super-stardom.
Complicating matters are the other women in Nina’s life. There is Erica (Barbara Hershey) her frustrated stage mother who was once a promising dancer. We get the feeling that Erica blames Nina for mom’s lack of success. Beth MacIntyer (Winona Ryder) is the former prima performer placed out to pasture by Thomas. She is a bitter, callous woman who is pushed to the edge when pushed out of the spotlight. The third woman to add to the plot is Lily (Mila Kunis) a new free spirit dancer from San Francisco who has all the passion that Thomas is looking for with the Black Swan, just not the technical expertise.
The biggest problem with Nina lies in her head. From the opening moments, the audience finds that she has a strong imagination where reality and fantasy seem to dance in each others spaces. There are times when Nina thinks something has happened to her and it is just another layer of her dream. The more she has to confront the sexuality of the Black Swan role, the more she loses her grip on the distinction between what is real and what is not. The battle of Black Swan is between what is real and what is imagined.
As her world crumbles, Nina develops a rash. This may be real or a reflection of what is going on in her psyche. At one moment, she peels away her skin and the next moment is it healed. With the Black Swan coming out of her inner being, the Black Swan seems to be taking over her outer being–at moments she is turning into a swan. Her relationship with Lily is complicated, somewhere between rivalry and obsession. The confrontation between the two is both creepy and erotic. Even though the film is about the ballet, it is not The Red Shoes. Black Swan earns its R rating, a film loaded with partial nudity and plenty of erotic situations and sexual language. It is not for the little ones.
Darren Aronofsky does a superb job of capturing the world of the ballet, from the technical specifications to the lustful ways of the participants. The details of place and space give a gritty edge to something that is seen as light and smooth. He uses the mirror as a metaphor to both Nina and the surrounding world. The reflection of the individual is a reflection of the soul.
This is one of the strongest performances by Natalie Portman and a strong contender for Oscar gold. She seems to be channeling Audrey Hepburn with the role of Nina, showing the wounded bird both on stage and in her real life. This is one crazed woman, someone with a tenuous grip on sanity. At the same time, the audience feels sorry for her, trying to fulfill the wishes of everyone but herself. She is the fragile artist with a vivid imagination, seeing her mother’s paintings talking and moving.
One wishes there were more of the other actresses in Black Swan. Though most of the conflict seems to be going on internally, the other three women in Nina’s life needed to be fleshed-out more. When everything in the heroine’s world may or may not be actually going on, it is hard to build the secondary characters. It just seems a shame that such talented people as Mila Kunis, Barbara Hershey and Winona Ryder were not given more moments to deliver knock-out performances. Barbara Hershey is especially under-used as the over protective mother.
Call the exercise of Black Swan as a cross between Donnie Darko and The Turning Point.  It has a strange line that it crosses, between obsession and art.  While not for everyone, it does deliver a strong performance.

#### BLACK WIDOW – A Review by Hollywood Hernandez
BLACK WIDOW – A Review by Hollywood Hernandez
In the movie Black Widow, Scarlett Johansson finally gets her turn to shine in the Marvel Comics Universe. The first third of the film features a young Natasha Romanoff/Black Widow and it delves into her family history and her early years, training to be an assassin and super spy. 
The movie also features Natasha’s younger sister, Yelena, played by Florence Pugh. The two sisters were separated during their spy training and Yelena still holds a grudge about being left behind by her older sister. Their first scene together is a huge fight, almost to the death, but Black Widow, who has her sister in a death grip, asks her sister for a truce and allows her to live. 
The chemistry between the two sisters is great, with Yelena picking fun at her sister every chance she gets. In one of the funniest scenes in the movie, she makes fun of her sister’s “superhero stance.” There’s even been talk that Pugh will replace Johansson as Black Widow in future Avenger movies.
A lot of time is spent on the dynamics of the family between the two sisters and the two Russian spies who act as their parents. But there is plenty of action in the movie as well. With plenty of fight scenes, explosions, people falling out of buildings, and helicopters falling out of the sky there is plenty of high-octane excitement for action junkies (like myself). 
As with all movies from the Marvel Universe, there is a bonus scene after the movie credits roll so don’t get up until the very end. This scene is a real shocker that will affect future Avenger movies.
Black Widow is rated PG-13 and has a run time of 2 hours and 13 minutes. On my “Hollywood Popcorn Scale” I rate this movie a LARGE.    

#### BLACKKKLANSMAN – A Review by Hollywood Hernandez
 

	BLACKKKLANSMAN – A Review by Hollywood Hernandez

	 

	Blackkklansman is not only Spike Lee's first film in several years, it's also his best film since the 1990's when he released a long list of thought-provoking films such as Malcolm X, Do The Right Thing, He Got Game, Crooklyn, and Mo' Better Blues.  His latest films have been clichéd and stuck in the 90's but Blackkklansman ends that drought with a movie that is both thoughtful and entertaining.  Perhaps it's producer Jordan Peele, who earned rave reviews for 2017's Get Out and Oscars for best writer and director, who guided Lee into making a highly charged political film without out being too heavy-handed or preachy.

	 

	The movie is set in the 1970's and it tells the true story of the first African American cop in Colorado.  Rookie policeman Ron Stallworth infiltrates the KKK while working as a member of the Colorado Springs Police department.  In one of the funniest scenes in the movie, Stallworth calls the main office of the KKK, posing as a white man, and asks for information about joining the secret organization.  He ends up getting Grand Wizard David Duke on the phone and his portrayal as a bigoted white man is so convincing that he's invited to meet with the Klan.  (Which obviously he cannot do.)

	 

	Adam Driver plays his partner, Flip.  He goes undercover in Stallworth's place to meet with the local Klan.  So, now Flip is in a life or death situation with his black partner coaching him on how to be white.    

	 

	John David Washington captures the true spirit of 70's "Black Power" in his role as Stallworth.  He's a "super fly", "super cool" soul brother who, while undercover, falls for the head of the student union, who is a "Black Militant" afro wearing sister who is about as "anti-police" as a woman can be.  The head of the student union, Patrice Dumas, is played by African American actress Laura Harrier.  

	
	Blackkklansman is also a very politically charged film.  It points out things like police brutality, racism and the racial profiling that still exist (and from Spike Lee's point of view) seems to have gotten worse over the years, not better.  It's also an anti-Trump film that uses current news footage to show the similarity between the white leaders, like David Duke, from back in the day and people like U.S. President Donald Trump.

	 

	Spike Lee delivers a powerful film on a low budget (about $17 million) that takes a chance on reaching moviegoers with an unlikely, but true story.  Blackkklansman is rated R for language, including plenty of racial slurs, directed towards African Americans and Jews.  For the first time in a long time, Spike Lee deserves our support on a movie.  On my "Hollywood Popcorn Scale" I rate this movie a LARGE.   

#### BLACKWOOD – Interview with Writer Director Chris Canfield
Filmmaker Chris Canfield makes his feature film debut with, BLACKWOOD.  Chris and our Gadi Elkon talked about the black hills of South Dakota, the casting of his film, and so much more!

Dowanhowee, a Native American woman, evades the notorious Dutch Wilder Gang by escaping into the uncharted Black Wood Forest. Once inside, they quickly discover they must help each other for they have unknowingly awaken an ancient ravenous creature, known as The Wendigo.
Writer/Director Chris Canfield talked with our Gadi Elkon about the feature film, BLACKWOOD.
Interview with Filmmaker Chris Canfield:

The film opens in select theaters this Friday, July 22nd.
The movie expands to online digital platforms and cable providers on July 26th.
For more info about the film, BLACKWOOD.

#### BLADE RUNNER 2049 – A Review by Hollywood Hernandez
 

	BLADE RUNNER 2049 – A Review by Hollywood Hernandez

	 

	How do you make a sequel of a movie that many consider to be the greatest science fiction movie of all time? Well, that was the task that director Denis Villeneuve was given with Blade Runner 2049. His last movie was the 2016 sci-fi movie Arrival, which won Best Picture of the Year. So, you'd think he was up to the task. However, the sequel falls a bit short.

	 

	The movie takes place 30 years in the future from the original Blade Runner. Ryan Gosling is the new Blade Runner and he sets out to find the original Blade Runner (Harrison Ford) who disappeared 30 years ago and has never been heard from since. The problem for the former Blade Runner, Rick, (Ford) is that he meant to do that. He hasn't been missing; he's been in hiding. It's a secret that K (Gosling) discovers about a replicant that sends him in search of the old Blade Runner.

	 

	Most of the dark theme of the original movie made it to the remake and the story, although a little bit complicated, is a smooth transition from the first movie to the new one. The special effects are even more amazing, after 30 years of new technology have passed, and if you over think some of the premises in the movie it will really blow your mind. My recommendation is to just enjoy the movie as it plays out.

	 

	While not as good as the original, this movie comes darn close. At 2 hours and 43 minutes the movie runs a little long and it has an R rating for harsh language and some sexuality.

	 

	On my "Hollywood Popcorn Scale" I rate Blade Runner 2049 a LARGE.

#### BLAST BEAT – A Review by Cynthia Flores
BLAST BEAT – A Review by Cynthia Flores
This film was a Sundance official selection and is a different take on the immigrant story. Last year’s Korean family story in the award-winning movie Minary was a quiet contemplation on the struggle for the American dream. The new feature film debut Blast Beat from director and co-writer Esteban Arango uses the frequently bone-rattling music of death metal to tell this loud and messy story of migrating to America in the summer of 1999. 
In the film, the whole Andres family will be back together on the cusp of the year 2000. As head of the family, Ernesto (Wilmer Valderrama) has been in the states for the past six months getting a house and getting things ready legally for the rest of the family to join him. As the film opens, his wife Nelly (Diane Guerrero) and two teenage boys Carly (Mateo Arias) and Mateo (Moises Arias), prepare to move from their home in Colombia to the US. 
This will be a significant change because their mother does not speak English, and the boys have to be the new kids at the local high school. The film touches on what the family as a whole is dealing with, but honestly, this movie is about the brothers. We see moments of the parents seizing the chance to escape the political turmoil in Colombia as they chase the American Dream. However, their story is just a backdrop to the struggle between the siblings. Carly is the metalhead genius older brother who has his heart set on attending the Georgia Aerospace Institute and working for NASA. He is driven by his passion for science and the fantastic way his mind works. Then there is little brother Mateo. He is the only one going to the US, kicking and screaming. He’s a rebel without a cause and resents the brilliance of his older brother. 
Once in America, the family struggles to adapt. Through bad luck and bad choices on Mateos’ part, their plans for the future are shattered. Will Carly ever make his dream of working for NASA a reality? You’ll have to watch Blast Beat to find out.
This film has “Good Bones,” just like the older house the family moves into. The writing is strong, the direction and cinematography are good, and the relationship between the boys is spot on. Casting real-life acting brothers in the role didn’t hurt. They brought a shorthand that only exists between people that have grown up together to the project. The actors played the same parts in the 2015 short of the same name that the film is based on. So they have the characters down pat. What put me off was the heavy use of metal songs. Music can either push a story along, or it can be a distraction. For me, the thrashing music set at 10+ volume only worked about 70% of the time. This caused me to go from loving this cool take on immigrating to the US to just liking it a lot.
I give Blast Beat a 3.5-star rating. It’s definitely worth seeing, but if Metal is not your thing, just turn the volume down a bit.
 
Directed by: Esteban Arango
Written by: Erick Castrillonm Esteban Arango
Rated: NR
Selig Rating: 3.5 Stars
Running Time: 105min
Drama
Release: Limited theatrical and VOD May 21st
Starring: Daniel Dae Kim, Diane Guerrero, Wilmer Valderrama, Mateo Arias, Moises Arias
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### Bleed For This – A review by Gadi Elkon
Inspirational and vibrant Ben Younger's Bleed For This is a real crowd pleasing film.  Echoes of Oscar Winner The Fighter the Open Road production is a solid contender.  Is it world champion level?  Click through for my review of the film.

	

	The bravado and determination shown by Vinny Pazienza is on full display and backed by a Oscar worthy soundtrack.  Get to know the  music of Willis Earl Beal as his presence in the film is just as a important as any of the talented actors.  Miles Teller seems a bit tall for the role, but aside from that his boyish nature fits perfectly with the Pazmanian's confidence.  I really think The Fighter and Bleed For This share a lot of the same qualities.  Lets go a few rounds and see which cast reigns supreme.  Teller is a more vibrant and enjoyable lead subject over Wahlberg's performance, but so is the real life figures of  Vinny Paz and Mickey Ward.  The really fun comparison is the Oscar winners.  Bale and Leo vs Aaron Eckhart and Katey Sagal.  The mother figure is more a background character in Bleed, though Sagal is spot on with the look of Paz's mom.  Leo's commanding performance wins that title.  Though Ciaran Hinds as Vinny's dad Angelo is one of the most enjoyable figures and he shares the Melissa Leo stranglehold over the family's fortune.  Angelo's drastic change after Vinny's near-fatal accident is one of the film's more powerful moments.  It wouldn't be shocking to see Hinds get a notice by award givers.  The other epic round is Bale vs the really incredible Eckhart as Kevin Rooney.  Bale's take on Eklund's famous drug addition is much more visually effective but Eckart's portrayal of Rooney's battle with alcohol is just as moving.  It's a fun treat that Eklund's kid is in this film, small part but still nice touch.  Let's look at some of the fine acting in Bleed For This.

	The pacing of the film is really well done.  Ben Younger and his DP Larkin Seiple are at a constant back and forth.  They might not reach the thoughtful brilliance of Fincher/Hoyte Van Hoytema but the fluid motion keeps Bleed always entertaining.  The mixing with Julia Holter's soundtrack can't be forgotten.  Bleed For This is a really fun film to see in the theater just as Vinny Paz was a freaking joy to watch.  The film shares it's boxing legend's irresistible quality and so you feel for his struggle even if you don't believe it possible.  Thus his rise up is all the more compelling and it's obvious that Vinny Paz's life is the Lazarus like in it's importance. 

	I don't know if Bleed For This is at the level of The Fighter, but I do know I enjoyed ever second of the film.  It's a worthy fall film that should get notice for it's tremendous cast, infectious soundtrack and fluid pace.  But enough of me, how about I let this legend tell you about how good Bleed For This really is…

	For more info please go here, Bleed For This.

#### BLEED FOR THIS – A Review By Nick Askam
 

	Bleed For This is a film by director Ben Younger and stars Miles Teller as a boxer named Vinny Pazienza. He’s a guy who was fighting at the top of his game before losing it all in a car accident. He’s then coached by Kevin Rooney (Aaron Eckhart) and his father, Angelo (Ciaran Hinds) to get back in the ring.

	I wouldn’t call this film a boxing movie and that’s its biggest problem. Aside from the opening scene, this film could’ve been in a practice ring. It never showed the emotions of the other side and always painted Pazienza’s opponents as the bad guys. Duran (Edwin Rodriguez) is never shown as anything except this antagonistic character who’s willing to end the life of Pazienza which is something that even Pazienza’s own teammates wouldn’t do. It never showed any sign of wanting to be different either. There were only a handful of moments where the fights were even being watch by people other than family members. It was all about Pazienza. That’s why I’m only referring to it as a comeback story and not a boxing film.

	The performances in the film were pretty great. Teller shows great emotion and truly tests himself as an actor. This film is really all about him and he shows what kind of actor he really is. There were times where I was cringing at the pain that he was showing on this face. If I didn’t know any better, I would actually think that those were real screws that they took out of his head. I felt his persistence and desire to be the greatest. That’s what I admired most about Teller.

	On the opposite end, Aaron Eckhart’s character parallels Teller’s journey in a similar fashion. I think the film also could’ve starred him as his comeback from his alcoholism. There’s a good moment in the film where Teller is accusing Eckhart of being a hypocrite. I thought it showed a light on the character and made us, the audience, want both characters to succeed.

	My other main gripe in the film were the girlfriend characters and their lack of explanation. There’s a few times where Louise (Katey Sagal), Pazienza’s mom, can’t remember his first girlfriend’s name (Christine Evangelista). It starts the conversation about Pazienza’s crazy life, but it doesn’t go into a whole lot of detail. Anyways, he loses 3 fights including a championship fight and her reaction is to stay by his side. Then, Pazienza gets into a car accident and then she leaves his because of the crazy contraption on his head. Why wasn’t it the 3 fights? I just didn’t get her intentions. There’s a moment where Teller tells the nurse that he’s always in there for dehydration even if he wins, so it’s pretty apparent that she deals with this all of the time. Then, Heather (Tina Casciani) is introduced with no apparent reason and then she’s hardly explained for the rest of the film. I thought it made it abundantly clear that the film doesn’t want you to care about these people, but they’re major parts of the film.

	Focusing solely on Pazienza was a bad choice. There were moments where the surrounding atmosphere could’ve been more fleshed out to show other character’s intentions and give more clarity into the greater situation. I personally didn’t like Pazienza. I thought he was a bad gambler and couldn’t control himself. I was rooting for him to quit boxing the entire film and that’s definitely not what the director wants you to keep thinking about, but you inevitably do. So, when other characters are telling Pazienza to stop boxing, their opinion matters as much as yours simply because the director has shown you time and time again in the film that those characters don’t matter. If they did matter, then maybe these fights or even the daily struggles of Pazienza would give you empathy for him. I was almost left rooting for Duran in the final fight even though I knew nothing about him.  

	Overall, the film’s lack of atmosphere takes the tension out of the film. It’s a good comeback story, but it can’t hold up to the best in terms of its boxing. I think Miles Teller did a solid job in portraying the character and Aaron Eckhart was great in his role. It just doesn’t have the energy or excitement that the Rocky series and Creed have spoiled us with for years.

	 

	Grade: C+

#### BLIND EYE ARTIST – A Review by Jenn Rohm
BLIND EYE ARTIST – A Review by Jenn Rohm
Everyone has a story and this one is worth learning.  At the age of five Justin Wadlington lost the use of one eye in an accident.   He was raised in Philadelphia’s inner-city area by his grandmother for as long as she could and then he was given over to the city.  These are just some of the facts of his life the movie Blind Eye Artist shares with us.
It has been said that art is subjective.  While those in the art world are talking about his work, this piece is about him.  There are bits that art fans will get more out of than non-art fans.  You do not have to be an art fan to appreciate the story.
The film provides us with a chance to meet the man behind the brush.  From the impact the 2019 pandemic had on the release of planned work, to how the aftermath has inspired other works.  Using a style I found to be like getting to know a new friend, I enjoyed the flow.  Talk about the current moment (current when filmed) triggering stories from moments of his past.  This was a more natural transition between present and past without jarring the viewer.
While indie filmmakers do not have the budget for major marketing, they can make a film with heart, and care about the message they are sharing with the world.  This is a film to see and then tell your friends to see it.  We need more inspirational stories like this in the world today.
 
Director: Ashwin Chaudhary
Cast: Justin Wadlington, Glenn Fuhrman
Genres: Documentary
Selig Rating: 3.5 stars
Runtime: 1h 16m
Release Date: June 2022
Streaming: Amazon
Website: Blind Eye Artist Website
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well there was nothing else…
1 Star – Total waste of time.

#### BLINDED BY THE LIGHT – A Review by Cynthia Flores
 
BLINDED BY THE LIGHT – A Review by Cynthia Flores
This is the year of feel-good films from England based around specific Iconic performers.  The first one was the wildly inventive and popular film Yesterday based on all things Beatles.  Now we have Blinded by the Light from Gurinder Chadha, director of films such as Bend It Like Beckham and Viceroy’s House.  This is the film version of Safraz Manzoor’s book, Greetings from Bury Park, which is both a memoir and a love letter to Springsteen and his music.
The film tells the story of Pakistani sixteen-year-old Javed (Viveik Kalra) who in 1987 becomes a devotee of Springsteen and his music while coming of age in the small British town of Luton.  Javed struggles to build a life as a writer that he wants versus what his Muslim father Malik (Kulvinder Ghir) plans for him.  It’s the late 80s, and his school friend Roops (Aaron Phagura) was the one who introduces him to an artist older people were into, and it blows his mind.  Javed finds solace in the lyrics of Bruce Springsteen.  The first time he listens to his music is during a storm both in his life and literally in his town.  The choice of the director to bring Springsteen’s lyrics literally to life around Javed during the movie is stunning. Javed sees him and his music as a symbol of every man who dreams of a better world.
The 80s in England was no picnic; it was not all new music and partying.  It was a dark time and the era of Margret Thatcher.  There was civil unrest, widespread unemployment, and overt hatred of immigrants, especially Pakistanis.  Blinded by the Light does a good job showing the impact that era had on Javed’s immigrant family.
This is a crowd-pleasing story.  Javed whose obsession with Springsteen helps him to find his voice during these dark days is relentlessly upbeat and unfortunately occasionally corny.  I’m not an uber Springsteen fan, I only know his hits, so the whole preaching of the “Gospel of the Boss” is a bit overboard at times for me.  That being said, the underlying story between Javed and his hard-working father is dead-on perfect.  The film shows the growing pains of wanting more and daring to dream big when your family can’t afford that luxury.
Blinded by the Light is not a perfect film, but it is worth seeing, especially if you are a fan of the Boss.  I give this film a B+ rating.
 
Directed by Gurinder Chadha
Written by Paul Mayeda Berges, Gurinder Chadha, Sarfraz Manzoor
Rated PG-13
Selig Rating B+
Running Time 1hr 57min
Drama / Comedy
Wide Release August 16th
Starring: Viveik Kalra, Kulvinder Ghir, Meera Ganatra, Aaron Phagura, Dean-Charles Chapman
 
The Selig Rating Scale:
A – Excellent movie, well worth the price.
B – Good movie
C – OK movie
D – No need to rush. Save it for a rainy day.
F – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### BLISS – A Review by Hollywood Hernandez
BLISS – A Review by Hollywood Hernandez
New this week on Amazon Prime Video is a very odd science-fiction love story starring Owen Wilson and Salma Hayek. Wilson plays Greg Wittle, a man who is struck by a series of bad luck. He and his wife have recently divorced, and he’s stuck in a job he hates. The movie starts with him in his office, totally removed from reality, and making drawings of his fantasy house and the world he dreams of going to.
Next, he’s fired by his boss and in a fit of rage, he pushes him backward where he strikes his head on a desk and dies. Before he flees the scene Greg hangs him in the window by his shirt’s cuffs and heads across the street to have himself a drink.
There he meets Isabel, played by Salma Hayek, who convinces him that she has special powers and the world they are living in is not real. After she takes him to her home under a bridge where they end up with a romantic connection and they travel together to a different world. However, what makes them go to the parallel universe is a crystal drug so it’s hard to decide if they are actually in a different world or just hallucinating from the drugs. 
Wilson and Hayek are great as a couple who seemingly become soulmates but that’s about all the highlights the movie has to offer. The movie also has some great special effects and lighting techniques that I also enjoyed. Writer and director Mike Cahill seems to be trying to make a statement with Bliss. Rather than making a straight-ahead science fiction movie, he gets bogged down in the “what ifs” of the fantasy world. Often in the movie, I had a hard time trying to figure out what exactly was going on. 
Bliss is rated R with a run time of 1 hour and 43 minutes. On my “Hollywood Popcorn Scale” I rate the movie a MEDIUM. Bliss is free on Amazon Prime Video for subscribers. 

#### BLOCKERS – A Review by Hollywood Hernandez
 

	BLOCKERS – A Review by Hollywood Hernandez

	 

	Blockers is a raunchy new comedy starring Leslie Mann (from the movies This Is 40 and Knocked Up), and John Cena, former WWE pro-wrestler.  It's directed by Kay Cannon, who was the screenwriter for the Pitch Perfect series of movies.  Cannon knows a thing or two about making bawdy comedy movies and as a first time director she packs this movie with plenty of side splitting laughter that will also make you blush. 

	 

	The story is pretty basic.  Three teenage girls, who have been friends since kindergarten, make a pact to lose their virginity on prom night and when their parents find out about the plan (through a left open laptop), they spring into action to prevent the three girls from carrying out their mission.  The end result is two hours of non-stop laughter that will appeal to both teenagers and to parents.  Ike Barinholtz joins the other two parents, but not to stop the plan, but rather as the absentee father, Hunter, who wants his daughter to have the night of her life.

	 

	The comedy comes from the point of view of the parents who have to figure out their kid's world of emoji's and social media slang to track down clues to track down their kids. It was also refreshing (while uncomfortable for a parent with two daughters) to see a sexual "coming of age" movie from the teenage girl's perspective for a change.

	 

	There are some obligatory "heart tug" moments in the film from a mom who is afraid to be alone once her daughter heads off to college and from a dad who realizes maybe he didn't do such a bad job after all of raising his daughter with the right values.  There are also some way over the top vulgar moments in the film but, unapologetically, I laughed at them while being shocked at the same time.  This movie is hilarious!

	 

	Blockers is rated "R" for some very crude sexual content, drug use and language and it runs for 1 hour and 42 minutes. On my "Hollywood Popcorn Scale" I rate it a LARGE.

#### BLONDE – THE MARILYN STORIES – DVD Review by Gadi Elkon
This past month Film Chest Media Group released a special-edition collector’s DVD set, BLONDE:  THE MARILN STORIES.  Our Gadi Elkon breaks down the DVD and treats us to a Marilyn question for Poppy Montgomery.

Included are two docudrama films featuring outstanding portrayals of Marilyn, Blonde (2001) a two-part, fictionalized biopic, and Marilyn and Me (1991), a dramatic feature; and Goodbye Norma Jean (1976), the first-ever exploitative biopic, originally deemed a questionable release due to its salacious nature. The set includes appearances by Marilyn Monroe, Mike Wallace, Susan Griffiths, Poppy Montgomery and Misty Rowe.
On top of those films there are two documentaries, footage from Marilyn’s first-ever TV appearance, and much more.  The added 113 minutes of bonus material helps breakdown the legacy of Marilyn.  Blonde is such a comprehensive compilation that many aspects of Norma Jean’s transformation into Monroe are highlighted.  The collection also is a lovely look at the ladies who have portrayed Marilyn and those folks in her life.  What really makes this collection stand-out is the concentration on Norma Jean and not her tragic death.  I love how much more of a full perspective is unveiled in the 3 disc set.
The films both showcase the constant interest in the starlet and how her presence in pop culture is beyond iconic.  The struggles on and off screen for Marilyn are presented in many forms with these films.  The ability to gather a full view of Norma/Marilyn life is possible with the pure amount of material in the DVD set.
And for a special treat.  I interviewed Poppy Montgomery for her latest feature film, CHRISTMAS ON THE FARM.  During our chat I asked Poppy about her playing Marilyn in the 2001 biopic BLONDE.

The Marilyn portions begins at 5:08min mark.
Blonde: The Marilyn Stories, a revealing look at her iconic place in American pop culture, is presented with an aspect ratio of 4×3 and is available on DVD ($24.98). 
DVD Specifics :
Blonde
Film Chest
Format: DVD
Discs:  3
Genre:  Biopic, Drama & TV
Original Release: 1976 – 2001 (B&W/Color)
Not Rated/Norma Jean Rated R  
Running Time:  474 Minutes  
Language:  English  
Closed-Captioned 
SRP: $24.98  
Release Date:  Dec. 6, 2022 (Pre-order Now)  
UPC Code: #874757065694
Catalog #:  FC-656  
For more info on FILM CHEST MEDIA GROUP.

 

#### BLOODSHOT – A Review by Hollywood Hernandez
BLOODSHOT – A Review by Hollywood Hernandez
Vin Diesel is the comic book character Bloodshot in the new action film about a special forces soldier who is killed and then brought back to life. As the regenerated Bloodshot he has superpowers and is able to heal his wounds whenever he is injured.
Bloodshot is the first movie in a new cinematic universe based on comic books from Valiant Comic books. However, they are characters that I’ve never heard of. There are about 1500 superheroes in the Valiant universe.  The company was formed by former Marvel editor and chief, Jim Shooter.
Bloodshot is killed, along with his wife, and wakes up without any memory of what happened to him, but as he slowly gets his memory back, he becomes hellbent on revenge on the person who killed his wife. But are those his memories? His brain is scrambled by the medical company who brought him back to life, giving him false memories of agents that they want to be killed.
The actual story is weak but the action in the film is superior. Explosions and fight scenes fill the 100 minutes of the film. As the first of the new Valiant Comic books, Bloodshot is off to a weak start.
The movie is rated PG-13 for violence and on my “Hollywood Popcorn Scale” I rate Bloodshot a MEDIUM.

#### BLOODSHOT – A Review by John Strange
BLOODSHOT – A Review by John Strange
Valiant Comics is a brand that I was acquainted with before hearing of this screening.  In the early 1990’s I read two of their original titles Magnus, Robot Fighter and Solar, Man of the Atom.  They were well written and well worth the price I paid for them.  I never came across Bloodshot in my perusal of the racks at my comics store.
Bloodshot is the first of what Valiant Comics and Sony Pictures Entertainment (SPE) / Columbia Pictures hope will be a long-running series centered around Marine Ray Garrison (Vin Diesel) who is murdered along with his wife.  He is brought back by scientists using nanotechnology.
He is used by those scientists, led by Dr. Emil Harting (Guy Pearce), to do their dirty work otherwise colloquially called “wet work”.  He is “reset” between hits and his memory reloaded thus aiming him at the next target.
Who the hits are and why they are ordered is at the center of the story and the action.  But they are only are a part of why people are going to get into this movie.  They are going to be blown away by some of the best CGI effects I have ever seen.  I know that I was personally blown away watching Ray/Bloodshot in the battle sequences taking bullet strikes and weathering explosions!
The supporting cast is first rate.  The two gentlemen who play Dr. Harting’s muscle pull off great CGI-driven characters.  The techs/hackers are the source of a great deal of the film’s humor.  Eiza González as KT is a character that is tough as nails with a strong morale center that nearly gets her killed.
I didn’t know what to think about this movie when I first heard about it but I have to say that I was totally surprised by how well this comics/sci-fi/action movie turned out!  It has a couple of flaws in the plot that bothered me just a touch.  Just enough to reduce my rating from 5 to 4.5 stars.  But I will definitely go see any sequel movie they make with this storyline and cast.
 
Directed by: David S. F. Wilson
Cast: Vin Diesel, Eiza González, Sam Heughan, Toby Kebbell, Guy Pearce
MPAA Rating: PG-13 (for intense sequences of violence, some suggestive material and language)
Selig Rating: 4.5 Stars
Runtime: 109 Min.
Movie Site: www.bloodshot.movie/
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### BLOODTHIRSTY – Interviews with Director Amelia Moses and Co-Writers Wendy Hill-Tout and Lowell
Director Amelia Moses and Co-Writers Wendy Hill-Tout & Lowell chatted with our Gadi Elkon about the feature film BLOODTHIRSTY.

Indie Singer Grey is riding high on a hit first album, but she’s having writer’s block. In search of inspiration for her sophomore effort, Grey agrees to craft her next album at renowned producer Vaughn Daniels’ secluded cabin. Her girlfriend, however, is hesitant about the partnership, fearful that Vaughn is too controlling and – given his controversial past as a suspected murderer – too dangerous.
Director Amelia Moses talked with our Gadi Elkon about her directing inspirations, the power in the horror-thriller genre, and so much more.
Interview with Director Amelia Moses:

Bloodthirsty Interview with Director Amelia Moses.mp4 from Gadi Elkon on Vimeo.
Co-Writers Wendy Hill-Tout and Lowell talk about the connection to Lowell’s music in the story, getting to work on a project together and so much more.
Interview with Co-Writer/Producer Wendy Hill-Tout and Co-Writer/Songwriter Lowell:

Bloodthirsty Interview with Writers Wendy Hill-Tout and Lowell from Gadi Elkon on Vimeo.
 
Bloodthirsty is available on demand.
For a special sneak-peak at one of the tremendous scenes from the movie please go, HERE.
For more information on the film – BLOODTHIRSTY.

#### BLOODY HELL – A Review by John Strange
BLOODY HELL – A Review by John Strange
Rex (Ben O’Toole) has a thing for Maddy (Ashlee Lollback), a teller at his bank.  With a little finagling, he can be waited on by the woman he wants to date.  Just as he is about to lock in a date, bank robbers storm the bank, killing the bank’s guard!
At this point, the standard storyline takes a hard left!  Rex does a great job wiping out the bandits and saving everyone until his “inner voice” talks him into one shot too many.  
That voice, who we can see (played by Ben as well), gives Rex ideas but not always great advice.  That advice gets him eight years in prison. 
Following his release, he heads to Finland where he figures he’ll be safe from the idiots and paparazzi.  Safe… in a horror movie.  Yeah, right.
Bloody Hell is listed as an “action-packed horror-comedy”.  The writer used bits from many other related films to flavor this scary romp into coocoo-ville.  From the odd brother in Goonies (gone horribly wrong) to Ash (Bruce Campbell’s character) from Evil Dead, there are similarities to other horror flicks everywhere you look.  That’s not a bad thing.  It’s just a thing.
I have to admit that with the glut of horror movies, I was reticent to watch this film.  The PR rep asked me to watch it anyway.  I’m still not sure I am glad he did, as it is… different, for sure.
This film has all the earmarks of a potential classic.  That is, for horror-buffs.  For the average movie-goer, it’s an interesting film that they will likely enjoy (if they can get past a couple of scenes of horror-movie violence), but they will probably never watch it again.  Horror fans, well, they are either going to adore this film or laugh it off the planet.  But, going back to Evil Dead and its sequels, the first is more likely to my way of thinking.
On a final note, Ben O’Toole has a decent filmography already but I think he has a good future as a leading man in the film industry!
 
Director: Alister Grierson
Screenwriter: Robert Benjamin
Cast: Ben O’Toole, Caroline Craig, Matthew Sunderland, Travis Jeffery, Jack Finsterer, Meg Fraser, Ashlee Lollback
MPAA Rating: R (for bloody violence, gore, and language throughout)
Selig Rating: “Normal folks” – 3 Stars // “Horror folks” – 4 Stars
Runtime: 94 Min.
Trailer: BLOODY HELL Trailer
Release Date:
January 14, 2021: Select Theaters, Drive-Ins, and On-Demand
January 19, 2021: DVD/Blu-Ray
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### BLOW THE MAN DOWN – A Review by John Strange
BLOW THE MAN DOWN – A Review by John Strange
Easter Cove, a scenic fishing village in Maine looks like your stereotypical “Murder She Wrote” village.  But Cabot Cove this most village most certainly isn’t.  The village seemed to be doing well in these uncertain times but then Mary Margaret Connolly, a beloved town matriarch dies and it all begins to unravel.
At the center of the action are Mary Margaret’s daughters, Priscilla (Sophie Lowe) and Mary Beth (Morgan Saylor), that she left to deal with her business and debt.  Slowly we learn that the elder daughter, Priscilla, wants to stay in town and make a go of the business while her younger sister, Mary Beth, wants to find a way to get out of there.
Mary Beth’s wild bad-girl nature gets her into a jam that starts their lives spiraling out of control.  And swirling around them and stirring the water, even more, are three matriarchs who are determined to step into the power vacuum left by their friend’s death.
Susie Gallagher (June Squibb), Doreen Burke (Marceline Hugot), and Gail Maguire (Annette O’Toole) set themselves as the new moral center of the village.  They decide they want Enid Nora Devlin (Margo Martindale) and her “girls” out of business and out of town.
The plotlines, like the lives of the residents of the village, are tightly intertwined much like a lace doily you might see in an antique home.  None of these lives are exciting but the story is interesting to watch unfold.
Perhaps as a counter to the darkness of the movie, the filmmakers have inserted several acapella performances of sea chanties that are truly excellent to experience.
Don’t expect a happy ending or even a satisfying one.  It just is.  And a solid 3 stars for the solid performances delivered despite the bleakness of the storyline.
 
Directed by: Bridget Savage Cole, Danielle Krudy
Cast: David Coffin, David Pridemore, Adam Wolf Mayerson, Mark S. Cartier, Meredith Holzman, Ebon Moss-Bachrach, Sophie Lowe, Morgan Saylor, June Squibb, Marceline Hugot, Annette O’Toole, Linda Shary, Margo Martindale, Owen Burke, Skipp Sudduth
MPAA Rating: R (for language, some violence, sexual material and brief drug use)
Selig Rating: 3 Stars
Runtime: 90 Min.
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### Blue Boy “STATE FAIR” (1962) Production Still
The cast of “State Fair” featured an 800-pound California hog in the role of Blue Boy!

 
Source : State Fair of Texas – bigtex.com

#### BLUE JASMINE
BLUE JASMINE

	By Gary Murray

	Starring Cate Blanchett, Alec Baldwin, Peter Sarsgaard, Andrew Dice Clay and Sally Hawkins

	Written and directed by Woody Allen

	Running time 98 min

	MPAA Rating PG-13

	Selig Film Rating Cable

	A Woody Allen seems to come along every summer.  Some are just brilliant and some are painstakingly dull but all seem to have something of interest.  His latest to grace the screens of the art house cinema is Blue Jasmine.

	The story is told in Medius Rea, or the middle of things.  When we first meet Jasmine, she is on a plane telling her tale to another passenger.  When they get off the plane, we find out that the passenger was shocked by Jasmine and her rambling utterances.

	Jasmine is changing coasts and moving in with her sister Ginger (Sally Hawkins), a divorced woman who is struggling to make ends meet and raise her kids.  Both women were adopted and Jasmine took a much different path than Ginger.  Where Ginger tends to be of lower class, Jasmine was a part of high society.

	Through a series of flash backs peppered in the narrative, we find Jasmine’s story.  Her husband Hal (Alec Baldwin) was an investment maverick, doing international deals.  Jasmine would be the co-signer on deals but paid more attention to charity luncheons than business. 

	The truth is that Hal is a crooked man running schemes ala Bernie Madoff.  The Ponzi Scheme Empire collapses around him.   Jasmine lives in a world that is a lie and seems to be clueless about her life and what people truly think of her…

	Ginger’s story is much the opposite.  In her back story, she was married to Augie (Andrew Dice Clay).  They had won some money in the lottery and Hal convinces Augie to invest in his company.  The two lose it all.  Augie is still bitter about it but Ginger has somehow moved on and forgives Jasmine.  She is a go along to get along type of woman.

	The current story is of Jasmine trying to discover a new life in middle age.  She has to do something she has not really done before—get a job.  She struggles with all peccadilloes of the daily grind.  Eventually she meets Dwight (Peter Sarsgaard) a man on the way up in the world.  Jasmine spins a web of lies to impress the man.

	Blue Jasmine is of another house of cards that collapses.   Jasmine is a crazy woman and we see her emotional and physiological breakdown.  It is also about family and forgiveness.

	The problem with Blue Jasmine is with the characters.  Basically, there is not a single likeable individual on the screen within the major roles.  And that may be the point of the film.  It is of the narcissism that the 21st century has generated through society.   When we get to the great surprising reveal at the end, it does not come as much of a surprise.  With characters as self-centered as these, the outcome of their lives is inevitable.

	Cate Blanchett gives the performance of her career with Blue Jasmine.  She is a clueless and vain individual who never sees the irony that is her life.  Her slow spiral down the rabbit hole is a study in self-centeredness that should get many praises by the Academy.  It is a brilliant character study done by an actress at the peak of her career.

	Alec Baldwin basically plays his Alec Baldwin character with little depth and even less sympathies.  Just about any actor could have played this leech.  The biggest let down was with Sally Hawkins.  She is usually a brilliant performer giving it her all but with the character of Ginger, she just never finds the right emotional beat.  I expected more from her.

	In the secondary characters, Andrew Dice Clay is a stunning stand out.  The comic is given a chance to play a dramatic role and does so with a roguish charm.  As Augie, the estranged husband of Ginger, he gives a pathos laden performance that should give him a second life as a character actor. 

	The same can be said of the reading of Louis C.K.  Though he has a very small part, he gives a grand reading as yet another self-centered individual.  One gets the feeling that he is the younger generation of a character that Woody would write for himself.

	Blue Jasmine will probably get a few Oscar nods but it is definitely a mixed bag of a flick.  Some of the individual acting jobs are some of the best of 2013 but Woody Allen never found a heart in the film.  It is much more of a character study of a failing woman than a motion picture.  

#### BLUE MAN GROUP
THE BLUE MAN GROUP

	 

	By Gary Murray

	Starring Kalen Allmandinger, Shane Andries, James Marlowe, Patrick Newton, Russell Binker and Chris Smith

	Created, written and directed by Matt Goldman, Phil Stanton and Chris Wink

	 

	Blue Man Group has been around since the 1980’s and has been stunning audiences for just as long.  The original group of Matt Goldman, Phil Stanton ad Chris Wink has grown into a multimillion dollar industry with dozens of performers.  The avant-garde group has permanent homes in Orlando, Las Vegas, Chicago and other cities throughout the world.  The latest touring edition takes over the boards of the AT&T Performing Arts Center as a part of the Lexus Broadway Series.

	The show starts with moving lights welcoming everyone to the show and pointing out certain celebrities in the audience.  It is a cleaver little bit of warm-up to get the excited audience even more in the mood for a stunning night of entertainment. 

	The three actors come out in matching black outfits and painted blue faces.  The symmetry obtained by the three actors give the work a feeling of otherworld-ness; as if we are watching aliens make sense of our world.  They are images in silhouette as the show begins.

	The Blue Man Group does two different paintings and one sculpture during the show.  One of the Blue Men throws paintballs in the mouth of another.  The catcher of the group spits and sprays the paint on a canvas. eventually making different patterns on the cloth.  The other catches marshmallows in his mouth and eventually forms a small statue with the food.  He puts a price tag of $5.000 on the work of art. 

	Later in the program, the three men pick an audience member to come on stage.  They cover him in giant overalls and take him backstage.  A group of technicians cover the man in blue paint and push him against a life-size canvass, using his body as a brush.  Then they frame the body in pink paint.  It is an experiment in art that is on a grand scale. 

	The show is pantomime, with no words spoken to the audience by the three members of the troupe.  Things are explained more by the unseen narrator than by the participants on stage.  They are backed by a percussive band that is in the background on risers.  Our main focus is always on the three blue men and not the help.

	At one point, the trio of blue men goes out into the audience.  Taking a person from the audience on stage, they all eat a Twinkie.  It is done more to show the unusual nature of doing a simple task and it is a hilarious measure of how the mundane can be fascinating. 

	In one scene, a giant ‘GiPad’ drops from the upper reaches of the stage, showing how our fascination with technology melds with our curiosity.  Of course we get the drumming on plumbing fixtures and beating of paint filled drums, both staples of the original Blue Man Group show.

	The show ends with giant balls bouncing through he audience.  By then, the entire crowd is on their feet, dancing to the rhythms of the machine.  It is part techno-concert and part Jimmy Buffett style beach-ball party.  Confetti flies from the upper rafters and onto the moving throng of disciples.   

	The Blue Man Group is part rock concert, part comedy show and one of the most unusual experiences one will see in a theater setting.    The biggest problem with the show is that it is too short.  It ends in just less than two hours, making the audience wanting more.  This is they kind of show one wants to experience again and again.  Do not miss the chance to see such a wondrous performance.  This is a show that the entire family can and will enjoy—something not to be missed under any circumstance.

	 

#### BLUE MAN GROUP
BLUE MAN GROUP

	By Gary Murray

	Starring Kalen Allmandinger, Mike Brown, Patrick Newton, Michael Rahhal, Scott Speiser, Brian Tavener Steven Wendt and Adam Zuick

	Created, written and directed by Matt Goldman, Phil Stanton and Chris Wink

	Before the showing of Blue Man there is a quote.  If you would like to establish connections with people from another culture, it’s always good to offer a few gifts as a gesture of friendship.  But the best way to forge a listing bond is to create something together.  Whether it’s a meal, an art project or just a spontaneous dance party, when you create with others you build a connection that lasts a lifetime.  That is exactly what is going to happen.  We as a collective audience are going to be a part of an art experiment.

	Blue Man Group has been around since the 1980’s and has been stunning audiences for just as long.  The original group of Matt Goldman, Phil Stanton ad Chris Wink has grown into a multimillion dollar industry with dozens of performers.  The avant-garde group has permanent homes in Orlando, Las Vegas, Chicago and other cities throughout the world.  The latest touring edition takes over the boards of the AT&T Performing Arts Center as a part of the Lexus Broadway Series.

	The show starts with moving lights welcoming everyone to the show and pointing out certain celebrities in the audience.  The unseen narrator gets the audience to speak “Happy Birthday” to one member.  It is a cleaver little bit of warm-up to get the excited audience even more in the mood for a stunning night of entertainment. 

	The three actors come out in matching black outfits and painted blue faces.  The symmetry obtained by the three actors give the work a feeling of otherworld-ness; as if we are watching aliens make sense of our world.  They are images in silhouette as the show begins.   The experience of Blue Man Group is more a series of linking vignettes rather than a structured play.  There is a projection screen that fills the background that shows such things as a double helix.

	The Blue Man Group does two different paintings and one sculpture during the show.  One of the Blue Men throws paintballs in the mouth of another.  The catcher of the group spits and sprays the paint on a canvas. eventually making different patterns on the cloth.  The other catches marshmallows in his mouth and eventually forms a small statue with the food.  He puts a price tag of $5.000 on the work of art. 

	At one point, the three men dine on very large boxes of Capn Crunch, devouring the cereal as if they have never seen a toasted sugary breakfast treat before. It is silly and charming at the same time.

	Later in the program, the three men pick an audience member to come on stage.  They cover him in giant overalls and take him backstage.  A group of technicians cover the man in blue paint and push him against a life-size canvass, using his body as a brush.  Then they frame the body in pink paint.  I believe the entire exercise is a Texas switch, where no one I actually painted backstage. It is an experiment in art that is on a grand scale. 

	The show is pantomime, with no words spoken to the audience by the three members of the troupe.  Things are explained more by the unseen narrator than by the participants on stage.  They are backed by a percussive band that is in the background on risers.  Our main focus is always on the three blue men and not the help.

	At one point, the trio of blue men goes out into the audience.  Taking a person from the audience on stage, they all eat a Twinkie.  It is done more to show the unusual nature of doing a simple task and it is a hilarious measure of how the mundane can be fascinating.  They wiggle the Twinkie as it is a living being.

	They play a giant tube xylophone playing such different snippets such as “Whip-it” and “Deep in the Heart of Texas”.  Someone in the audience yells out “Free bird” and the band plays a guitar solo.

	In one scene, a giant ‘GiPad’ drops from the upper reaches of the stage, showing how our fascination with technology melds with our curiosity.  Of course we get the drumming on plumbing fixtures and beating of paint filled drums, both staples of the original Blue Man Group show.  With all the modern touches, it is fitting that one segment is “Modern Plumbing.”

	The show ends with giant balls bouncing through he audience.  By then, the entire crowd is on their feet, dancing to the rhythms of the machine.  It is part techno-concert and part Jimmy Buffett style beach-ball party.  Confetti and streamers fly from the upper rafters and onto the moving throng of disciples.   Then after the show, Blue Man Group took selfies of the audience.  It becomes a bonding moment between the act and the audience

	This is the second time I’ve seen Blue Man Group and it is basically the same show. But, whether it is the second or twenty-second time one sees it, it is still a fascinating ride. The Blue Man Group is part rock concert, part comedy show and one of the most unusual experiences one will see in a theater setting.    The biggest problem with the show is that it is too short.  It ends in just less than two hours, making the audience wanting more.  This is they kind of show one wants to experience again and again.  Do not miss the chance to see such a wondrous performance.  This is a show that the entire family can and will enjoy—something not to be missed under any circumstance.

#### BLUE MIRACLE – A Review by Hollywood Hernandez
BLUE MIRACLE – A Review by Hollywood Hernandez
Sometimes you’ve got to come out of the blue to find a miracle, says the tagline of the new Netflix movie Blue Miracle, and that’s exactly what we see in the film. Jimmy Gonzales plays Papa Omar who runs a home for homeless boys with his wife Becca, played by Fernanda Urrejola. Located in the Mexican coastal town of Cabo San Lucas, it is on the verge of foreclosure due to a huge debt owed to the bank.
Omar enlists the help of a crusty old sea captain, played by Dennis Quaid, to help him and his boys win a huge prize in a fishing contest even though none of the boys have ever fished before and Omar has only fished once (and it was a frightening boyhood experience where he almost drowned). Quaid does a great job playing the gruff old boat captain who has won the contest twice before.
The Bisbee Black and Blue Fishing Tournament brings in some of the best fishermen in the world and the young boys had little chance of catching a marlin, much less winning the competition. They were hoping for a miracle. 
Blue Miracle is a great family movie with its inspirational story of a group of boys who go way past their limitations to compete against the professional fisherman. It’s also a movie about second chances and how the power of love can create miracles. I really enjoyed the movie.
Blue Miracle is rated TV-14 and lasts about 90 minutes. On my “Hollywood Popcorn Scale” I rate the movie a LARGE. 

#### BLUE VALENTINE – A Review by Gary Murray
BLUE VALENTINE  By Gary Murray Starring Michelle Williams Ryan Gosling and John Doman Written by Derek Cianfrance, Joey Curtis and Cami Delavigne Directed by Derek Cianfrance Running time 120 min  MPAA Rating R Selig Film Rating Matinee
There have been relationship dramas since the beginnings of the cinema. Stories of love, won and lost, have been the basic staple of story-telling, on stage and on film, almost since the start of fiction. The ongoing struggle to discover the illusive spark that is love and how to keep the flaying flame going is one of the Ids of man. the latest to make the attempt is Blue Valentine. It takes a very independent path and works most of the time. Dean (Ryan Gosling and Cindy (Michelle Williams) are a couple trying to rekindle their love. The film jumps around cross-cutting between the years, showing the couple from their awkward first meeting to the last moments of the tattered relationship. In this way we see both the hopeful beginnings mashed against the shattered remains. We see the birth of their child and how it affects them in opposite ways. They try and rekindle their relationship in a seedy fantasy hotel, a move that comes across as both comic and pathetic. Others come into the couples’ life, but the biggest problem is the direction of the couple. Where Cindy wants more out of life, Dean seems contend to trudge along with a low paying job a wife and daughter.  This is the most impressive role that Michelle Williams has delivered. In a short career that has some major peaks, her Cindy is a mountain of a portrayal. She is as honest as a lightening bolt, thundering down on the cinematic canvas. Raw and unnerving, this is a role that the Academy just love to pour accolades over.  Ryan Gosling never matches Michelle here. He seems to be hiding behind the tricks of costume and make-up to show the changing nature of his character. He explodes at times, giving potential rivals harsh bloody beatings but it never feels real. It is a nice attempt but an awkward execution.  Derek Cianfrance left much to be desired with his direction. While he captures the ups and downs of the relationship, he misses on the technical aspects of the film. It looks purposefully ugly, giving the entire experience a dark and gritty look. He takes the screenplay that he co-wrote and pulls no punches in the harshness of the relationship between these two crossed lovers.  The entire exercise of Blue Valentine is just brutal.  Blue Valentine is a hard film to watch but is an honest film. It is the kind of film that will cause discussions between couples and may be the instigation of more than one fight. For those who want to grab hold of an exposed emotional wire, this is your flick.

#### BOB MARLEY: ONE LOVE – A Review by Cynthia Flores
BOB MARLEY: ONE LOVE – A Review by Cynthia Flores
In the 1981 Rolling Stone obituary, Bob Marley biographer Timothy White wrote, “The pervasive image of Bob Marley is that of a gleeful Rasta with a croissant-sized spliff clenched in his teeth, stoned silly and without a care in the world. But, in fact, he was a man with deep religious and political sentiments who rose from destitution to become one of the most influential music figures in the last 20 years.”   
Even in 2024, that statement still rings true. Bob Marley’s artistry, music, and message of love and unity continue to be an influence. His songs have been covered by countless singers and sampled and quoted by many hip-hop artists shaped profoundly by the Jamaican music Bob Marley defined.
Love instead of hate is still a radical philosophy, and this film shares one of its apostles with us. Masterfully directed by Reinaldo Marcus Green, who told the story of tennis superstars Venus and Serena Williams in the 2021 hit film King Richard, this new film has the power to introduce Marley’s music and call to love one another to a new generation of fans.
This film was utterly supported and co-produced by Bob Marley’s family to celebrate the icon’s life and music. Bob Marley is brought to life by the fantastic Kingsley Ben-Adir. Who not only got lost in the part but was also able to capture the kinetic movements that the real Bob Marley had on stage. The actor learned how to sing and play guitar to do the movie. The final music we hear in the film when he is just fiddling with the guitar and writing the songs is all Kingsley. And where he performs on stage is a mix of Kingsley and Bob’s archival recordings.  
Kingsley brings vulnerability and humanity to Bob Marley on screen, opening up his story of coming from the ghetto and rising to superstar status. Along with Lashana Lynch, who plays his wife, Rita, we see how Bob overcomes adversity that started as an impoverished child who was rejected by his white father and grew up with his Catholic mother in Jamaica. The film uses flashbacks to the parts of his life that led to his revolutionary music.
The film does not shy away from the fallible side of Bob Marley. Instead, it offers a well-rounded, loving portrayal of a man who, through his actions and music fueled by his deeply held Rastafarian beliefs, chose to spread love and unity around the world in a time of great troubles in his country.
I give Bob Marley: One Love 5 stars. It’s so fitting that this beautiful film is opening up on Valentine’s Day. A day we choose to celebrate love, which is what Bob Marley was all about. It’s a must-see for his fans and anyone curious about the man and his wonderful music. It’s not too soon to add this film to the Best of List for 2024.
 
Directed by: Reinaldo Marcus Green
Written by: Terence Winter, Frank E. Flowers, Zach Baylin
Rated: PG-13
Running Time: 1 hr 44 min
Biography/ Drama/ Music
Wide Theatrical Release: February 14th
Starring: Kingsley Ben-Adir, Lashana Lynch, James Norton, Tosin Cole, Anthony Welsh
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### BOB MARLEY: ONE LOVE – A Review by John Strange
BOB MARLEY: ONE LOVE – A Review by John Strange
Bob Marley is a legend in the music world.  With his band, the Wailers, Bob made reggae music something the world listened to.
This is an honest film that shows the bad as well as the good parts of the artist’s life.  Bob’s son, Ziggy, was a producer on the film.  At the beginning of the film, Ziggy appears on the screen welcoming the audience and letting us know that he was on set every day to ensure that the film remained true to the reality of his father’s life.
Born into a life with little opportunity to better himself in the poor part of the island of Jamaica, the young man turned his music into a career that took him around the world.  His life, as depicted by this film, was happy because his attitude toward life made it so.
There are a few items in the life of Bob Marley that unsettled me.  Probably because I didn’t have the life experiences required to truly understand them.  His views on life were based on his early life and his religion both of which were very different than mine.  They led him to live his life as he did.
I love documentaries and this type of drama because they DO sometimes unsettle or even disturb me because they show me a world I have not experienced before.  Bob Marley: One Love is an excellent example of this type of film.  I learned about an artist whose music I admire though parts of his life made me very sad.
 
Director: Reinaldo Marcus Green
Cast: Kingsley Ben-Adir, Lashana Lynch, James Norton, Tosin Cole, Umi Myers, Anthony Welsh, Nia Ashi, Aston Barrett Jr., Anna-Sharé Blake, Gawaine “J-Summa” Campbell, Naomi Cowan, Alexx A-Game, Michael Gandolfini, Quan-Dajai Henriques, David Kerr, Hector Roots Lewis, Abijah “Naki Wailer” Livingston, Nadine Marshall, Sheldon Shepherd, Andrae Simpson, Stefan A.D Wade
MPAA Rating: PG-13 (for marijuana use and smoking throughout, some violence and brief strong language)
Selig Rating: 4.5 Stars
Runtime: 104 Min.
Release Date: 02/14/2024
Language: English
Trailer: BOB MARLEY: ONE LOVE Official Trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### BOB TREVINO LIKES IT – A Review by John Strange
One of the perks of my job these days is the opportunity to interview filmmakers at film festivals around the South and Midwest.  One of the films that I watched last fall was Bob Trevino Likes It as I prepared to interview filmmaker Tracie Laymon, the writer/director of the film.
The great thing about interviewing Tracie was our shared history.  We have talked with each other at film festivals where she showed her previous short films.  This film is her debut feature film.
In this film, Lily Trevino (Barbie Ferreira) is a young lady whose home life growing up was not typical, in point of fact, it was terrible.  Her father, Bob (French Stewart), is a self-absorbed egoist who had/has no business being a father.  This resulted in a young woman who has always swallowed her feelings, trying to please everyone so she can fit in somewhere. 
Lily has only one anchor, the young lady she works for as a live-in caregiver, Daphne (Lauren “Lolo” Spencer).  But their friendship is strained by Lily’s emotional problems.
This is a story of healing and rebirth.  Lily’s path to healing is not an easy one to watch at times but one that the film handles with brilliant finesse.
This cast is amazing.  I admire French Stewart’s talent, his turn as the father/Bob Trevino, had me loathing him (the character).  Barbie Ferreira sold me as Lily, the self-deprecating young woman who just wants to be accepted and loved.  But John Leguizamo’s turn as the other Bob Trevino, the one from the title, reminded me just how amazing he can be when he has the right role.
I found this film fascinating.  I need to find myself a rage room.
 
Director: Tracie Laymon
Cast: Barbie Ferreira, John Leguizamo, French Stewart, Lauren “Lolo” Spencer, Rachel Bay Jones
MPAA Rating: PG-13 for brief strong language, and thematic elements
Selig Rating: 5 Stars
Runtime: 103 Min.
Release Date: 03/28/2025
Language: English
Genre: Comedy/Drama
Trailer: BOB TREVINO LIKES IT Official Trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### BOB TREVINO LIKES IT – Interview with Writer Director Tracie Laymon
This Friday the feature film BOB TREVINO LIKES IT opens in New York and LA before expanding to more cities next Friday the 28th.  Our Gadi Elkon spoke with Writer/Director Tracie Laymon about her inspirational feature film debut!

 
BOB TREVINO LIKES IT is inspired by the true friendship that writer and director Tracie Laymon found with a stranger when looking for her father online.
Tracie talked with Gadi about finding her incredible cast, the reality behind the film, SXSW 24′ and so much more!
Here is our Interview with Filmmaker Tracie Laymon.

The film opens in NY and LA this Friday March 21st and expands to more cities on March 28th.
For more info, BOB TREVINO LIKES IT.

 

#### Bobby Darin in “STATE FAIR” – 1962
The 20th Century-Fox film was directed by Jose Ferrer and produced by Charles Brackett.

 
Source : State Fair of Texas – bigtex.com

#### BODIES, BODIES, BODIES – A Review By Gadi Elkon
Kids and their wacky games!  A24’s latest summer time release is the raucous, BODIES BODIES BODIES.  Is it worth your party time?

When a group of rich 20-somethings plan a hurricane party at a remote family mansion, a party game goes awry in this fresh and funny look at backstabbing, fake friends, and one party gone very, very wrong.
Bodies Bodies Bodies seems a fitting example of the ridiculous levels reached when drugs, sex and violence are mixed together.  The cocaine induced antics become incredibly unpredictable as the film unravels.  A talented cast is led by the confused innocent that Maria Bakalova embodies as Bee.  Bee’s budding relationship with Amandla Stenberg’s troubled Sophie is the “in” to this wild group.  Chase Sui Wonders (Emma), Rachel Sennott (Alice), Myha’la Herrold (Jordan), Pete Davidson (David) and the game Lee Pace (Greg) round out our wild bunch.
Bunch of suspects as these kids’ crazy game does in fact go deadly!
The witty dialogue touches on the way in which culture and overexposed social media users have created a surreal setting for the youth of a modern world.  The pettiness, the hidden struggles and the harsh realities of these overprivileged children are amplified by the hurricane weather.  Any film that requires a “Water Safety Coordinator” (Chris Barnes shout out!) is of course highlighting the crazy level of fun BBB showcases.  These drunk and high partygoers intensity is matched and overtaken by the escalating hurricane that engulfs our mansion abode.
Director Halina Reijn and her team have molded a lovely tribute to a film like CLUE with the uber-cool violence of the SCREAM series.  Instead of a masked killer with a grudge we get a delirious progression of confused violent actions.  BBB shouldn’t be mistaken as a real anthem of our youth, but as a snippet into the over indulged crossing a line and yes, it does succeed.  The sound design and sharp cinematography helps keeps the mystery through till the shocking conclusion.
Not a film that should stick in your lexicon but certainly a great excuse to gather friends and go terrorize your local theater.
So grab your glow sticks, consume your preferred “drug”, and enjoy the wild night of death and mayhem.
BODIES BODIES BODIES
Directed by: Halina Reijn
Written by: Sarah DeLappe (screenplay) and story by Kristen Roupenian
Rated: R
Running Time: 1h 35min
Comedy / Horror/ Thriller
Wide Release: Only in theaters August 12th
Starring: Maria Bakalova, Amandla Stenberg, Rachel Sennott, Chase Sui Wonders, Myha’la Herrold, Pete Davidson and Lee Pace.
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.
  
 

#### BOHEMIAN RHAPSODY – A Review by Gadi Elkon
"I won't be a rock star.  I'll be a legend."  – Freddie Mercury   

	Here is my full review of 20th Century Fox's BOHEMIAN RHAPSODY

	

	Movies are supposed to entertain.  BOHEMIAN RHAPSODY completly lives up to that sentence.  Bryan Singer has brought forth his most entertaining film, & yes I love Usual Suspects too.  Overall the acting, incredible cinematography and the music (oh the music!) engulfs your senses and gives us the year's most raucous fun.

	The songs are iconic and the film doesn't shy away from giving us all the stories behind the epics.  The band's push for an operatic album.  Freddie's constant notion of pushing the boundaries with unique sounds and ideas.  Brian May's now infamous double stomp clap melody and his guitar licks that mirrored Mercury's voice.  The music is integral to the plot and to the Queen legacy.  You find yourself humming, stomping and even for some of you singing along to each wonderful moment of musical bliss.  The film's ending is bold enough to give us the epic full LIVE AID set that puts the ! to the movie.  I've heard enough of how great A Star Is Born, Bohemian Rhapsody is the better musical and emotional movie of 2018.

	Rami Malek embodies Freddie Mercury with a real gusto.  He lacks the height but his bravado and pomp explode on screen.  He really seems to connect with each incarnation of Freddie over the years.  His early shyness to his bold choices are perfectly mixed with his wild drug filled days and his painful final years.  No matter the era or time though his style was on point whether a simple scarf as an accessory or a full fledge leather suit.  The transformation from I Robot secrecy to Freddie Mercury deserves a ton of recognition.  Gwilym Lee is spot on for Brian May and those famous long curls.  Lee commands a true nod to the greatness of Queen's success and the film does a great job of showcasing his importance.  Ben Hardy as Roger Taylor gets to have a lot of fun and pokes and prods his way from scene to scene with a real delight.  Joseph Mazzello is not just the quiet bassist John Deacon he is the real rock of the group and shines brightest in the band's most difficult moments.  Aiden Gillen (John Reid), Tom Hollander (Jim Beach), & Lucy Boynton (Mary Austin) all are brilliant as the team that believes in Queen and Freddie.  Boynton's performance does get a nice arc as we see her in Freddie's lowest moments.  Allen Leach as Paul Prenter is a real scene stealer as the sleazy slug that ultimately separates Freddie from the band.  Mike Myers as executive Ray Foster is a bit of a campy comedic joke but it does pay off especially in the end of the film.  Ace Bhatti as Freddie's father is the real emotional pull of the film and his struggles with his son are wonderfully punctuated throughout the movie.  Susan Figgis casting is spot on for the film and the change of Sacha Baron Cohen to Rami ends up benefiting the movie.  

	Cinematographer Newton Thomas Sigel has helped Bryan Singer showcase the darker elements of film from Usual Suspects to Apt Pupil to the X-Men and Superman days.  But I think Newton's work on Three Kings (David O. Russell), Drive (Nicholas Winding Refn), Marshall (Reginald Hudlin), and his early days on Wonder Years and Cop Rock have really helped Singer find a new lighter more musical pace.  Sigel captures our band with extreme clarity and allows their wild movement on stage to rule the frame.  A younger Singer may have concentrated on the darker side of the Queen story, but instead we are given more the upbeat.  We are given a film that wants us to remember why this band become so beloved and huge.  This movie wants you to hum along, stomp and clap accordingly, and when you get the guts to belt out the songs with Freddie.  

	Run to see this film.    

	Directed by Bryan Singer

	Written By Peter Morgan (Story By) & Anthony McCarten (Story and Screenplay By)

	Rated PG-13

	Selig Rating A

	Running Time  2 hr 14 min

	Biography, Drama, Music

	Release : November 2nd 

	Starring: Rami Malek, Gwilym Lee, Ben Hardy, Joseph Mazzello, Aiden Gillen, Lucy Boynton, Allen Leach, Mike Myers, Ace Bhatti

	 

	The Selig Rating Scale:

	 

	A – Excellent movie, well worth the price.

	B – Good movie

	C – OK movie

	D – No need to rush. Save it for a rainy day.

	F – Good that I saw it on the big screen but wish I hadn't paid for it.

#### BOI DE CONCHAS – Interview with Filmmaker Daniel Barosa
Brazilian filmmaker Daniel Barosa’s short film, BOI DE CONCHAS (THE SHELL COVERED OX) is having its World Premiere this weekend at SUNDANCE 2024.  Daniel talked with our Gadi Elkon about the film, Brazil, Sundance and much more!

While mourning her missing sister, Rayane balances helping her fisherman father and practicing for the school’s music festival — provided she doesn’t become an ox first, a misfortune assailing several teenagers in the area.
Daniel talked with Gadi about finding his cast, shooting in Brazil, getting the Sundance call and so much more!
Here is our Interview with Filmmaker Daniel Barosa

The film has its world premiere at SUNDANCE this weekend.
For more info, BOI DE CONCHAS.

Bebé Salvego appears in Boi de Conchas by Daniel Barosa, an official selection of the U.S. Shorts Program at the 2024 Sundance Film Festival. Courtesy of Sundance Institute | Photo by Deborah Gallo.

#### Boise Film Festival 2024 Announces Film Lineup Including Hockey-Fueled Opening Night Debut
Christmas Eve in Miller’s Point
 
The inaugural Boise Film Festival will make its debut October 10-13 with a 20th Anniversary screening of Gavin O’Connor’s tale of the 1980 U.S. Olympic hockey team’s Gold Medal journey, Miracle. The new film festival will present a highly curated list of 27 films (16 features, 11 shorts), along with master classes on producing and screenwriting as it brings filmmakers and film and television industry veterans (including prolific producer Mark Ciadi, and CSI’s Anthony Zuiker) to the city to celebrate independent film via a four-day event packed with programming and special events.
The film festival’s epicenter and all screenings will be held at Boise’s Egyptian Theater Screenings (700 West Main Street) and The Flicks (646 West Fulton Street).
Created to be a film festival focused on discovery, looking to find, highlight, and celebrate new cinematic voices and faces, to promote the next generation of film makers and artists. BFF will also include a special focus on films created and shot in the Pacific Northwest.
BFF Founders and Executive Directors, Christine, and Mark Holder, said, “We are thrilled with the inaugural line up of films and special events our team has lined up for this first edition of the Boise Film Festival. From the beginning, we have said we hope to be matchmakers here in our adopted city between film lovers and the type of films and filmmakers that we have championed in our careers as producers and filmmakers. Following what should be a fun night of hockey on film with our 20th anniversary presentation of Miracle, will be a carefully curated and diverse group of films spanning several genres, as well as highly anticipated film industry panels, Q&As, and master classes, bringing a lot of top talent right here to Boise.”
Programmed by veterans Ash Hoyle (Sundance Film Festival, Outfest LA, NewFest NY, Damn These Heels, Sun Valley Film Festival, Overlook Film Festival, and AFI Fest), and Caroline Bloom (Atlanta Film Festival, New Orleans Film Festival, and No Budget Film Festival), the depth of Boise Film Festival’s lineup has the look of a film festival several years into its run versus a year one debut.
Regarding the inaugural lineup for BFF, Ash, said, “We’re excited to bring these films to Boise and to give our audiences a chance to experience some of the most exciting work out there on the circuit this year. We’re proud to present films from Sundance, SXSW, Tribeca, Cannes, and from the local filmmaking community. We think we’re off to a strong start.” Bloom added, “The inaugural Boise Film Festival features an exciting mix of inspiring documentaries, quirky comedies, acclaimed dramas, spotlights on women in media, journeys of social change, and new takes on the thriller and sci fi genre. We’re equally thrilled about the short film program, which features a dynamic range of stories that celebrate the diversity and creativity of human connection. There truly is something for every type of moviegoer to enjoy.”
Opening the new film festival will be the 20th Anniversary screening of Gavin O’Connor’s crowd pleaser Miracle (2004) about the 1980 U.S. Olympic Hockey team’s seemingly impossible path to win the gold medal versus the juggernaut that was the Soviet Olympic team. On hand to talk about the film will be producer Mark Ciardi, as well as Mike Eruzione, the real-life captain of that legendary team, and Patrick O’Brien Demsey, who played Eruzione in the film. Preceding the screening will be a presentation of GameAbove Entertainment’s ECHL Unfiltered: Idaho Steelheads – For the Love of the Game, which will be the first episode of the docuseries on the NHL Network. Several members of the Idaho Steelheads hockey team will be in attendance, along with director and executive producer Tyler Nimmons.
Three films showcased as part of the Boise Film Festival’s special focus on films created and shot in the Pacific Northwest are Eric Esau’s sci-fi feature Saturn, Jacob Ronnow’s dramatic short Mankind, and the world premiere of Kyle LaMontagne’s short Mother of Portland. In Esau’s Saturn, a family in a picturesque seaside town find their lives upended when a strange planet appears in the sky on a collision course for Earth. The planet’s appearance forces the father to decide between running from his destiny or sacrificing everything he loves since he just might be humanity’s only hope. Ronnow’s drama Mankind is sparked by a confrontational run in between a homeless man “seeking change” outside of a prestigious law firm, and a young lawyer, who decides to offer the man a chance at redemption. LaMontagne’s documentary short Mother of Portland focuses on the life and work of chef and restauranteur Lisa Schroeder.
Additional highlights among the narrative features include Zoë Eisenberg’s Chaperone. The winner of two awards at Sundance, including the Grand Jury Prize, the film focuses on a young woman whose satisfaction in her unremarkable life is a stark disappointment to everyone around her until a new relationship with a teenager threatens to shake everything up. Executive produced by Common, Sam Friedman and Will Bermudez’s drama Grassland follows the conflict that happens when a single black mother’s illegal marijuana business becomes jeopardized due to her 9-year-old son’s new friendship with their new neighbors: a white boy and his police officer grandfather. Alonso Ruizpalacios’ La Cocina, a winner at the Deauville Film Festival, stars Rooney Mara and Oded Fehr in a high stakes’ drama set in a bustling Times Square kitchen as the back-of-house staff each chase the elusive American dream within that pressure-cooker environment.
Highlights among the documentary features include Silje Evensmo Jacobsen’s Sundance Grand Jury Prize winner A New Kind of Wilderness. The film follows a family living a wild and free existence on a small farm in the Norwegian forest, until a tragedy upends their idyllic world and forces them to forge a new path into modern society. Don Hardy’s Linda Perry: Let It Die Here looks at the life and career of the 4 Non-Blondes icon and hit songwriter. Alison Tavel’s SXSW Audience Award winner Resynator is the filmmaker’s documentation of a personal project to rescue her father’s synthesizer prototype from her grandmother’s attic and start a curious resurrection project that turns into an insatiable, globe-trotting quest aided by a musical Who’s Who of estranged family, lost friends, fellow inventors, and celebrated musicians (Grace Potter, Peter Gabriel, Fred Armisen, Gotye & more).
As part of its focus on bringing Hollywood to Boise, BFF will feature two Inner Circle Master Classes focused on insider looks at film producing and screenwriting. Friday, October 11 Mark Ciardi (Secretariat, Million Dollar Arm, Chappaquiddick) will go through all the ins and outs of producing true stories for the big screen and television. From acquiring life rights, to development of the script, to production and delivery you will learn how to navigate the world of bringing real life heroes to the screen. On Saturday, October 12 Anthony Zuiker, creator of the landmark CSI franchise, will take attendees through all the ins and outs of writing successful television. The class will combine a nuts and bolts look at taking an idea to a finished script, as well as how best to navigate the business as a writer.
Previously announced, jury members for the inaugural edition of BFF include Academy Award-nominated producer David Permut, Academy Award-winning actor Octavia Spencer, Emmy Award-winning actor Paul Walter Hauser, Talent Agent David Boxerbaum, Manager/producer Andrew Wilson, and Boise State Film Professor Ryan Cannon.
The Closing Night Gala and Filmmaker Awards Ceremony on Sunday, October 13, will be hosted by former NFL Pro Bowler and America’s Got Talent finalist, Jon Dorenbros. All filmmaker award winners (both jury and audience) will receive cash prizes along with their BFF Award during a ceremony held on closing night.
To purchase passes and tickets, or for more information, please go to:  https://www.theboisefilmfest.com/.
 
2024 BOISE FILM FESTIVAL (BFF) Official Selections
 
OPENING NIGHT GALA SELECTION
Miracle (2004)
Director: Gavin O’Connor
Country: USA; Running Time: 135 minutes
The true story of Herb Brooks, the player-turned-coach who led the 1980 U.S. Olympic hockey team to victory over the seemingly invincible Soviet squad.
Preceded by
ECHL Unfiltered Episode 1: Idaho Steelheads – For the Love of the Game
Director: Tyler Nimmons
Country: USA; Running Time: 30 minutes
The first episode of the series looks at the Idaho Steelheads hockey team and the challenges they face in the new season and their quest for Kelly Cup glory.
ADDITIONAL NARRATIVE FEATURES
Audrey           
Director: Natalie Bailey
Country: Australia; Running Time: 97 minutes
Forgotten soap star and self-appointed Mother of the Year, Ronnie Lipsick is living the life she never asked for. An acting career derailed due to an untimely pregnancy 18 years earlier, dreams of stardom replaced with a suburban performing arts school. A husband, Cormack, whose lust, and love for life has gone as limp as his manhood. Youngest daughter, Norah, appears to have no use for her and finally, the ungrateful eldest, Audrey, who Ronnie has given the best part of her parenting time to mould into the success she always wanted to be. But when an accident lands Audrey in a coma, Ronnie gets her second chance at the life she actually wanted by taking on her daughter’s identity.
Birthrite          
Director: Ross Partridge
Country: USA; Running Time: 100 minutes
When a pregnant woman is bequeathed a home from an estranged aunt, she and her girlfriend leave the city behind to begin new chapter. But when a karmic debt threatens the life of their unborn child, they soon discover their place in the cursed history of the town.
Chaperone     
Director: Zoë Eisenberg
Country: USA; Running Time: 102 minutes
Misha Miyamoto, 29, lives alone in the house her grandmother left her, has held the same job since high school, and likes her life as is: simple. Unfortunately, her satisfaction disappoints everyone around her. Her boss can’t fathom why she won’t take a promotion, her lack of ambition dissuades potential love interests, and her parents push her to sell her estate since she has no interest in starting a family. These pressures leave Misha isolated and sick of justifying her choices. When an earnest 18-year-old mistakes Misha for a fellow student, she finds solace in his lack of expectation and begins a relationship with him. But as their relationship grows, so does Misha’s reckless behavior.
Christmas Eve in Miller’s Point       
Director: Tyler Taormina
Country: USA; Running Time: 106 minutes
On Christmas Eve, a family gathers for what could be the last holiday in their ancestral home. As the night wears on and generational tensions arise, one of the teenagers sneaks out with her friends to claim the wintry suburb for her own.
Cold Wallet    
Director: Cutter Hodierne
Country: USA; Running Time: 84 minutes
After losing everything in a cryptocurrency scam, a ragtag team of vigilante Redditors attempt to kidnap the kingpin who screwed them over. But when the home invasion takes a turn for the worst, they become victims in a sadistic game.
Grassland      
Directors: Sam Friedman, Will Bermudez
Country: USA; Running Time: 88 minutes
Grassland explores the failures of the criminal justice system from a unique angle by following Sofia, a single mother whose illegal marijuana business becomes jeopardized when her 9-year-old son Leo befriends the new neighbors: a white boy and his police officer grandfather.
La Cocina       
Director: Alonso Ruizpalacios
Country: Mexico, USA; Running Time: 139 minutes
In the heart of a bustling Times Square kitchen, dreams and desperation collide as the back-of-house staff each chase the elusive American dream. It’s a high-stakes drama that explores the intersection of the personal ambition and systemic exploitation of undocumented immigrant workers within the pressure-cooker environment of a Times Square restaurant.
Saturn
Director: Eric Esau
Country: USA; Running Time: 100 minutes
Saturn is a character-based science fiction film about a family in a picturesque seaside town whose lives are upended when a strange planet appears in the sky on a collision course for Earth. The planet’s appearance brings back a life that James thought he had left years ago when he settled down with his wife and young son. But, with the outside world in chaos and his perfect family slowly falling apart, James must decide between running from his destiny or sacrificing everything he loves. We slowly learn that James is more than meets the eye. He has a secret he’s never shared with anyone… a secret that is humanity’s only hope. Taking inspiration from classic and modern sci-fi, Saturnasks a simple question: how far would you go to save those you love?
Tapawingo
Director: Dylan K. Narang
Country: USA; Running Time: 109 min
An oddball becomes the bodyguard for a misfit teenager and finds himself in the crosshairs of the town’s family of bullies.
DOCUMENTARY FEATURES
A New Kind of Wilderness   
Director: Silje Evensmo Jacobsen
Country: Norway; Running Time: 84 minutes
On a small farm in the Norwegian forest, the Payne family seeks a wild and free existence. They practice home-schooling and strive for a closely-knit family dynamic in harmony with nature. However, when tragedy unexpectedly strikes the family, it upends their idyllic world and forces them to forge a new path into modern society.
Every Little Thing     
Director: Sally Aitken
Country: Australia; Running Time: 93 minutes
Author and wildlife rehabber Terry Masear wants to save every injured hummingbird in Los Angeles, but the path to survival is fraught with uncertainty and drama. This intimate and profound story reveals her diminutive patients both visually, through breathtaking, beautifully detailed photography, and emotionally: over the course of director Sally Aitken’s moving documentary, we become invested in Terry’s hummingbird patients – Cactus, Jimmy, Wasabi, Alexa, and Mikhail – celebrating their small victories and lamenting their tiny tragedies. Through the eyes of America’s busiest bird rehabilitator, each bird becomes memorable, mighty, and heroic. The compassion and empathy that Masear shows her birds serves as a lesson to us all — a reminder that in the smallest of acts, and in the tiniest of creatures, we might find grace.
Linda Perry: Let It Die Here
Director: Don Hardy
Country: USA; Running Time: 93 minutes
Linda Perry is one of the most outspoken and recognizable artists of the past 30 years. The hat, tattoos, and massive hit single “What’s Up” with her band 4 Non-Blondes made her an icon. But in the decades since that song topped the charts, Linda has reinvented herself as a songwriter and producer penning hit-after-hit for artists like Dolly Parton, Christina Aguilera, Celine Dion, Pink, and others. While the story of Linda’s career and craft is extraordinary, this film is about much more. Let It Die Here is an intimate look at a vulnerable and courageous woman as she navigates life-altering personal circumstances amidst gnawing career decisions. Linda‘s past and present collide as she struggles to answer the big questions she can no longer avoid: Who am I? Am I loved? What’s my purpose? What will I leave behind?
Maya and the Wave
Director: Stephanie Johnes
Country: USA; Running Time: 95 minutes
Pursuing her dreams against all odds, world champion Brazilian big-wave surfer Maya Gabeira challenges the status quo in a very patriarchal sport, as she is forced to battle chauvinism as well as the waves themselves to succeed beyond anyone’s expectations in the male-dominated world of surfing.
Porcelain War            
Directors: Brendan Bellomo, Slava Leontyev
Countries: Australia/USA/Ukraine; Running Time: 87 minutes
Porcelain War is a stunning tribute to the resilience of the human spirit, embodying the passion and fight that only artists can put back into the world when it’s crumbling around them. With extraordinary footage from a war-torn country, filmed by ordinary civilians, Porcelain War is a story much bigger than Ukraine, it’s a story about all of us.
Resynator      
Director: Alison Tavel
Country: USA; Running Time: 96 minutes
Inventor Don Tavel died suddenly when his newborn daughter was just ten weeks old. Growing up surrounded by mythical stories of her “genius” father, Alison’s life is consequently absent from any true connection to him. Resynator is a narrative documentary that begins when Alison rescues Don’s synthesizer prototype from her grandmother’s attic and starts a curious resurrection project that turns into an insatiable, globe-trotting quest. Aided by estranged family, lost friends, fellow inventors, and celebrated musicians (Grace Potter, Peter Gabriel, Fred Armisen, Gotye & more), Alison unlocks unsettling secrets and complex truths, through which a father/daughter relationship is finally born.
Shari & Lamb Chop  
Director: Lisa D’Apolito
Country: USA; Running Time; 92 minutes
Before Mister Rogers welcomed us to the neighborhood, Shari Lewis was captivating us with her iconic sock puppets Lamb Chop, Charlie Horse, and Hush Puppy. A multi-talented dancer, singer, magician, conductor, puppeteer, and ventriloquist, Lewis was the pioneer of children’s television, starring in a number of programs including “The Shari Lewis Show” and (where millennials fell in love with her) on PBS’s “Lamb Chop’s Play-Along.” With a career spanning five decades, Lewis’ tenacious work ethic, lovable charisma, and unwavering dedication to her craft led her into millions of living rooms to laugh, play, interact, and empower kids to love themselves exactly as they are.
Sugarcane     
Directors: Emily Kassie, Julian Brave NoiseCat
Country: Canada; Running Time: 107 minutes
A stunning tribute to the resilience of Native people and their way of life, Sugarcane, the debut feature documentary from Julian Brave NoiseCat and Emily Kassie, is an epic cinematic portrait of a community during a moment of international reckoning. In 2021, evidence of unmarked graves was discovered on the grounds of an Indian residential school run by the Catholic Church in Canada. After years of silence, the forced separation, assimilation and abuse many children experienced at these segregated boarding schools was brought to light, sparking a national outcry against a system designed to destroy Indigenous communities.
SHORT FILMS
Bite     
Director: Jorey Worb
Country: USA; Running Time: 14 minutes
After being sexually assaulted by her dentist, a formerly confident young woman endeavors to find the power within herself to stand up to her attacker. Based on the writer/director’s personal experience.
Bird Drone     
Director: Radheya Jegatheva
Country: Australia; Running Time: 9 minutes
A lonely seagull looking for love struggles to accept that his newfound object of affection is a human-operated drone with a limited battery life.
Bogota Story
Director: Esteban Pedraza
Country: Colombia, USA; Running Time: 16 minutes
In 1992, as Colombia faces an era of drug violence, car bombs, and daily power outages, a young mother in Bogotá receives an internship opportunity in the US and eventually must decide between her dreams and her family.
Border Hopper
Director: Nico Casavecchia
Country: USA; Running Time: 14 minutes
Laura, a Latinx filmmaker, lands a life-changing career opportunity when she’s hired to direct a Super Bowl commercial for a video game. The catch? The shoot is in Europe, and she can’t travel due to her immigration status, a secret she’s kept from her employers. This creates friction with her husband Jorge, whose Green Card depends on hers. Laura decides to apply for a complicated emergency travel permit to take on the job. Her reality takes a surreal turn as she starts having hallucinations of a nightmarish video-game world. When immigration services deny her the travel permit, she finds support from Jorge to accept the job, even if it means risking their immigration status.
Chauncey
Directors: Reilly Anspaugh, Daniel Rashid
Country: USA; Running Time: 11 minutes
When Zoe brings her new boyfriend home for the first time, she decides to hide her childhood stuffed animal Chauncey in the sock drawer. But when she starts to hear Chauncey’s voice in her head, she has to choose whether to continue hiding him, or to reveal the truth and risk disaster.
Fanatic           
Director: Taran Killam
Country: USA; Running Time: 16 minutes
Charlie and Gerald revive their failed 2000’s boyband, 2N1, for a competition with prize money that could remedy all their financial woes. What could go wrong?
ILY, Bye          
Director: Taylor James
Country: USA; Running Time: 14 minutes
ILY, Bye follows Siobhan, a quirky, socially anxious mess who can’t seem to keep a job. Thanks to the help of her best friend Gary, she scores an interview with his boss, Mr. Litchfield. When her call to schedule the interview goes to voicemail, Siobhan panics and leaves a series of unhinged messages. Not wanting to lose the interview, she embarks on a chaotic mission to delete the voicemails herself.
Mankind
Director: Jacob Ronnow
Country: USA; Running Time: 26 minutes
After a confrontational interaction with a homeless man “seeking change” outside of a prestigious law firm, a young lawyer decides to offer this lost soul a chance at redemption. As fate would have it, an unlikely connection is formed between the two, leading both men to ultimately discover salvation.
Midnight Snack         
Directors: Samuel Dhooge, Rani Nagels, Jarne Meersman
Country: Belgium; Running Time: 2 minutes
A vampire tries to escape from the house he’s in, when he finds out there’s a solar eclipse happening.
Mother Of Portland                                                   WORLD PREMIERE
Director: Kyle LaMontagne
Country: USA; Running Time: 7 minutes
When there’s chaos in her kitchen, she’s there to help. When there is chaos in her city, she’s there to help. A gritty greasy look at what it means to be a modern-day hero. The story of the life and work of Lisa Schroeder.
The Soul Trader        
Director: Susan Dynner
Country: USA; Running Time: 12 minutes
An occult hitwoman has cornered the market for selling life-extending souls to the elite. But on her final hit before retirement, deadly competition emerges from the shadows.
 

#### Boise Film Festival 2025 Announces Film Lineup and Panels for October Fest
The Boise Film Festival returns for its highly anticipated second edition October 2-5, kicking things off with a celebration of Idaho-shot and produced short films screening at the Historic Egyptian Theater. BFF has grown its highly curated line up, now totaling 38 films, including 16 features (12 narrative and 4 documentaries), and 22 shorts. This year’s edition will also feature the film festival’s master classes on film producing and screenwriting, headed up by award-winning Idaho-based filmmaker Heather Rae (Fancy Dance, Frozen River, Trudell), and director/screenwriter Steven Susco (Unfriended: Dark Web, The Grudge, The Grudge 2), and will conclude with BFF’s celebrated big show filmmaker awards ceremony, which will be hosted by comedian Craig Shoemaker.
The film festival’s epicenter and all screenings will be held at Boise’s Egyptian Theater (700 West Main Street) and The Flicks (646 West Fulton Street), with the filmmaking panels taking place at Idaho Film Society (1212 W. Bannock Street).
BFF Founders and Executive Directors, Christine and Mark Holder (producers of Bandidos, Beasts of No Nation) said, “We knew following the success of last year’s debut was going to be a challenge, but it was one we were excited to take on. From the beginning, we have been dedicated to promoting and celebrating our local Idaho-based filmmakers and productions, and Opening Night will start things off right giving them the rock star treatment with a gala red carpet event. We also anticipate a number of our talented filmmakers making the trip to Boise with their films to meet the city’s film lovers and talk about film in a city that provides the best backdrop to those conversations they could imagine.  Add our master classes and another planned big show for our filmmaker awards, and this will be a weekend you won’t want to miss.”
Opening the new film festival will be a special collection of short films locally shot and produced, as the Boise Film Festival gives them a gala platform. Those films include Taylor Hildebrande’s After the End about four young woman forced to scavenge a dangerous wasteland for survival;
Hailey Jackson Boucher’s period drama Brackett & Folder about an inmate pleading for release so she can care for her WWI veteran father; Andrew Ellis’ Dog Person about a man whose life is turned upside down by a person in a dog mask; Drew Garcia’s Fan Film a dark look at filmmakers who pursue their vision at any cost; and Dylan Hamar’s period thriller The Rabbit about a desperate hunter who runs afoul of a vengeful Native spirit.
Also screening on Opening Night will be Tom Taylor’s animated short Sam and Duke’s Big River Adventure which finds the adventurous duo is off an amazing journey along a river in their tiny boat; Justin Bass’ Sloppy Joe in which a personal chef strives to reignite joy in his dissatisfied client; Kody Newton’s Thad & Mr. Black about a recently homeless man and his little yorkie trying to impress his dream girl; Jessica Melton’s Violet looks at a couple in the future dealing with thoughts and feelings she shouldn’t be having; and Colin Kelly Hingel’s Wormhole which looks at what happens when a man, post-break up, gets on a mysterious video chat website.
Highlights among the narrative features include Matthew Shear’s Fantasy Life, winner of two awards at SXSW, about a man who stumbles into a job babysitting his psychiatrist’s three granddaughters, ending up in a house with the woman he pines for, her husband, the three kids, and all four grandparents, including his psychiatrist. Kuna, Idaho local filmmaking brothers B. Robert Anderson, and J. Markus Anderson’s If You Should Leave Before Me focuses on a married couple who serve as guides to the recently deceased, leading them to the afterlife. Tyler Cornack’s Mermaid focuses on a man who discovers a wounded mermaid at his lowest point fighting a drug addiction. Tina Romero’s Queens of the Dead, Tribeca Film Festival Audience Award winner pits drag queens against zombies in Brooklyn.
Documentary features include Adam Bhala Lough’s Deep Faking Sam Altman which tales a deep dive into understanding the technology and people at the center of the AI boom with the assistance of an AI version of the father of AI, OpenAI CEO, Sam Altman. The film debuted at SXSW. Abraham Troen and Angelique Molina’s Just Sing  is an inspiring coming-of-age musical documentary that follows the SoCal VoCals as they vie for the championship title in the International Competition of Collegiate A Cappella—the “Super Bowl of song.” Cody Sheehy’s The Last Dive        a man whose life was transformed by an unlikely friendship with a 22-foot oceanic manta ray. Now in his 80’s, the man embarks on one final journey to a remote island in hopes of reuniting with his old friend. Jesse Moss and Amanda McBaine’s festival favorite Middletown follows a group of teenage misfits, inspired by a renegade English teacher, who embark on a student film project, unexpectedly uncovering a vast conspiracy.
As part of the Boise Film Festival’s mission to bring Hollywood to Boise, BFF will feature three Inner Circle Master Classes focused on insider looks at film producing and screenwriting. Friday, October 4, VFX Producer Tyler Cordova (Lilo & Stitch) will head up a VFX Masterclass sharing the artistry and innovation behind today’s most breathtaking visual effects on the big screen. Saturday, October 5, Heather Rae will take aspiring filmmakers through the producing toolkit from the ground up at her Producing Masterclass with Heather Rae at the Idaho Film Society. Rae, award-winning producer and advocate for artist-driven, culturally resonant cinema, will lead an intensive session, breaking down the real-world path taking a film from concept to market. On Sunday, October 6, Steven Susco will take the reins during the Writing Fearlessly: Steven Susco on Story & Screen panel, also at the Idaho Film Society. Susco will lead emerging and mid-career screenwriters through topics including story conception and development, writing for genre and character, structuring suspense, dialogue that resonates, and strategies for breaking into and sustaining a career in screenwriting.
The Boise Film Festival will have its job cut for it matching the show they put on during last year’s Closing Night Gala and Filmmaker Awards Ceremony. This year’s MC duties will be handled by comedian Craig Shoemaker on Sunday, October 5 at the Grove Hotel (245 S. Capitol Blvd.), Along with the announcement and presentation of the filmmaker awards (both jury and audience) will be a special presentation honoring film producer Larry Leasure (My Promise to PJ, The Diamond Detectives) with the Esther Simplot Excellence in the Arts Award.
To purchase passes and tickets, or for more information, please go to: https://www.theboisefilmfest.com/.
 
2025 BOISE FILM FESTIVAL (BFF) Official Selections
 
OPENING NIGHT GALA SELECTIONS
 
After the End
Director: Taylor Hildebrande
Country: USA; Running Time: 10:10 minutes
4 young woman scavenge the wasteland of what used to be farms for seeds and other useful items. But when nature shows how dangerous it can be, things get deadly.
 
Brackett & Folder
Director: Hailey Jackson Boucher
Country: USA, Running Time: 8 minutes
Based off a true story in 1923, inmate Hannah Folden pleads with the warden for her release from the Idaho state penitentiary so that she may take care of WWI veteran Walter Brackett, who is suffering from Tuberculosis.
 
Dog Person
Director: Andrew Ellis
Country: USA, Running Time: 4 minutes
A man on vacation has his life turned upside down by a person in a dog mask.
 
Fan Film
Director: Drew Garcia
Country: USA, Running Time: 16 minutes
In Fan Film, ambition blurs into obsession as filmmakers pursue their vision at any cost, spiraling into a dark journey of creation and consequence.
 
The Rabbit
Director: Dylan Hamar
Country: USA, Running Time: 10 minutes
In 1910, a desperate hunter steals a freshly killed rabbit to feed his starving family. But what seems like a small act of survival awakens a vengeful Native spirit that stalks him through the snowbound wilderness. As desperation turns to terror, he discovers that some thefts can never be forgiven.
 
Sam and Duke’s Big River Adventure        
Director: Tom Taylor
Country: USA; Running Time: 9:26 minutes
Sam and Duke are at it again. This time the adventurous duo is off an amazing journey along a river in their tiny boat. Take a ride with Sam and Duke and enjoy the beauty, wonder and perils of their biggest adventure yet. This is the third animated short children’s movie installment for The Adventures of Sam and Duke.
 
Sloppy Joe
Director: Justin Buss
Country: USA, Running Time: 14 minutes
A personal chef strives to reignite joy in his dissatisfied client.
 
Thad & Mr. Black
Director: Kody Newton
Country: USA, Running Time: 12 minutes
Thad is recently homeless with his little yorkie named Mr. Black. After they meet his dream girl, Sandy, Thad has to try to impress her in her coffee shop.
 
Violet
Director: Jessica Melton
Country: USA, Running Time: 12 minutes
In a near future where love and marriage face new complexities, Violet confronts Henry about thoughts and feelings she shouldn’t be having.
 
Wormhole
Director: Colin Kelly Hingel
Country: USA, Running Time: 14:16 minutes
After getting broken up with over the phone, a guy distracts himself with screen time and other vices. He decides to visit a mysterious video chat website called ‘Wormhole’ where he meets someone. The following day becomes peculiar.
 
 
NARRATIVE FEATURES
 
American Sweatshop
Director: Uta Briesewitz
Countries: USA/Germany, Running Time: 93 minutes
A content moderator (Lili Reinhart) is tasked with purging offensive media from the internet. When she witnesses a crime in a video, she is lured away from the safety of her keyboard as she obsessively seeks to hold someone accountable.
 
April X
Director: Michael K. Parandi
Country: USA; Running Time: 96 minutes
In a fractured near-future, twin siblings Bax and April are separated by forces neither fully understands. We watch Bax spiral into madness, unraveling the boundary between identity and memories.
 
Fantasy Life
Director: Matthew Shear
Country: USA; Running Time: 91 minutes
After losing his job as a paralegal, Sam Stein suffers a panic attack and stumbles into a job babysitting his psychiatrist’s three granddaughters. The girls’ mother, Dianne, is an actor whose once-promising career has stalled; she’s in a difficult marriage to David, a rock bassist. When David goes abroad on tour, Dianne and Sam discover an easy rapport. Sam joins Dianne’s family to babysit for the summer on Martha’s Vineyard, and he ends up in a house with the woman he pines for, her husband, the three kids, and all four grandparents, including his psychiatrist.
 
Hello Out There!        
Director: Otis Blum
Country: USA; Running Time: 90 minutes
Minnie, a young journalist, and Rex, her cousin fresh out of rehab, road trip through New Mexico to meet a mysterious man who claims to have proof of alien life and access to Area 51. As the journey unfolds a more personal reason for the quest comes to light.
 
Idiotka
Director: Nastasya Popov
Country: USA, Running Time: 82 minutes
In West Hollywood’s Russian immigrant district, Margarita lives out the American Dream: competing on a reality show. Will she slay, serve, or survive?
 
If You Should Leave Before Me
Directors: B. Robert Anderson, J. Markus Anderson
Country: USA, Running Time: 116 minutes
Mark and Joshua, a married couple, face a devastating loss that strains their relationship. To escape grief, they focus on their unconventional jobs as guides for the recently deceased, leading them to the afterlife.
 
In Our Blood
Director: Pedro Kos
Country: USA, Running Time: 89 minutes
Emily Wyland teams up with cinematographer Danny to shoot an intimate documentary about reuniting with Emily’s estranged mother after a decade apart. When her mother suddenly goes missing, possibly succumbing to the addictions that first tore her family apart, Emily and Danny must piece together increasingly sinister clues to find her before it’s too late.
 
Magic Hour    
Director: Katie Aselton
Country: USA; Running Time: 80 minutes
Erin and Charlie escape to the desert to navigate an unexpected and challenging new phase of their relationship.
 
Mermaid
Director: Tyler Cornack
Country: USA, Running Time: 105 minutes
A Percocet-addicted ‘Florida Man’ finds a wounded mermaid at his lowest point. Fascination becomes a drug infused, one sided relationship — sending him further into decline. When word spreads about his secret, he’ll stop at nothing to protect her.
 
Omaha            
Director: Cole Webley
Country: USA; Running Time: 83 minutes
After a family tragedy, siblings Ella and Charlie are unexpectedly woken up by their dad and taken on a journey across the country, experiencing a world they’ve never seen before. As their adventure unfolds, Ella begins to understand that things might not be what they seem.
 
Queens of the Dead
Director: Tina Romero
Country: USA, Running Time: 99 minutes
Drag queens and club kids battle zombies craving brains during a zombie outbreak at their drag show in Brooklyn, putting personal conflicts aside to utilize their distinct abilities against the undead threat.
 
Recollection
Director: Caden Butera
Country: USA, Running Time: 119 minutes
In a society where people rely on technology to remove painful memories, a glitch returns Kate’s memories, uncovering a dark truth about her past and those responsible. It’s 2033, and memory cleansing has taken society by storm. Thanks to Vitality’s technology, yesterday’s troubles are forever forgotten…or so sullen Kate (Rosslyn Luke) believes until a glitch floods her with memories of a life erased. Now, Vitality wants to make Kate forget again. On the run, Kate joins reclusive Teddy (Falk Hentschel) who believes Vitality killed his wife and is hiding proof in one of Kate’s memories. Kate agrees to help find her missing memory and use it to expose Vitality. After close calls and dead ends, Kate and Teddy meet Sid Dyas (Eric Roberts), a sleazy clerk in Vitality’s underground who reveals a bigger conspiracy at play. Teddy and Kate are quick to devise a plan that hits straight at the heart of Vitality.
 
 
DOCUMENTARY FEATURES
 
Deep Faking Sam Altman    
Director: Adam Bhala Lough
Country: USA; Running Time: 103 minutes
Director Adam Bhala Lough sets out to better understand the technology and people at the center of the AI boom. His quest sends him on a path towards the father of AI, OpenAI CEO, Sam Altman. When he isn’t able to sit down with Altman himself, Adam travels to India to create an AI version of him to interview instead. Sam Bot is a new kind of documentary subject and collaborator, who challenges Adam in surprising and hilarious ways. Together, Adam and Sam Bot explore what it means to be alive, create art, and understand each other in an increasingly artificial world. Hartbeat partners with Vox Media Studios and Lough for this documentary based on reporting from New York Magazine.
 
Just Sing        
Directors: Abraham Troen, Angelique Molina
Countries: UK/USA; Running Time: 93 minutes
Just Sing is an inspiring coming-of-age musical documentary that follows the SoCal VoCals as they vie for the championship title in the International Competition of Collegiate A Cappella—the “Super Bowl of song.” Beyond the high-pressure rehearsals and fierce competition, the film delves into the personal journeys of its members, each facing their own battles in the pursuit of self-discovery, their dreams in music, and friendship.
 
The Last Dive 
Director: Cody Sheehy
Country: USA; Running Time: 88 minutes
Terry is a legendary figure in Baja Mexico, an American veteran who has spent decades living on—and in—the water. Once a man burdened by a troubled past, Terry’s life was transformed by an unlikely friendship with Willy, a 22-foot oceanic manta ray. For nearly two decades, Willy would slap his wings against the hull of Terry’s sailboat to signal their next dive, and together they explored the ocean’s depths—an extraordinary bond that turned Terry into an unexpected conservationist. Now in his 80’s, Terry embarks on one final journey to a remote island in hopes of reuniting with his old friend. But he’s also searching for something deeper: peace, closure, and a chance to say goodbye.
 
Middletown    
Directors: Jesse Moss, Amanda McBaine
Country: USA; Running Time: 116 minutes

Upstate New York. A group of teenage misfits, inspired by a renegade English teacher, embark on a student film project and uncover a vast conspiracy that is poisoning the ground beneath their feet. Banding together to confront the indifferent adults, corrupt politicians and a violent criminal organization threatening their small town, they produce an investigative documentary that causes shockwaves in their community.

 
 
 
ADDITIONAL SHORT FILMS
 
The Callback  
Director: Kara Herold
Country: USA; Running Time: 13:11 minutes
Maggie has one goal: landing a callback for a film role. Even with minuscule odds, she believes a callback will lead her to the roles she wants, the ones with depth, despite the gatekeeping of a patriarchal film industry. Believing in herself to the point of denial, Maggie applies her artistry to a multitude of outdated women’s roles: girl next door, supportive wife, pretty but silent girlfriend. Casting directors, however, aren’t impressed with her creative interpretations of these one-dimensional roles, despite painstakingly diagramming the life of a midwestern housewife “on the verge of making it,” and studying Russian for the part of “soccer mom. But the moment after she dumps all of her acting paraphernalia into a large garbage bag, her phone pings–a callback! Maggie is placed in position, contorted, bloody, covered in leaves in an abandoned field. Ever the professional, her face goes blank as the crew readies for her close-up. She’s on her way!
 
The Cello Collective                                                              World Premiere                                
Director: Ron Torres
Country: USA; Running Time: 12 minutes
Professional Cellist Sophie Marshall founds a cello collective in her hometown of Pocatello, Idaho.
 
Cherry-Colored Funk            
Director: Chelsie Pennello
Country: USA; Running Time: 16:25 minutes
Serial grifter Winston Lee has just changed his name to Roberto Ferrari and opened Roberto’s Italian Ice and Gelati – his ticket to wealth and respect. Unfortunately for Ferrari, instead of customers, seemingly everyone he’s ever wronged walks through the front door, each on a mission to settle their grievances. With an enigmatic DJ set blaring over the store speakers, Ferrari is forced to navigate the onslaught while desperately trying to cling to his dream.
 
Cub     
Director: Sofia Rubin
Country: USA; Running Time: 9:26 minutes
12-year-old Kim hates Martial Arts. Her hair is in her mouth, her opponent is a vicious little princess, and her sports bra is squeezing the life out of her. But this is her biggest tournament yet, and Dad will damn her to Hell if she doesn’t win. The scouts are here, and they could make or break her (and Dad’s) career. As anxiety and expectations build, Kim’s body starts to change: new hair sprouts from her arms, new claws pierce through her gloves, new canines knock out her mouth guard. And as Kim transforms, so does everyone else. Everyone is an animal, screeching and hollering. If they want a show, Kim will give them a show. She’ll go straight for the jugular. How about this for a prize fighter, Dad?
 
Kind Mother   
Director: Clare O’Connor
Country: USA; Running Time: 15 minutes
An estranged mother arrives at the silent retreat that her daughter is attending. When the two women engage in an unusual – and fantastical – power struggle, limits are tested, generational trauma is brought to light, and together they must grapple with mortality.
 
Reprogrammed         
Director: Christopher Guerrero
Country: Colombia, USA; Running Time: 7:40 minutes
In retro-future Los Angeles, Andrea, a lonely roboticist obsessed with creating IRIS, her groundbreaking AI masterpiece, isolates herself from everyone she loves. But as she teaches IRIS the complexities of being human, Andrea’s creation forces her to confront painful echoes of her own fractured relationship with her estranged father. Realizing true sentience means understanding messy, human connections, Andrea must mend her past before she can bring artificial life into the world, rediscovering the true meaning of family, forgiveness, and being alive.
 
Not Here
Director: Cassius Michael Kim
Country: USA, Running Time: 15 minutes
In rural Texas, Sarah’s unraveling life intersects with that of her neighbor, Jack, through a shared discovery of betrayal. As she confronts her own pressing crisis, complicated by a legal mandate in the State, she seeks Jack’s help.
 
Houston, We Have a Crush
Director: Omer Ben Shachar
Country: USA, Running Time: 10 minutes
After finding a phone accidentally left behind by an astronaut, a lonely alien develops an all-consuming crush that tests his hold on reality.
 
In the Dark
Director: Molly Ehrenberg-Peters
Country: USA, Running Time: 15:40 minutes
Haunted by her past, struggling film photographer Jade travels from New York City to her hometown in the California desert to reunite with her first love Ryan, from whom she’s been estranged for over a decade, to restage a portrait of him. While the two reconnect at their local diner, reminiscing about the past and skimming the details of the present, Jade becomes overwhelmed by a slew of repressed memories. Once she takes the photo she’s come for, which just might be the skeleton key to moving on from her former life, Jade confronts Ryan about the sexual assault that ended their relationship, the psychological burden she’s carried with her, and the limits of forgiveness.
 
Just Kids
Director: Jackie Bao
Country: USA; Running Time: 5:11 minutes
Ben, an ambitious Asian-American man shaped by his father’s immigrant experience, is visited by his inner child on his way to the top. Through an unlikely elevator ride, he experiences his childhood dreams, meets a vulnerable father, and finds a renewed sense of self.
 
Not Here
Director: Cassius Michael Kim
Country: USA; Running Time: 15:42 minutes
In rural Texas, Sarah’s unraveling life intersects with that of her neighbor, Jack, through a shared discovery of betrayal. As she confronts her own pressing crisis, complicated by a legal mandate in the State, she seeks Jack’s help.
 
The Understudies      
Director: Nick Galarza
Country: USA; Running Time: 19 minutes
The Understudies follows a starry-eyed theater geek Marlo, who, despite being just the understudy, tackles the responsibility and preparation of the lead role of his high school play.

#### Boise Film Festival Will Make Its Debut In October 2024
 
Wonder Street Entertainment’s Christine and Mark Holder have announced the creation of the Boise Film Festival, which will make its debut October 10-13. The film festival’s epicenter and all screenings will be held at Boise’s Egyptian Theater Screenings (700 West Main Street) and The Flicks (646 West Fulton Street). The Call for Entries has begun with the Regular Deadline set for June 30.
BFF will be designed to highlight the bustling creative community supported by the City of Boise, Idaho, by bringing filmmakers and film and television industry veterans to the city to celebrate independent film via a four-day event which will feature screenings, panels, Q&As, and masterclasses. Due to its easy access from Los Angeles, it is anticipated to become a top destination film festival on the regional circuit for film professionals, creatives, deal makers, and aspiring filmmakers on all levels.
The Boise Film Festival will set forth on a mission to be a festival of discovery, looking to find, highlight, and celebrate new cinematic voices and faces, to promote the next generation of film makers and artists. BFF will also include a special focus on films created and shot in the Pacific Northwest, as well as a special filmmaker award for Best Feature Film and Best Short Film dedicated toward those films.
Confirmed jury members for the inaugural edition of BFF include; Academy Award-nominated producer David Permut, Academy Award-winning actor Octavia Spencer, Emmy Award-winning actor Paul Walter Hauser, Talent Agent David Boxerbaum, and Boise State Film Professor Ryan Cannon.
BFF Founders and Executive Directors, Christine, and Mark Holder, said, “Since moving to Boise in 2020, we have fallen more in love with the city and the area each day, and have been eager to be matchmakers of a sort between Boise’s film lovers and the type of films and filmmakers that we have championed in our careers as producers and filmmakers ourselves. The city will provide such a wonderful backdrop for the discovery of new talent and great conversations on film that we see the Boise Film Festival becoming one of those ‘can’t miss’ stops on the film festival tour whether you are a filmmaker or an industry veteran looking to meet that filmmaker.”
Christine Holder is a producer, manager, and a founding partner of Wonder Street Entertainment. She currently produces both feature and television content as well as representing creative forces in both the talent and literary world. Following stints in the studio feature world with Fox, Universal, and Touchstone/Disney and the PR firm BWR, Christine launched into the management/ production side of the business in 2008. Since then, she has produced such projects as Netflix’s critically acclaimed Beasts of No Nation which starred the award-winning Idris Elba and was directed by Cary Fukunaga, Walter featuring Milo Ventimiglia, William H. Macy and Virginia Madsen, and dark thriller I Will Follow You Into The Dark starring Ryan Eggold. In 2019, Christine, along with her husband Mark, ventured out to form their current shingle allowing their passion and laser focus to filter into a company built on cultural responsibility and integrity, transparency, and inclusion. Her projects include the Octavia Spencer-starring Netflix series Self Made: Inspired by the Life of Madam CJ Walker (which recently earned the star her first best actress Emmy nomination) with producing partner LeBron James, the Tim Story-directed HBO movie on infamous Harlem gangster Stephanie Saint-Clair, Prisoner 760 based on the best-selling auto biographical novel Guantanamo Diary, starring Benedict Cumberbatch, Jodie Foster, Shailene Woodley and Tahar Rahim. Currently, she is an executive producer on the hit Netflix Spanish language series Bandidos which debuted on Netflix last month.
Mark Holder is a producer and a founding partner of Wonder Street Entertainment. In addition to producing impactful stories for television and film, Mark guides a diverse team of managers and producers at Wonder Street. Credits include: STX films The Mauritanian, based on the best-selling memoir Guantanamo Diary, starring Benedict Cumberbatch, Jodie Foster, Shailene Woodley and Tahar Rahim and directed by Academy Award Winner Kevin MacDonald. Netflix’s critically acclaimed Beasts of No Nation directed by Cary Fukunaga and starring Idris Elba. The hit Netflix series Self Made: Inspired by the Life of Madam CJ Walker starring Octavia Spencer with producing partner LeBron James and Springhill Entertainment. Holder also was an Executive Producer on the one hour hit drama East New York on CBS, as well as the Netflix adventure heist series Bandidos which premiered last month.
All filmmaker award winners (both jury and audience) will receive cash prizes along with their BFF Award during a ceremony held on closing night.
Announcements regarding jury, programming details, events, etc. will follow throughout the Spring and Summer.
To submit a film for consideration, please go to: https://filmfreeway.com/BoiseFilmFestival.
BOISE FILM FESTIVAL (BFF) Filmmaker Awards and Submission Deadlines
AWARD CATEGORIES AND PRIZES
Best Narrative Feature
Best Documentary Feature
Best Narrative Short Film
Bes Documentary Short Film
Best Animated Short Film
Best PNW (Washington, Oregon, Idaho, Northern California) Narrative Feature
Best PNW (Washington, Oregon, Idaho, Northern California) Short Film
Best Actor (not gender specific) in a Feature
Best Actor (not gender specific) in a Short Film
Best Director (Feature Film)
Best Director (Short Film)
Audience Award – Best Feature
Audience Award – Best Short Film
SUBMISSION DEADLINES
• Regular: June 30, 2024
• Late: August 1, 2024
• Extended: August 31, 2024
 

#### Bollywood blog addict Bachchan celebrates landmark
NEW DELHI (AFP) – Lots of celebrities write blogs, but no one blogs quite like Bollywood superstar Amitabh Bachchan who this week marked three years of writing in which he has often produced 1,000 words a day.
	Bachchan celebrated the anniversary of his Internet outpourings with a characteristic array of long postings covering family news, spiritual thoughts and updates on his health, travel plans and sleep patterns.
	Each Bachchan message attracts a huge readership and hundreds of comments contributed by adoring Indians who view him as a national father figure as well as an ageing screen star.
	"Thank you for your presence and for your gratitude," Bachchan wrote to followers who congratulated him on his blog landmark.
 
Read More: http://news.yahoo.com/s/afp/20110421/ennew_afp/entertainmentitindiabollywoodpeople_20110421094621
 

#### BOLT FROM THE BLUE – Interview with Writer Director Jack Martin and Stars Kevin Martin and Page Tudyk Gomez
The 30th Austin Film Festival gets underway today and will showcase and highlight Writers and Filmmakers over the next 8 days/nights.  BOLT FROM THE BLUE is one of the festival’s narrative feature film’s and marks the feature debut for Writer/Director Jack Martin.  Jack and his stars Kevin Michael Martin and Page Tudyk Gomez talked with our Gadi Elkon about AFF, Bolts of Lightening, Homer Alaska and so much more!

An overlooked engineer is sent to Alaska to investigate an eccentric scientist’s claim that capturing lightning could be the next monumental source of renewable energy.
Jack, Kevin and Page talked about the origins of this story, the family dynamics of this project, shooting in Alaska, and even got to talk San Antonio Spurs with Texan Page Tudyk Gomez.
Interview with Writer/Director Jack Martin and Stars Kevin Michael Martin & Page Tudyk Gomez:

BOLT FROM THE BLAST has two screenings at the Austin Film Festival.

#### BOMBSHELL – A Review by Cynthia Flores
BOMBSHELL – A Review by Cynthia Flores
The first thing you need to know about this film is that it’ll take you a while to realize that Charlize Theron is playing Megyn Kelly.  Because she completely disappears in the part.  The same can be said for John Lithgow as Rodger Ailes.  Bombshell is a revealing look inside the most powerful and controversial media empire of all time, Fox News.  Based on the true explosive story of the two famous and popular TV anchors, Gretchen Carlson ( Nicole Kidman) and Megyn Kelly (Charlize Theron). How they provided the one-two punch that brought down a powerful boss, Rodger Ailes (John Lithgow).  It’s a heroic tale of women fighting back against their own exploitation.
In the film, Kelly was the key figure, coming forward after Carlson’s long-shot lawsuit with her own story about Ailes’s harassment of her ten years earlier.  She then rallied women at Fox News to do the same.  Her actions, along with Carlson’s lawsuit, helped in the revolt against one of the most formidable figures in television news.
The director, Jay Roach, is known as a producer mostly in films.  Still, he shows here in this film that he is an excellent storyteller and can keep the tension going from the first shot.  Also, in a movie with such heavy acting hitters in it, the youngest actress steals the show.  When Kayla Pospisil (Margot Robbie), has her own run-in with Ailes and his well-known “Show me how loyal you can be” sexual harassment set up, it’s heartbreaking.  She shows the devastation that kind of hateful situation can have on a person’s emotions.
I give Bombshell an A rating because it’s a movie people will be talking about for a while.  Also, because it’s so well-acted and starts the conversation going about harassment in the workplace.
 
Directed by: Jay Roach
Written by: Charles Randolph
Rated R
Selig Rating A
Running Time: 1hr 48min
Drama / Biography
Wide Release: December 20th
Starring: Charlize Theron, Nicole Kidman, Margot Robbie, John Lithgow
 
The Selig Rating Scale:
A – Excellent movie, well worth the price.
B – Good movie
C – OK movie
D – No need to rush. Save it for a rainy day.
F – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### BONEYARD – Interview with Actress Nora Zehetner
Actress Nora Zehetner plays Detective Young in the latest LIONSGATE release, BONEYARD.  Our Gadi Elkon spoke with Nora about playing a detective, working with her fellow cast and so much more!

When the skeletal remains of eleven women and girls are discovered in the New Mexico desert, an extensive investigation is launched. Inspired by true crime stories, this chilling crime-thriller follows Detective Ortega (Brian Van Holt), Police Chief Carter (Curtis “50 Cent” Jackson), and Agent Petrovick (Mel Gibson) in a multi-agency effort to identify and apprehend the killer. As each of their agendas and methods clash, a tangled web of intrigue casts suspicion in all directions.
Gadi and Nora talked about when she shot her most recent roles and how this role as Det. Young was a unique choice for her.  Nora expanded on getting to work with her fellow cast, especially Brian Van Holt as Det. Ortega.
Here is our Interview with Actress Nora Zehetner:

Boneyard – On Digital and On Demand July 2nd; In Theaters July 5th.

 

#### BONEYARD – Interview with Director Co-Writer Asif Akbar and Co-Writer Actor Vincent E. McDaniel
Our Gadi Elkon spoke with Director/Writer Asif Akbar and Actor/Writer Vincent E. McDaniel about their feature film, BONEYARD.

When the skeletal remains of eleven women and girls are discovered in the New Mexico desert, an extensive investigation is launched. Inspired by true crime stories, this chilling crime-thriller follows Detective Ortega (Brian Van Holt), Police Chief Carter (Curtis “50 Cent” Jackson), and Agent Petrovick (Mel Gibson) in a multi-agency effort to identify and apprehend the killer. As each of their agendas and methods clash, a tangled web of intrigue casts suspicion in all directions.
Asif and Vince talked with Gadi about the reality behind the story, gathering this game cast, shooting in Vegas/Nevada and so much more.
Here is our interview with Director/Writer Asif Akbar and Actor/Writer Vincent E. McDaniel:

Boneyard – On Digital and On Demand July 2nd; In Theaters July 5th.

 

#### BOOK CLUB – A Review by Cynthia Flores
 

	BOOK CLUB – A Review by Cynthia Flores

	 

	Attention all ladies of a “certain age”, this film is for you!  This is director/co-writer Bill Holdermans’ feature debut.  He doesn’t look old enough to have been around when these great casts of actresses were at their peak but he does know how to direct them in this laugh out loud comedy.

	 

	The story set up is simple enough, four lifelong friends, Diane (Diane Keaton) who is newly widowed, Vivian (Jane Fonda) who is married to her work, Sharon (Candice Bergen) who is a divorced federal judge and Carol (Mary Steenburgen) who is a chef that longs to spice up her marriage to Bruce (Craig T. Nelson) gather each month to hold a book club meeting and drink a lot of wine.  Well, this month Vivian wants to spice up the group and get help them out of their sexual ruts so she picks the first of the Fifty Shades of Grey trilogy for the women to read.  This opens a Pandora’s box of feelings and questions about sexuality for women over sixty.  Not laughing yet?  Well you will because the rest that follows are fish out of water situations for these very dignified ladies like online dating, and starting real relationships at this late date.  As the women start to look at their lives they continue reading the rest of the trilogy and make changes in how they want to live out their golden years.

	 

	The director was lucky to have such top caliber actors and actresses to do this kind of light hearted comedy.  It’s their seasoned talent that keeps the moments that feel clunky due to the writing down to a minimum.  It’s great to see older actors and actresses up on the big screen and not tucked away because of their age.  Hollywood is learning that there is more than enough room up there for everyone.

	 

	I don’t think that Book Club will become a classic like 1996’s First Wives Club did but it’s funny and a great reason to step out of the heat and enjoy it on the big screen in a cool theater.  I give is a solid B rating.       

	 

	Directed by Bill Holderman

	Written By Bill Holderman, Erin Simms

	Rated PG-13

	Selig Rating B

	Running Time 1hr 45min

	Comedy

	Wide Release May 18th

	Starring: Diane Keaton, Jane Fonda, Candice Bergen, Mary Steenburgen, Andy Garcia, Craig T. Nelson, Don Johnson  

	 

	 

	The Selig Rating Scale:

	 

	A – Excellent movie, well worth the price.

	B – Good movie

	C – OK movie

	D – No need to rush. Save it for a rainy day.

	F – Good that I saw it on the big screen but wish I hadn't paid for it.

#### BOOK CLUB: THE NEXT CHAPTER – A Review by Jenn Rohm
BOOK CLUB: THE NEXT CHAPTER – A Review by Jenn Rohm
In 2018 Diane Keaton, Jane Fonda, Candice Bergen, and Mary Steenburgen came together to celebrate friendship and show that there is life, adventure, and laughter at age 65 and after.  Five years have passed, and we now have the second film Book Club: The Next Chapter.  The film starts during the pandemic with learning to use Zoom and Amazon delivering their next book to read.  Mini updates are provided to catch the audience up with where they are when they finally get to be in the same room at the same time again.  Carol (Steenburgen) had been cleaning and found an old journal about the group’s planned trip to Italy.  At that time Diane (Keaton) found out she was pregnant, and the group never took the trip.  The group decides now is the time to go.
The movie is very predictable, and the script didn’t allow for the strength of talent this cast could give.  Bergen has a few lines that come close to what I was expecting from this project.  That said the movie is cute and there were moments that had me giggling and others where laughter did take place.  I appreciated the pacing and the beautiful scenery of Italy.    
I would like to take a moment and talk about costuming.  There were no stereotypical elastic waist pants, floral house coats, or orthotics that I saw on the main cast.  Vivian (Fonda) was in current custom-tailored fashion and even when handed a Bride sash and tiny veil looked very refined and fashion-forward.  Carol (Steenburgen) was boho-chic with modern cut floral dresses that were figure flattering.  Sharon (Bergen) stayed true to her legal job power suits and post-retirement in slacks and button-down shirts in solids.  Diane (Keaton. Yes, her name and character name are the same) had her signature style of turtleneck or neck scarf, vests, wide-leg pants, and even a polka dot skirt.  This was accomplished by the talented Stefano De Nardis taking a turn from current standards and having the majority of the wardrobe made specifically for this film.  In an e-mail interview (with Leanne Delap) DeNardis wrote:
 “To me, ‘age appropriate’ means being able to have a personal style and let it out through clothing,” he said. “I believe more in ‘personality appropriate,’ than ‘age appropriate.’”  He continued on to advise, “So anything goes, even if it’s daring, as long as it respects the (not always simple to handle, after a certain age) features of the wearer.”
I am pleased to have another strong female cast movie that is filled with friendship and being honest even when the person needing to hear, doesn’t want to hear.  I do wonder if there had been less script and more your charter is here and needs to end you here what this cast would have delivered.
 
Director: Bill Holderman
Written By: Bill Holderman, Erin Simms
Cast: Diane Keaton, Jane Fonda, Candice Bergen, Mary Steenburgen
MPAA Rating: PG – 13 for some strong language and suggestive material
Genres: Comedy
Selig Rating: 3 stars
Runtime: 1h 47m
Release Date: May 12, 2023
Trailer: Book Club: The Next Chapter Official Trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well there was nothing else …
1 Star – Total waste of time.

#### BOOKSMART – A Review by Gadi Elkon
Booksmart is so much more than just, “a female Superbad”.  Olivia Wilde’s feature film directorial debut is 2019’s first quality film of the year.  Here is my full review of the movie.

“Told from a wildly original, fresh and modern perspective, Booksmart is an unfiltered comedy about high school best friends and the bonds we create that last a lifetime. Capturing the spirit of our times, the film is a coming of age story for a new generation.”  
Kaitlyn Dever and Beanie Feldstein have created a fantastic duo that on appearance seems like the perfect female compliment to Michael Cera and Jonah Hill.  But the dynamic of Amy and Molly is rooted in so much more raw uniqueness.  Olivia Wilde direction showcases a strong push to not only have complete fun but also to test the boundaries of teen wildness.  Leaning more on Dazed and Confused or Ferris Bueller’s Day Off the film takes on more of a meaningful interpretation of wealthy public school kids.
The casting is a real highlight of the movie.  Not only are Dever and Feldstein fantastic finds like Cera and Hill were. Looking at the surrounding cast though I’ll mention a few faces you need to know!  Diana Silvers’ Hope character seems straight out of the bitch club of Mean Girls and here wild adventure with Dever’s Amy is a huge shout out to female sexuality in 2019 and beyond.  The duo though that almost steals the film is Jared and Gigi played by Skyler Gisondo and Billie Lourd.  This mysterious tag team lovers or best friends (not quite sure!) are downright hysterical.  Billie Lourd almost appears to be an ethereal fairy that magically appears when you need that dose of what the fuck.  Overall casting in this film is spot on.  Even the hot teacher quota is nicely done with Jessica Williams as the appropriately named Miss Fine.
Music choices are another quality element of the film.  This soundtrack echoes the best teen films.  That Dazed and Confused connection I think is fully showcased in Wilde’s choices of accompanying music.  Both hip and slightly aged the heightening of the characters with the music is a real treat of the film.
I won’t go on any more.  This film is freaking hilarious and yet still has enough bold choices to make it more meaningful than just another teen film.  This one seems to leap past that into instant classic and needs to be on anyone’s radar!  Granted sex, drugs and wild music are throughout so temper yourself with taking little ones to see it just yet.
For more information on the film please go to BOOKSMART.
Directed by Olivia Wilde
Written By Susanna Fogel, Emily Halpern, Sarah Haskins, Katie Silberman.
Rated R
Selig Rating A+
Running Time 1hr 42min
Comedy
Wide Release – May 24th
 
The Selig Rating Scale:
A – Excellent movie, well worth the price.
B – Good movie
C – OK movie
D – No need to rush. Save it for a rainy day.
F – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### Boondock Saints: Truth and Justice Edition (Bluray)
As much as I try to keep up on 'all things movie', even I miss a few things. For example, about 5 or 6 years ago a friend and I were talking DVDs (big surprise) and he was shocked that I didn’t have a copy of "Boondock Saints." I mentioned that I not only did not have a copy, but hadn't even heard of the movie. (In my defense, this was before all of the hype that the movie has gotten recently.)

	He looked at me like I was from another planet (as I'm sure some of you might be looking at this review in much the same way), and he proceeded to tell me it was the coolest movie ever, and that I had to see it as soon as possible. Well, with my curiosity piqued, the next time I happened into a used DVD shop, I picked up a copy.

	Now, I planned on bringing it home and watching it that same night, but as fate would have it the night did not go as planned.

	The next thing I knew I had a back log of DVDs I needed to watch and review so I set it aside. As the weeks went by, the DVD eventually made it up onto my shelf, but still had not been slipped into my player. This, unfortunately ends up being the case for the handful of DVDs I actually buy instead of getting for review. More weeks went by, more reviews got written, more dust collected on the "Boondock Saints" DVD case. My friend kept asking me if I had seen it, but finally gave up a few months later.

	I'll eschew all of the details surrounding the events of my life during that period of time (turning 40, adding a little girl to our family, etc…) and skip ahead a little. I received a DVD release of "Boondock Saints", but it was an 'Unrated' version. Of course, not having seen the original DVD release, I had no idea what differences there would be, but there was my chance. Finally, I got to schedule time to watch the movie so I could write about it. My first thought though, was why Fox re-released a movie that was so under the radar that I had not heard of it except that one time my friend brought it to my attention. Then, upon closer examination, I noticed that the 2-disc set was housed on a beautifully embossed metal case. What in the world could be so special about this movie as to re-release it in such an awesome case? The answer it seemed, lay in the director and the movie's loyal, and as I understood it, ever-growing fan base.

	With "Boondock Saints", director Troy Duffy created a film that was excessively violent and utilized a non-linear style of story-telling that has been compared to Quentin Tarantino's "Pulp Fiction." It starred Sean Patrick Flanery (of "Young Indiana Jones Chronicles" fame) and Norman Reedus as Irish brothers who believe they have been chosen to rid the world of evil. They target the drug dealers and the like, dealing out a brutality that almost surpasses that of their victims. Hot on their trail is FBI agent Paul Smecker, played by Willem DaFoe, but as he closes in on them he begins to question whether what they’re doing is all that wrong. (Admittedly, I often ask myself that question when it comes to vigilantism. Who says only law enforcement has the right to mete out justice?)

	I also understand that Duffy, as well as his film have been the targets of a ton of controversy over the years. Most of this has been in relation to his supposed violent and obsessive nature. It has been reported that he was extremely rough on his actors during the making of this film, for example. It is also been said that his temper got him on the bad side of the studios involved in the film's release, and because of this barely got it into theatres at all. But all this controversy (that I somehow missed) created an interest in the film that has grown over the years.

	As for my take on the movie? I have to agree with the opinion of my friend… to a point. I cannot say it is the 'best movie I have ever seen', but it showed promise for director that has a great movie in him somewhere. As people have said, the structure of the film was very similar to that of "Pulp Fiction" in more ways than its non-linear style. There were specific scenes that felt as though they were lifted directly from that film, nut I'm not sure Duffy meant for them to be a carbon copy. It was more a taking of the idea and expanding on it.

	While I liked the movie very much, and do recommend it to consumers who like their films bloody and violent, there was still something missing that kept it from being the great movie it could have been. There was an air of detachment between myself and the lead characters, making it difficult to get totally drawn into their world. Usually, the best films for me have characters that I can identify with, even if for the littlest of reasons. Or, at the very least I need to feel an emotional stake in their lives. Here, the detachment left me a bit cold. I could agree with their actions, but could not celebrate them. They did what they did, and that was about it.

	Skipping ahead to the present, I will say that I have since grown a greater appreciation for the film and actually quite liked its sequel. I’ve met both Flanery and Reedus and found them to be fun to talk to and have a strong appreciation for their fans. There’s a lot of talk about a third film, and I certainly hope there is one.

	The reason I’m talking about all this now however is in light of 20th Century Fox’s decision to release a 10th anniversary Bluray Edition. This edition offers up both the theatrical and unrated editions, and with little difference in their running time I still can’t tell you what is different about them. Both versions look great in terms of the transfer, delivering a solid picture. Sound is a different story, and while it’s not a bad mix, there isn’t much in the way of ambient sounds. The dialogue however, is set right at center and is easy to hear, which is very important as everyone speaks with a thick Irish brogue.

	Most of the extra features are the same ones that are included on the earlier DVD edition. There is a very telling commentary by Duffy, as well as some deleted scenes and outtakes. Additionally there is a commentary by actor Billy Connolly, who delivers a very open and honest series of anecdotes on the making of the film and the controversies surrounding it. He doesn’t dwell on the bad, but he doesn’t shirk them either. The one new feature is a 30 minute reunion with the director, Flanery, Reedus and David Della Rocca. They’ve been hitting the convention circuit recently and here they are given an opportunity to reminisce. Additionally you’ll find a Digital Copy of the film.

	"Boondock Saints" is a very good movie that should have been great. But it is good enough for me to recommend to you… IF you like movies that are bloody and violent.

	Directed by: Troy Duffy
	Starring: Willem Dafoe, Sean Patrick Flannery, Norman Reedus, David Della Rocca, Bill Connolly
	Extras: Commentary by writer/director Troy Duffy, Commentary by actor Billy Connolly, Deleted scenes, Outtakes, Trailer
	Studio: 20th Century Fox
	Release Date: 6/14/2011

	Website
	 

	 

	 

#### BORAT SUBSEQUENT MOVIEFILM – Review By Gadi Elkon
A 14-year hiatus has only made Sacha Baron Cohen even bolder and more prone to hilarity.  That’s right Cohen’s iconic creation Borat is back!   Here is my review of Amazon’s BORAT SUBSEQUENT MOVIEFILM.

Is the second Borat excursion wilder and crazier than the first?  Yes, of course.
The film can’t really be reviewed with to many details since it’s more of an experience you either are open to or you’re not!  Story wise our wacky Kazakh TV reporter has been kept isolated in a horrible prison but our latest administration intrigues the Kazakh President.  Borat has his freedom and for this film he replaces his sidekick with a more personal familial connection.  That familial stow away is the film’s silver lining.  I’ll simply say the film is worth getting to see the transformative elements of this young’n in Borat’s life.  Transformation actually is an important element since the massive world wild exposure of the Borat character.  Obviously, Mr. Cohen has had to utilize new inventive and hilarious disguises to “get” access to the real world states, cities, political rallies, and a few doctor offices.
Back for the fun is DP Luke Geissbuhler and the editing team of Craig Alpert, James Thomas and Michael Giambra.  Those gents have all gone on to legit careers since the last Borat film.  Director Jason Woliner has a nice resume and his comedic chops fit perfectly with Cohen’s abrasive nature.  Add in a talented art department and slew of hair and makeup folks that all have incredible resumes.  The teeth guru that is Gary Archer helped create Austin Power’s, Mrs. Doubtfire, UnCut Gems, I’ Tonya and Wolf of Wall Street’s famous choppers is also on board!  The film may alienate for it’s over the top content but the tremendous talent that made it happen deserves some LOVE.
I don’t want to spoil anything but just be ready to jump through some massively awkward material.  More blood, more political satire, more hypocrisy and of course more raunchy gold makes this Borat even more profound.  The really intriguing part of the film is just how well the story of Borat and his familial companion grows throughout the film.  No joking Borat is a changed man by the end and thus his emotional arch is actually worth your time and money.  The talented new sidekick’s journey is also special and uplifting in our dark 2020 world.
Be bold and dive into the intelligent but raunchy mind of Sacha Baron Cohen.  The Israeli has given us so much wonderful characters and Borat seems to connect with a global audience like no other.
Though I must admit I’d sure love to see Ali G make a 2020 appearance.
Please keep your 3 and under kids away!
 
Join the Global Watch Party for Borat Subsequent Moviefilm on Thursday, October 22, 2020 at 6pm PDT
Followed by first ever live Q&A and Dance Party with Borat

RSVP for BORAT SUBSEQUENT MOVIEFILM Global Watch Party Here!
 
BORAT SUBSEQUENT MOVIEFILM.
Directed by:  Jason Woliner
Written by and Character Created By: Sacha Baron Cohen and a slew of writers (check tags below)
Rated R (obviously)
Selig Rating: 4 Stars
Running Time: 1hr 35min
Comedy
Exclusively on Amazon Prime Video on Friday, October 23, 2020
Starring: Sacha Baron Cohen
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.
 

#### BORN FREE: BIRTH IN AMERICA Streaming for Free this Mother’s Day
 
Semi Retired Films in co-production with Digital Harvest Media has announced that their documentary BORN FREE: BIRTH IN AMERICA, investigating women’s birthing rights in the United States, will be released on streaming platforms for free on Mother’s Day.  The debut feature documentary from director Paula James-Martinez takes a deep dive into what it is like to have a baby in modern day America and asks the difficult questions to unlock why it is the most dangerous and most expensive nation in the developed world to give birth in.
Inspired by James-Martinez’s own childbirth experience, the documentary features a host of experts and maternal health advocates including Christy Turlington, equitable maternal outcomes expert Chanel Porchia-Albert, Charles Johnson, whose own wife died in childbirth, Senator Tammy Duckworth and Senator Joe Kennedy, amongst others, who discuss the impact of current medical system standards and ultimate failure for those who experience traumatic pregnancies.
Director Paula James-Martinez said, “Born Free is really a film asking the question, “why are things going so wrong?” If we look at having the worst maternal mortality rate in the US since 1965, it is an indication of the state of both women’s health and how we are caring for mothers. It’s showing pretty clearly that we are in crisis mode. Born Free aims to educate women and birthing people about the problems we are facing, but also ways in which to find solutions. Birth and motherhood certainly aren’t easy, but having a child is an act of hope, and I’m adamant that we can’t accept so many awful stories as the norm.“
BORN FREE: BIRTH IN AMERICA sheds light on the maternal health crises facing America and also led to the founding of the non-profit organization The Mother Lovers, which focuses on educating people to achieve healthier and safer birthing outcomes.
The United States is the only nation in the developed world with a rising maternal mortality rate. From 2019 to 2023, The number of maternal deaths per 100,000 births in the United States of America has increased by 40%. Today the U.S. has a maternal mortality rate of 32.9 deaths per 100,000 live births, the highest level since 1965.
Previously Fashion Director of Refinery 29, the world’s largest online women’s publication and with a background in fashion publishing as an editor for some of Europe’s most respected luxury style magazines, James-Martinez shot her first film in locations across the United States with an all-female crew.
The Mother’s Day AVOD streaming release for free across all platforms will allow even larger audiences to access the film, providing more women, mothers and families with knowledge about the current state of maternal health and giving them the tools to understand their right to the best possible care.
Created with support from The Mother Lovers and produced by Moon Cookie Media, BORN FREE: BIRTH IN AMERICA is directed by Paula James-Martinez and written by Paula James-Martinez and Steph Zenee Perez. Producers are Paula James-Martinez, Rebecca Dayan, Steph Zenee Perez and Lianne Turner, with Maritza Cayo co-producing.  The film is executive produced by Sara Ojjeh, Anthony James-Martinez, Vanessa Hope, Robert C. Profusek and Claire Olshan. Director of Photography is Seannie Bryan and the editor is Steph Zenee Perez. Art direction and visual effects are by Iskra Tirado Karadzhova and Chanel Porchia-Albert is Associate Producer.  Margot serves as the film’s composer with Johanna Cranitch as music supervisor and composer.
 
The film will be distributed by Rock Salt Releasing and made available for free on the following platforms: Tubi, Roku, Amazon’s Freevee, Plex, Local Now, Xumo, and Fawesome.

#### BORN HUNGRY – Interview with Filmmaker Barry Avrich, Executive Producer Mark Selby and Subject Chef Sash Simpson
Born Hungry _ TRAILER from Melbar Entertainment Group on Vimeo.
Our Gadi Elkon talked with Filmmaker Barry Avrich, Executive Producer Mark Selby and Subject Chef Sash Simpson about the film, Sash’s life and so much more!

In this inspiring story of grit and determination, a runaway child from the streets of India is adopted by a Canadian family and becomes the chef-owner of Sash, one of Toronto’s trendiest restaurants.
Barry, Mark and Chef Sash talked about filming in Canada and India, the team brought together for this amazing story, and so much more.
Interview with Filmmaker Barry Avrich, Executive Producer Mark Selby and Subject Chef Sash Simpson:

The film has its World Premiere at the upcoming Palm Springs International Film Festival for more info, BORN HUNGRY.

#### BORN IN CHINA – A Review By Cynthia Flores
 

	Disneynature's new True Life Adventure film "Born In China" is dead on arrival.  Sorry, but I went there, if not dead then its certainly on life support.  Let me explain, I grew up learning everything I knew about animals and exotic places by watching films made by Disney. Of course this was way before the internet and a little something called Animal Planet on cable TV.  That being said, the bar has been raised higher than “Tinker Bell” can jump on this one.  The movie looks beautiful and is narrated by someone famous, but it lacks that magic that would make it a must see, and have, Disney classic.

	It took the film team four years to make this movie. It takes you on an epic journey into the wilds of China where few people have ever been. The film takes audiences to some of the most extreme environments on Earth.  You get to see some really intimate moments, the kind only seen in a nature film. That alone, made me want to see it. So you can understand my frustration as I sat in the theater checking my watch to see how much longer this was going to take. That does not bode well for a movie with a running time of one hour and sixteen minutes.

	Even though we see a few other species in the film such as Cranes and Chiru (or Tibetan antelope) that are human-shy and overly-hunted by poachers, only the animal leads that move the story forward are given names. One nice surprise is the film actually shows a never-before-seen natural event of the birth of a chiru calf.

	The story, however, focuses on three species.   We have the two-year-old golden snub-nosed monkey named Tao Tao who feels displaced by his new baby sister. A mother snow leopard named Dawa. She’s an elusive animal rarely caught on camera who faces the very real drama of raising her two cubs in one of the harshest and unforgiving environments on the planet. Her story is one of the better ones in this film. And of course we have the ringers of the film, the guaranteed to make you want to hug something fluffy team. They are a panda bear mother named Ya Ya raising her cute baby Mei Mei as she begins to grow up before our very eyes .

	The movie starts us in spring and takes us thru summer, fall, winter and back into spring again.  We’re introduced to the animals as the camera flies around the stunning, never-before-seen imagery of China’s vast terrain.  We see the mellow life of the pandas and the crazy and funny antics of the monkey family.  There is also life and death footage as the snow leopard hunts to feed her cubs.

	**Spoiler Alert** Ok so you know this is a Disney movie right, and I joked with my brother who went to see it with me before it started, “Please, please don’t be like Bambi and kill anyone’s mother.”  Well, I won’t tell you which one takes the dirt nap but let's just say not everyone that has been named lives to see the new spring.  

	That being said, know that if you take a child under the age of say nine, you will be having to console them during and after the film.  That was one of the issues I had with this film. Death is a part of the circle of life but the way they presented it here was very heavy handed and lacked the finesse that usually comes from a Disney product.

	“Born In China” does takes us from the frigid mountains to the heart of the bamboo forest—on the wings of red-crowned cranes, unevenly tying the lead animals’ stories together.

	Bottom line, wait to see this film at the dollar cinema or when it hits the on demand line up.  It doesn’t say much for a film when the best parts were the out takes of how the film crew made the movie and how the monkeys kept messing with all the gear.

	 

	 

	Directed by Chuan Lu

	Written By  David Fowler, Brian Leith, Phil Chapman, Chaun Lu

	Rated PG

	Running time 76 min

	Family film

	Wide release is April 21st 2017

	Starring the voices of: John Krasinski and Xun Zhou

#### BOSTON GEORGE: FAMOUS WITHOUT THE FORTUNE – Interview with producers Georgette Angelos and Chris Chesson
The legacy of infamous outlaw, George Jung, gets the full breakdown with a brand new docuseries.  Producers Georgette Angelos and Chris Chesson talked with our Gadi Elkon about the series.

Boston George: Famous Without the Fortune, the five-part docuseries about famed drug smuggler George Jung, aka “Boston George,” will premiere the first two episodes on Fandor, the ultimate streaming destination for cinephiles, July 22. Following its premiere, the company plans to drop one episode per week each Friday. In addition, Cinedigm will make each episode available on TVOD the day after it premieres.
Producers Georgette Angelos and Chris Chesson talked with our Gadi Elkon about the legend and the legacy that comes from George Jung aka Boston George.
Interview with Producers Georgette Angelos and Chris Chesson:

The first two episodes premiere tomorrow, July 22nd, on FANDOR with the remaining three premiering on the following 3 Fridays.  Cinedigm will make each episode available on TVOD the day after it premieres.

#### Boston Underground Film Festival Announces Slate for 2023 Edition
PIAFFE
 
Attention New England cinephiles: Spring festival season is nigh as the 23nd annual Boston Underground Film Festival returns to Harvard Square’s arthouse hub The Brattle Theatre with five days of vanguard cinemania from March 22nd through the 26th. This year’s lineup is stacked with fearsome folk horror, mendacious miscreants, harrowing horrors and hero/es/ines, godless god-complexes, eco-thrillers and chillers, sensational sci-fi, and all manner of midnight madness.
BUFF is beyond honored to host the World Premiere of Jeffrey A. Brown’s haunting, Massachusetts-based horror thriller The Unheard for a homecoming heroes’ welcome on Opening Night. Starring Lachlan Watson (Chucky, Chilling Adventures of Sabrina), The Unheard follows a deaf young woman ensconced in a signal-to-noise mystery of dueling senses, realities, truths, identities, and possibly worlds. Brown (2019’s The Beach House) and local screenwriting legends Michael and Shawn Rassmussen (2019’s Crawl) will be in attendance for a post-screening conversation.
Fresh off its world premiere at Sundance, we are thrilled to bring the East Coast Premiere of Eddie Alcazar’s retro-sci-fi, singularly WTF masterpiece Divinity to the cineastes with different tastes at BUFF. Starring Stephen Dorff, Scott Bakula, Bella Thorne, and produced by Steven Soderbergh, this deranged, drug-addled, dystopian vision, where beauty and grotesquery abound, is 100% uncompromising underground cinema.
On the heels of its SXSW debut, writer/director Bomani J. Story’s The Angry Black Girl and Her Monster lands at BUFF for its East Coast Premiere. Teen science genius Vicaria (The Equalizer’s Laya DeLeon Hayes) plays god when she embarks on a quest to find the cure for death, a disease, she theorizes, versus an inevitability, whose destructive path of substance abuse, brutality, and violence has rended itself through her family and community. Breathing new life into Frankenstein’s monster, Story’s electric feature debut challenges conceptions of mortality and monstrosity through a Black lens.
BUFF is proud to present a double-dose of international folk horror starting with the East Coast Premiere of Tereza Nvotová’s nightmarish Nightsiren, which examines the chokehold grip of toxic patriarchal structures on a remote Slovakian village, where the pervasive fingers of superstition point to witches when two women dare to defy and disrupt the unnatural order. Then we’ll host the New England Premiere of sumptuous cinematic stunner Enys Men, which follows the sole inhabitant of a craggy Cornish island’s descent into madness. Set in the early 70s, British auteur Mark Jenkin returns to his coastal stomping grounds following The Volunteer (Mary Woodvine), a meticulous cataloger studying the growth cycles of rare wildflowers, whose increasingly terrifying experiences lead her to suspect that her surroundings are both sentient and sinister.
Confronting environmental horrors in a completely different way, Daniel Goldhaber’s high-stakes, heist-style thriller How to Blow Up a Pipeline centers on a crew of young environmental activists and their mission to sabotage a Texas pipeline. With a dynamo ensemble cast—including Ariela Barer (Runaways), Lukas Gage (Euphoria), Forrest Goodluck (The Revenant), and Marcus Scribner (Black-ish)—How to Blow Up a Pipeline is a subversive and timely clarion to face the climate crisis.
Never lacking in pure absurdity, BUFF is delighted to present the New England Premiere of Quentin Dupieux’s French dark comedy/quasi-horror anthology/superhero sendup Smoking Causes Coughing, where candy-colored, lo-fi heroes (ala Power Rangers, but called the Tobacco Force) battle giant diabolical turtles and regale one another with lakeside scary stories on a bizarre team-building retreat. Next, we’ll be screening the New England Premiere of Kristoffer Borgli’s Scandinavian unromantic comedy Sick of Myself, which takes toxic relationships to the next level when narcissistic Signe attempts to derail her equally self-absorbed partner’s art career by way of Munchausenian extremes that are as cringe as they are unadmittedly relatable.
Delving into the real-life horrors of a uniquely toxic individual, Kiwi journalist David Farrier sets his lens on multi-hyphenate scammer Michael Organ, an extortionary, mercenary antique shop parking lot enforcer with a wild history of false identities and insane lawsuits at the center of stranger-than-fiction doc Mister Organ. DIY documentarian Ryan Worsley takes a deep dive into the history of culture jamming, plunderphonic prophets Negativland, crafting an experimental piece of media about media-about-media as unique and provocative as the band with her latest, Stand By for Failure: A Documentary About Negativland.
For something beautifully weird and otherworldly, BUFF presents the New England Premiere of Berlin-based visual artist Ann Oren’s sensuous debut Piaffe, which follows the story of Eva (The Untamed’s Simone Bucio), an introvert thrust into the role of foley artist to cover for her institutionalized sibling; when a horse’s tail starts growing from her body, she discovers the joys of foreplay…and horseplay. Equally allegorical and hypnotizing is Ryan Stevens Harris’ incredibly gorgeous Moon Garden, which follows a comatose child on a dark Gilliamesque odyssey back to consciousness.
BUFF’s 2023 program teems with themes of families in crisis (zeitgeist much?). Kirby McClure’s atmospheric debut Spaghetti Junction, which deftly blends elements of sci-fi, fantasy, and social realism in this tale of a Southern family grappling with life after a devastating loss, is a sterling example; BUFF is excited to host the film’s East Coast Premiere with McClure in attendance for a post-screening discussion. To close out the festival, BUFF is ecstatic to screen the New England Premiere of Belgian directing duo Adil & Bilall’s unforgettable, genre-smashing Rebel. Known for Bad Boys for Life and the recently shelved Batgirl, Adil El Arbi and Bilall Fallah’s deeply personal, poignant, and bold melange of action, drama, and musical centers around a Muslim family caught in the crosshairs of jihadist radicalism. No description can truly encapsulate the mindblowing beauty and power of this modern masterpiece. A cinematic experience like no other.
We’ll also have our usual veritable bounty of shorts programming, celebrating the finest animation, transgressive horror, comedy, homegrown horror, and genre-inspired music videos.
 

#### BOUDICA: QUEEN OF WAR – Interview with Writer Director Jesse Johnson
Filmmaker Jesse Johnson chatted with our Gadi Elkon about his latest feature film, BOUDICA: QUEEN OF WAR.

After her family is slain and her land stolen, warrior queen Boudica (Olga Kurylenko) leads a fierce rebellion against the Roman Empire, inspiring her people to fight for freedom.
Jesse and Gadi talked about the importance of Olga Kurylenko, shooting in historical sites, and so much more.
Interview with Writer/Director Jesse Johnson:

Also Jesse talked to our Gadi Elkon for his previous film, ONE RANGER.
For more info on BOUDICA: QUEEN OF WAR.

#### Boulder Environmental/Nature/Outdoors Film Festival Announces Film Lineup for 1st Edition
 
The Boulder Environmental/Nature/Outdoors Film Festival (Boulder E/N/O FF) today officially announced their film lineup which will celebrate the natural world around us – the ocean, land ecology, and the air we breath. Boulder ENO FF will take place at the Dairy Arts Center in Boulder, Colorado (2590 Walnut Street) on July 10-13. Ben Masters’ THE RIVER AND THE WALL is the Opening Night selection, and Benedict Erlingsson’s WOMAN AT WAR is the Closing Night selection.
Created by Richard Paradise, the Founder and current Executive Director of the Martha’s Vineyard Film Society which produces the Martha’s Vineyard Environmental Film Festival, the Boulder E/N/O Film Festival will strike a balance between films, panels, and events focused on the environment and how we all exist within our world’s ecosystem, with films that celebrate the undeniable beauty of the “outdoors” and sports that bring us closer to mother nature through those entertaining and oftentimes thrilling activities.
Paradise said, “In our first year, we have a lineup of films that don’t simply look at our world and the state of our environment and its resources, but have put together a program that will invite the audience to delve further into the topics and issues brought up by those films and filmmakers. This is our world and while these wonderful, insightful films can illustrate what is going on around us, and illuminate us all regarding both the world’s beauty, majesty, frailty, and our place in it, we think it’s vital to be an active participant in that world. Therefore, the Boulder E/N/O FF will also feature panel discussions and conversations with the filmmakers, their subjects, and experts to give our audiences an opportunity to use the films as launch points to learn more and talk about what they have just witnessed on the big screen.”
Boulder E/N/O FF will open with Ben Masters’ award-winning documentary THE RIVER AND THE WALL on Wednesday, July 10, following a Gala reception, Green Carpet entrances, and live music by The Doscocos Jazz Trio at the Dairy Arts Center. The event will also include VR (Virtual Reality) content from PROTECT OUR WINTER and Google’s Earth Wall and Sustainability Presentation.
THE RIVER AND THE WALL follows five friends on an immersive adventure through the unknown wilds of the Texas borderlands as they travel 1200 miles from El Paso to the Gulf of Mexico on horses, mountain bikes, and canoes. Inspired by the threat of new border wall construction looms ahead, and what he saw as the urgency of documenting the last remaining wilderness in Texas, Masters recruited NatGeo Explorer Filipe DeAndrade, ornithologist Heather Mackey, river guide Austin Alvarado, and conservationist Jay Kleberg to join him on a two-and-a-half-month journey down 1,200 miles of the U.S.-Mexico border where they come face-to-face with the human side of the immigration debate and enter uncharted emotional waters. The film won the Best Texan Film at SXSW, and tied for the Audience Award at the EarthxFilm festival.
A crowd-pleasing multi-award winner, Benedikt Erlingsson’s WOMAN AT WAR, will close out the film festival on Saturday, July 13 at the Dairy Arts Center. The film won Audience Awards at the San Luis Obispo International Film Festival, Portland Film Festival, Seville European Film Festival, and the Tromsø International Film Festival. A critical favorite as well, The Hollywood Reporter said “Is there anything rarer than an intelligent feel-good film that knows how to tackle urgent global issues with humor as well as a satisfying sense of justice? Look no further than Iceland filmmaker Benedikt Erlingsson’s gloriously Icelandic (for lack of a better adjective), near-perfect follow-up to OF HORSES AND MEN, featuring an environmental activist modestly taking on the world, one electric pylon at a time.”
Following the screening of WOMAN AT WAR, the film festival will wrap things up with an after party at the Hilton Garden Hotel (2701 Canyon Blvd.).
Additional highlights include John Chester’s THE BIGGEST LITTLE FARM, about a couple that took a vision to start a farm that produced a wide variety of fresh, thoughtfully grown food and turned it into a robust and highly functioning biodynamic operation that grows food without pesticides, poisons or any of the other mainstays of modern farming. The film has been a popular festival-favorite this year. Marcus McCauley from McCauley Family Farms and Ethan Steinberg, a startup growth expert from Propagate, an agroforestry analytics and project development company, will be on hand following the screening for a Q&A.
Karina Holden’s film, BLUE, looks at the crisis point the world’s oceans, and in particular – our coral reefs, have reached in this Australian documentary that has also spawned a call-to-action to correct the abuse of the world’s waters before it’s too late. Ocean First’s Dr. Mikki McComb-Kobza will attend the screening to talk about the film and the issues presented in it. Roger Sorkin’s CURRENT REVOLUTION also blends the documentary film with a call-to-action aspect. The film is about the status of our electricity grids and systems, the battle to replace those aging systems as well as incorporate solar energy into the mix as a means to transition from petroleum-energy dependence. The film is the first in a series of planned films dealing with environmental topics and the screening will include a “Clean and Renewable Energy Film & Forum” panel discussion for audience members to learn more about the topic from the Sorkin and other guest speakers.
Additional special guests will include Martina Halik, one of the subjects of Grant Baldwin’s THIS MOUNTAIN LIFE, who, with her 60-year-old mother Tania, attempted a bitterly cold 2300-kilometer ski trek from Canada to Alaska through the treacherous Coast Mountains; a journey that has been completed only once before, and never by a female duo.
 
Tickets and passes are available and on sale now. For more information, please go to: https://www.boulderenoff.org/.
 
 
 
The 2019 Boulder Environmental/Nature/Outdoors Film Festival Films & Descriptions
 
Opening Night Selection
THE RIVER AND THE WALL
Director: Ben Masters
Country: USA, Running Time: 99 min
In his last feature-length film, UNBRANDED, Ben Masters set out to cross America on wild mustangs in an unforgettable journey across public lands. In his latest film, he sets out with an equally audacious and challenging plan: to navigate 1,200 miles of the border between the USA and Mexico on horses, mountain bikes and canoes. While everything the native Texan does involves some sort of adventure, his real purpose in THE RIVER AND THE WALL is to explore the wildlife across this complex and diverse terrain, and understand how it would be affected by the wall proposed by President Donald Trump. The film provides a different layer to the debate raging from Washington, D.C. to El Paso and beyond as Masters paddles, pedals and rides his way through this thorny issue.
 
Closing Night Selection
WOMAN AT WAR
Director: Benedikt Erlingsson
Countries: Iceland/Ukraine, Running Time: 104 min
Halla is a 50-year-old environmental activist who crusades against the local aluminum industry in Iceland, purposely damaging electricity pylons and wires to cut off their power supply. As her actions grow bolder, and the government ramps up their efforts to catch and discredit her, Halla’s life changes in the blink of an eye when she is finally granted permission to adopt a girl from the Ukraine.
 
 
Additional Feature Film Selections
ARTIFISHAL
Director: Josh Murphy
Country: USA, Running Time: 75 min
ARTIFISHAL is a film about people, rivers, and the fight for the future of wild fish and the environment that supports them. It explores wild salmon’s slide toward extinction, threats posed by fish hatcheries and fish farms, and our continued loss of faith in nature.
 
THE BIGGEST LITTLE FARM
Director: John Chester
Country: USA, Running Time: 91 min
John and Molly Chester were living in Santa Monica when they were forced to move from their apartment because their dog was making too much noise for the neighbors. What they moved to was a dream of sorts, a scratchy, tired farm less than an hour from Los Angeles. Molly was a chef with a vision of a farm that produced a wide variety of fresh, thoughtfully grown food that she could cook with. John’s background was filmmaking. And together with no real agricultural experience between the couple, they took on the arduous, multi-year task of reimagining and reworking their Apricot Lanes Farm into a robust and highly functioning biodynamic operation that stays true to their values of growing food without pesticides, poisons or any of the other mainstays of modern farming. Their story is captured in this remarkable film that educates and inspires us on how we can eat and live a different life.
 
BLUE
Director: Karina Holden
Country: Australia, Running Time: 76 min
BLUE is a provocative journey into the ocean realm, witnessing this critical moment in time when the marine world is on the precipice.
 
CURRENT REVOLUTION
Director: Roger Sorkin
Country: USA, Running Time: 40 min
CURRENT REVOLTION is the first film in a series which tackles the challenge of how the utility, auto, tech and defense industries can help modernize the aging power grid to make it more secure and responsive to the needs of its users, while enhancing environmental performance. Through interviews, observational and archival footage with top executives, military personnel, utilities workers, elected officials and others — from substations to gas stations, board rooms to military bases — the film tells the story of a towering American industry on the brink of massive change. Whether it fails, prevails or adapts, the outcome will profoundly affect us all.
 
INTO THE CANYON
Director: Pete McBride
Country: USA, Running Time: 84 min
When photojournalist Pete Mcbride and author Kevin Fedarko set out to hike the entire length of the Grand Canyon — a grueling 750-mile transect through some of the country’s most unforgiving terrain — they learn the hard way why only a handful of humans have pulled off the feat. It’s a tremendous challenge that entails oppressive heat, dizzying exposure and incredible physical stamina. But the trek allows them to take on a more important mission: documenting the threats that surround one of America’s most iconic national parks. In INTO THE CANYON, the duo ventures into the fragile and otherworldly landscape, examining what’s at risk to be lost to uranium mining, large-scale development, growing helicopter traffic and more. Along the way, they battle the heat, scramble through exposed cliffs, get snowed on, nearly die once or twice and gain intimate knowledge of the canyon’s singular, magnetic, life-changing draw.
 
THIS MOUNTAIN LIFE
Director: Grant Baldwin
Country: USA, Running Time: 76 min
Martina Halik and her 60-year-old mother Tania attempt a bitterly cold 2300-kilometer ski trek from Canada to Alaska through the treacherous Coast Mountains; a journey that has been completed only once before, and never by a female duo. Their adventure is interspersed with beautifully crafted portraits of high-altitude human endurance: the gripping story an avalanche burial; a group of nuns who inhabit a mountain retreat to be closer to God; an impassioned alpinist; a focused snow artist; a couple who has been living off grid in the mountains for nearly 50 years.
 
 
Inspiring Eco/Outdoors Short Films
AKUNA
Director: Jess Colquhoun
Country: USA, Running Time: 6 min
“I didn’t think I had a future,” Will Robinson says of coming home from Iraq with PTSD and injuries. For 12 years, he endured the dead ends of medication-and-alcohol abuse and ineffective therapy. Then inspiration struck. He tackled the Pacific Crest Trail, then the Appalachian Trail, walking 3,800 miles on his own path to recovery. “Hiking gave me the ability to be the person that I always was, the confident person who was capable of doing anything,” says Robinson, whose trail name is Akuna.
 
CLIMBING OUT OF A DISASTER
Director: Dominic Gill
Country: USA, Running Time: 9 min
Bryant Huffman spent his days deep water soloing, sport climbing and bouldering as founder of Climbing Puerto Rico. Then Hurricane Maria dropped a nuclear bomb of water and wind, which destroyed much of the island. With his work as a guide temporarily suspended, Huffman and his climbing buddies put their skills to good use by morphing into emergency arborists. And out of the devastation comes a glimmer of something positive. The hurricane peeled huge chunks of limestone from cliffs, creating scores of new routes.
 
THE THEORY OF HUMAN MOTIVATION
Director: Duct Tape Then Beer
Country: USA, Running Time: 3:15 min
What gets you up in the morning? There are fundamentals: water, air, food. But from there it gets deeper. If you’re like the filmmakers, it’s a need to thrive, grow, to become the person we dream of being. We wake up to close the gaps between the supposed to do’s and the want to do’s.
 

#### Boxing’s Biggest Stars Collide On The Big Screen In “THE ONE: Floyd ‘Money’ Mayweather vs. Canelo Alvarez”
 

	Fans across the country can watch the much-anticipated match-up between the reigning boxing kings of the United States and Mexico when NCM Fathom Events, Mayweather Promotions, Golden Boy Promotions, Canelo Promotions, SHOWTIME PPV® and O’Reilly Auto Parts bring boxing’s biggest star Floyd “Money” Mayweather and Super Welterweight World Champion Canelo Alvarez to the big screen. In what is anticipated to be one of the biggest fights in boxing history, both Mayweather and Canelo will defend their undefeated records in an action-packed, live broadcast from the MGM Grand Garden Arena in Las Vegas, Nev. on Mexican Independence Day weekend. “The One: Mayweather vs. Canelo” will be broadcast to select theaters nationwide on Saturday, Sept. 14 at 9:00 p.m. ET / 8:00 p.m. CT / 7:00 p.m. MT / 6:00 p.m. PT / 5:00 p.m. AK / 3:00 p.m. HI.

	In addition to the explosive main event, Unified Super Lightweight World Champion Danny “Swift” Garcia and WBC Interim Super Lightweight World Champion Lucas “The Machine” Matthysse will meet in a bout fans have been clamoring to see. Garcia vs. Matthysse will anchor the fight’s undercard with additional bouts to be announced shortly.

	Tickets for “The One: Mayweather vs. Canelo” are available at participating theater box offices and online at www.FathomEvents.com.  For a complete list of theater locations and prices, visit the NCM Fathom Events website (theaters and participants are subject to change). The event will be broadcast to nearly 550 select movie theaters across the country through NCM’s exclusive Digital Broadcast Network.

	“I love that so many of my fights have been shown in movie theaters. It’s something that I wanted to bring to the fans for a long time,” said Mayweather. “It’s my job to give the fans the best entertainment possible. The fact that they can see my fight against Canelo in theaters is another opportunity for me to continue to be creative and give back to my fans. When I fight, it’s a big event and I want people that can’t come see me fight to be able to see it on the big screens. Entertaining and pleasing my fans is what my fights are all about.”

	Floyd Mayweather (44-0, 26 KO's), an eight-time world champion in five weight divisions, remains boxing’s biggest attraction and the highest paid athlete in the world, wowing crowds and generating huge pay-per-view numbers each time he steps into the ring.  During his extraordinary career, he has amassed wins over world champions such as Diego Corrales, Jose Luis Castillo, Arturo Gatti, Zab Judah, Oscar De La Hoya, Ricky Hatton, Juan Manuel Marquez, Shane Mosley and Miguel Cotto. His last fight against Four-Division World Champion Robert Guerrero on May 4, 2013 not only showed his superior boxing skills, but it also revealed his determination and dedication to stay the best in the sport.

	At only 23 years of age, the pride of Guadalajara, Jalisco, Mexico, Canelo Alvarez (42-0-1, 30 KO’s) has emerged as a Mexican icon, standing side-by-side with his country’s greatest sporting legends. A fighting phenom, Canelo has fought professionally since 2005 when he was only 15 years old. By 2011, he earned his first world championship by defeating Matthew Hatton for the WBC Super Welterweight belt. Canelo has since successfully defended his title six times defeating Ryan Rhodes, Alfonso Gomez, Kermit Cintron, Sugar Shane Mosley, Josesito Lopez and, most recently, with a spirited unanimous decision win over Austin Trout, setting up his fight against Mayweather. 

	The fighting pride of Philadelphia, Danny “Swift” Garcia (26-0, 16 KO’s) has ascended to the top of the boxing world in recent years with increasingly impressive performances that have shown off his skill, power and heart. Since winning the world title against Erik Morales in 2012, Garcia has defended his crown with wins over Morales (in a rematch), Amir Khan and Zab Judah, cementing his place as one of the best in the world.

	Trelew, Argentina’s Lucas “The Machine” Matthysse (34-2, 32 KO’s) built his fearsome reputation with hands of stone that have sent opponent after opponent crashing to defeat. Currently the owner of a six-fight winning streak with six knockouts, Matthysse is coming off of a spectacular third-round knockout of World Champion Lamont Peterson that ignited the boxing world and set up this showdown with Garcia.

	“THE ONE’ is as big as a fight can get and what better way than to see it larger than life in the movie theater?” said Richard Schaefer, CEO of Golden Boy Promotions.  “We are so thrilled to once again team up with NCM Fathom Events to showcase this fight on the big screen.”

	NCM Fathom Events, Mayweather Promotions and Golden Boy Promotions first teamed up in September of 2009 to bring the highly successful presentation of Floyd Mayweather vs. Juan Manuel “Dinamita” Marquez fight to theaters, followed by four more Mayweather bouts including “May Day: Mayweather vs. Guerrero” earlier this year.

	“Mayweather’s fight with Canelo will mark the sixth fight of his career to be shown in movie theaters,” said Shelly Maxwell, executive vice president of NCM Fathom Events.  “Since Mayweather first appeared on the big screen in 2009, boxing fans have continued to fill theaters. This bout will be the toughest match-up for Mayweather yet…a mega-watt boxing champion fighting to keep his title against the fastest rising contender in many years.”

#### Boy & the World – A Review by Liz Casanova
 

	BOY & THE WORLD 

	By: LIz Casanova 

	Starring: Vinicius Garcia, Marco Aurelio Campos and Lu Horta 

	Written by: Alê Abreu 

	Directed by:  Alê Abreu 

	Running time: 80 min 

	MPAA rating: PG 

	Selig Film Rating: Full Price 

	Looking for a diverse Academy Award-nominated film? The animated Brazilian masterpiece Boy & the World is playing at select theaters in the US. Storyteller and artist Alê Abreu presents a visual feast beyond simple imagination.  

	Menino is a young boy unable to understand the dark side of the world. He makes it his mission to find his Pai (father). The journey begins in the cotton fields, through the colorful streets during Carnival and in the grungy city nestled in the mountains. He is exposed to a potpourri of characters and situations that his young mind tries to piece together. To make some kind of sense of the world so foreign is as challenging as locating his father. 

	The juxtaposition of colorful animation and music against the not so subtle theme of globalization is painful and brilliant. In one scene there is the joy of everyday life that is followed by a bleak truth of a corrupt society, pollution and poverty.  

	The dialogue is minimal, and the music is as vibrant as the imagery. But the story is pushed along by Abreu's unique storytelling. It is a non-linear tapestry that often feels like child's interpretation of falling into a wormhole. It may seem like a primitive way of constructing a story, but the allegorical insertions of very grown up topics is as masterful as the work of another famous artist, Dr Seuss.  

	Independent animated films like Boy & the World have to play against big studio heavy hitters Pixar and DreamWorks. They receive a fraction of screen time and publicity. But these films are no less significant. Boy & the World is an unforgettable piece of art with substance and heart. See it in the theater before it is gone. 

	Now playing at the Angelika Film Center in Dallas and Plano and other select cities.  

#### BOY ERASED – A Review by Cynthia Flores
 

	BOY ERASED – A Review by Cynthia Flores

	 

	Conversion Therapy is at the center of the film Boy Erased which is loosely based on the hit 2016 memoir book of the same name.  

	 

	For those people that may not know, conversion therapy is the pseudo-scientific application of psychological or spiritual interventions in the hopes of trying to change an individual's sexual orientation from homosexual or bisexual to heterosexual.  To date, there is virtually no reliable scientific evidence that sexual orientation can be changed and medical professionals warn that conversion therapy practices are potentially harmful.

	 

	So up front, you know this is not a comedy but a serious drama placed in the harrowing framework of religion's stance on homosexuality.  The whole film is shot in a muted tone until the very end and its pacing is steady but sometimes slow.  It has a haunting score from the composing team of Saunder Jurriaans and Danny Bensi.  The cast all do a great job telling this hard to sit through story.

	 

	In the movie, we meet Jared (Lucas Hedges) as he’s preparing to head to a 12-day course of conversion therapy.  His ashamed Baptist pastor father (Russell Crowe) insisting that change has to happen in order for Jared to stay in the family.  He travels with his mother (Nicole Kidman), who stays with him at a local hotel at night after he undergoes daily sessions run by the head of the program Victor Sykes (Joel Edgerton) and his scared straight ex-con assistant Brandon (Flea).  These sessions are brutal emotionally.  As Jared progresses, we go back in time to see the moments that have led him there.

	 

	Is Boy Erased for everyone?  No, especially if you’re of the mind that this kind of therapy actually works.  Is Boy Erased a fun film to watch?  Not really, despite such a talented cast and a subject matter that is undeniably fascinating it's a bit underwhelming at times and doesn’t reach the emotional highs and devastating lows, one would expect from the material.  Is Boy Erased worth a trip to the theater to catch?  Yes, because it shines a light on a subject few of us know about and because it will probably be up for awards this season.

	 

	Boy Erased is a solidly good film and I give it a B+ rating.

	 

	Directed by Joel Edgerton

	Written By Garrard Conley(book), Joel Edgerton (Screen Play)

	Rated R

	Selig Rating B+

	Running Time 1hr 54min

	Drama / Biography

	Limited Release November 9th The Angelika Film Center Dallas & Plano

	Starring: Lucas Hedges, Nicole Kidman, Joel Edgerton, Russell Crowe, Britton Sear

	 

	 

	The Selig Rating Scale:

	 

	A – Excellent movie, well worth the price.

	B – Good movie

	C – OK movie

	D – No need to rush. Save it for a rainy day.

	F – Good that I saw it on the big screen but wish I hadn't paid for it.

#### BOY KILLS WORLD – A Review by Jenn Rohm
BOY KILLS WORLD – A Review by Jenn Rohm
Want to make a splash with your directorial debut? Take a concept that does well, remove some of the details that can bring an action film down, secure a good soundtrack, and have talented fight choreographers, and cinematographers who got the vision, and a strong on-screen cast. This is what Moritz Mohr has done in turning his short film, Boy Kills World, into a feature film, and I found it to be amazing.  
Hilda Van Der Koy (Famke Janssen) is the ruler of this post-apocalyptic, dystopian society of an unknown location or time.  Once a year, she holds “The Culling,” where her enemies are killed in front of everyone.  After his mother (Rolanda Marais), sister (Quinn Copeland), and he are shot, Boy (Bill Skarsgård) knows he must train to become the ultimate fighter.  The Shaman (Yayan Ruhian) heals and trains him.  Among his injuries, his tongue was removed, and damage to his ears led to his now being mute and deaf.  Boy does not remember the sound of his own voice, and his inner dialog uses the voice (H. Jon Benjamin) from his favorite video game.  Once ready to take revenge, he meets up with Basho (Andrew Koji) and Benny (Isaiah Mustafa) to take down the Van Der Koy family.
I appreciated that the movie was not bogged down with the details of why Van Der Koy’s are in power, where this city is located, or when it takes place.  Leaving those open not only adds to the video game/this is not real-life feel of the story; it leaves more time for longer fight sequences.  Benjamin providing the voice is brilliant.  In your head, you know you know the voice, just like a child would from their favorite game.  He also added emotion like I do in my own head and not so much in response to everything happening in real life. 
While Skarsgård did not have any lines, his talent was shown in his facial expressions and movements, including in multiple fight scenes. Jessica Rothe, as June 27, is part of the Van Der Koy family and their top fighter. She portrays a strong female who can and will hold her own.  Ruhian is always enjoyable to watch, and he gets to show a bit more of his abilities, including his comedic side with some “chemically enhanced” moments.
I only had two tiny issues with the film. The violence went a bit too far with the gore for me. In the final fight scene, the effects makeup on Skarsgård under his eye kept pulling my sight to it; the color was off, and it didn’t appear to be fully applied. These are tiny and easy to overlook.  
Those who liked Death Race, Running Man, Mortal Kombat, The Crow, Kung Fu Hustle, and Deadpool should go see Boy Kills World in the theater.  I will watch for it to be available for purchase for my personal collection. 
 
Director: Moritz Mohr
Written By: Tyler Burton Smith, Arend Remmers, Moritz Mohr
Cast: Bill Skarsgård, Famke Janssen, Jessica Rothe
MPAA Rating: Rated R for strong bloody violence and gore throughout, language, some drug use, and sexual references.
Genres: Action, Crime, Thriller
Selig Rating: 4.5 stars
Runtime: 1h 55m
Release Date: April 26, 2024
Trailer:  Boy Kills World trailer
Website: Boy Kills World website
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### BOYHOOD
BOYHOOD

	By Gary Murray

	Starring Ellar Coltrane, Patricia Arquette and Ethan Hawke

	Written and directed by Richard Linklater

	Running time 166 min

	MPAA Rating R

	Selig Film Rating FULL PRICE

	 

	Richard Linklater is a director who has made some great independent films.  Staying close to his Lone Star roots, he has crafted such flicks as Before Sunrise, Bernie, School of Rock and Dazed and Confused.  Though Richard has crafted some 20 films, he has never truly broken into the Hollywood mainstream.  His latest Boyhood may change that.

	The story is of a Texas boy growing up into a man.  Taking 12 years to film, Richard uses the same young cast which includes his daughter Lorelei.  We see the changes in the children as they grow into teens and adults.  By using this technique, the film almost feels like a documentary.

	Our single mom (Patricia Arquette) is struggling to keep a roof over her head with little two kids.  She makes the decision to move to Houston to finish her education.  Her two kids, Mason (Ellar Coltrane) and his big sister Samantha (Lorelei Linklater), do not want to leave their friends.  Their absent Dad (Ethan Hawke) is off in Alaska but makes the occasional appearance in the kid’s lives.

	But, mom is determined.  She takes college classes and becomes involved with her professor.  Dad does move back to be near his children but mom goes off and marries Professor Bill (Marco Perella).  He has two kids about the same ages as Samantha and Mason and the four kids bond as a family. 

	But, Bill is an abusive dad and an alcoholic.  He physically and mentally tortures everyone but seems to have a special focus on Mason, having his head shaved by the local barber.  Just when the film begins to teeter toward an ABC After School Special, mom wises up enough to leave.   It is off to another city and another life.

	This life leads to another man with a drinking problem.  For a college professor, she never sees the destructive pattern that is her life.  Throughout the film, Dad does make appearances and tries to be the best dad he knows how to be. 

	Boyhood culminates with Mason having his heart broken and eventually leaving for college.  It is the same scenario that every college student has faced—that moment where they know that they are never coming home again.  It is about the tremendous growth that happens in a scant few years.

	There are so many brilliant moments in Boyhood, moments that everyone has experienced.  In one scene, Mason is hanging out with some older boys and has his first beer.  There is this contemplative instant where he is thinking “This is my first beer.”  We see him having to make judgments on everyone in his life, deciding that people are not just slated into good and bad but are individuals will numerous, different traits.  Mason gets his first Bible and first gun on his same birthday, two gifts he has no idea what to do with.

	Although Boyhood could use a bit of a trim here and there, it doesn’t abuse its nearly three hour time frame.  This is such a long story that it needs its massive time frame to get the entire narrative in.  Even taking 12 years of a life and boiling it down to less than three hours does a disservice to life itself.  As a musician once said, “Life is a long song.”

	Patricia Arquette deserves an Oscar nod for this film.  She is the brilliant mother who at times is just clueless about life.  While she can analyze on a college level, she never sees the patterns of mistakes in her own life.  As she struggles to make a life for herself and her children, she never realizes that they are growing.  In an ‘empty nest’ scene toward the end, there is real human emotion and heartbreak on how fast it all goes by.

	Marco Perella has been kicking around the acting world for a number of years but finally gets to show his skills as Professor Bill.  He is clueless as a father and overwhelmed with life.  He takes his frustrations out on all the wrong people at all the wrong times. 

	This is easily one of the best films that Richard Linklater has made.  Much like the Sunrise series, this is a personal work that probably mirrors his life.  He captures the pains and joys of growing up without ever becoming overtly sentimental. 

	Richard found the perfect kid with Ellar Coltrane.  Within a few minutes, we are rooting for this youngster, hoping he will have a perfect life without any major problems or stresses.  Everyone knows that will never happen but there is always that hope.

	It is a very long way to Oscar season but Boyhood can be considered the early front-runner.  Will it make it all the way to awards season?  Only time will tell.  So far, it is one of the best of 2014.

#### BOYHOOD – A Review by John Strange
 

	BOYHOOD

	 

	By: John ’Doc’ Strange

	 

	Writer/Directed by: Richard Linklater

	 

	Cast: Ethan Hawke, Patricia Arquette, Ellar Coltrane, Lorelei Linklater

	 

	MPAA Rating: R (for language including sexual references, and for teen drug and alcohol use)

	 

	Selig Rating: FULL PRICE

	 

	Runtime: 164 Min.

	 

	 

	Try to imagine what it would look like if a filmmaker could portray 12 years of your life without using a plethora of actors to show the various ages of the participants.  You can’t?  Neither can I.  What Richard Linklater has done is actually more difficult.   He has taken a group of actors and actresses and working about a week a year for those twelve years to give us the story of a young man’s life over that period. 

	 

	The film begins with the young man, Mason (Ellar Coltrane), at the age of 6.  His mother, Olivia (Patricia Arquette), and his sister Samantha (Lorelei Linklater) are struggling to get by while Olivia is going to college.  Over the twelve years we see the family change and evolve as the kids grow towards adulthood.

	 

	The dynamics of this story are amazing.  Richard Linklater has managed to maintain a coherent progression of the storyline as the characters age and the family dynamic changes year to year using without a pre-written script.  Husbands (and ex-husbands) are introduced, some falling by the wayside following divorce.  Friends come and go just as they would in real life. 

	 

	There are two pillars in the kids’ lives.  One is Olivia, who for better or worse is always there for her children.  The other is her first husband, the father of the children, Mason Sr. (Ethan Hawke).  Back from Alaska, Mason does his best to be a good father to the kids. 

	 

	We are allowed to follow the always interesting sometimes rocky lives of the family.  We watch them grow up in spurts, tackling new schools, loves, and abusive step-fathers.  All of this is accompanied by an amazing soundtrack of period music to keep us firmly in tune with each window in time.

	 

	At two hours and 44 minutes, this is a long film, roughly 13 and a half minutes per year on average.  When you watch it, you will be so engrossed in the story that the time will fly by.  I know it did for me.  Take an afternoon or evening and join the family on their journey through life and experience a milestone in filmmaking history.  You’ll come out happy that you did.

	 

	 

	Movie Site: http://boyhoodmovie.tumblr.com/

	 

	 

	The Selig Rating Scale:

	 

	FULL PRICE – Excellent movie, well worth the price

	MATINEE – Good movie

	DOLLAR – OK movie

	CABLE – No need to rush. Save it for a rainy day.

	FREEBIE – Good that I saw it on the big screen but wish I hadn't paid for it.

	COMMERCIAL TV – Commercials and cutting to the allotted time will not hurt this one.

	FORGET IT! – Bad. If you see this one, do yourself a favor and keep it to yourself.

	GET YOUR TORCHES – BAD! – Burn the script, the writer, the director and maybe even the actors!

#### BOYS STATE – A Review by Cynthia Flores
BOYS STATE – A Review by Cynthia Flores
Suppose you’ve ever wondered how young people get into American politics. In that case, this fantastic new documentary Boys State about an annual event from directors Amanda McBaine and Jesse Moss is for you. The beginning of this brilliant documentary opens with a quote from President George Washington’s farewell address setting the stage for what is about to come.
“[Political parties] are likely to become potent engines, by which cunning, ambitious, and unprincipled men will be enabled to subvert the power of the people and to usurp for themselves the reins of government.” 
Nationally, the American Legion has sponsored the summer program since 1935. Boys State (and the gender-separated, Girls State) is a national civics education program designed to immerse high school juniors into public governance nuts and bolts. It is also a take-no-prisoners battle for victory. At the core of the weeklong event is the pitting of two fictional parties—Federalists and Nationalists—against one another. They battle in a contentious campaign for Governor and other key positions for which there can only be one victor.
This documentary covers the Boys State from 2018 in Texas. The program is a week-long annual summer program where over one thousand two hundred high school students gather at the state capital for an elaborate mock exercise: building their own state government. Pay attention to the opening credits as they go by, and you will see the kind of alumni that have come from Boys State events around the country over the years. Political names as varied as Dick Cheney to Corey Booker and pundits like Rush Limbaugh.
The filmmakers closely track the escalating tensions that arise within a particularly riveting gubernatorial race. Training their cameras on unforgettable teenagers like Ben, a Reagan-loving arch-conservative who brims with confidence despite personal setbacks. And Steven, a progressive-minded child of Mexican immigrants who stands by his convictions amidst the sea of red. You follow these often-earnest young men through their travels of contemporary American politics. This is a microcosm of our often dispiriting, national political divisions that nevertheless manages to plant seeds of hope.
Boys State is fast-paced and surprisingly engaging. It feels more like you are watching a close football game as the story unfolds. It’s filled with people you will fall in love with and others that show scary soulless political possibilities that will chill you to the bone. You can’t help but cheer out loud from your seat as the candidates you are pulling for make a move towards potential victory. The documentary was the winner of the Grand Jury Prize for documentary at this year’s Sundance Film Festival.
I give Boys State a 5-star rating. It will be on our must-see lists for 2020.
 
Directed by: Amanda McBaine, Jesse Moss
Rated PG-13
Selig Rating 5 Stars
Running Time: 1hr 49min
Documentary
Virtual Theatrical Release: August 14th on Apple TV+
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### BOYS STATE – A Review by John Strange
BOYS STATE – A Review by John Strange
“Politics” can be a dirty word to some people but it is the grease that makes our world function, albeit with grunts and groans, squeals, and the occasional explosion.  Boys State a film about a program begun in 1935 where American Legion Posts across this nation select a local boy to send to the state capital to participate in a version of the political process.  This is to immerse the boys (teens, mostly 16 to 17 years old) in the nuts and bolts of the political system and how elections work.
In Boys State, the 1100 teenaged boys selected for the 2018 edition are broken into two parties, The Federalists and The Nationalists.  Each party must come up with a party platform to use in campaigning for offices at the state level including House, Senate, Attorney General, Lieutenant Governor, and Governor.  They also decide upon and vote for laws they want to see in the real world (and a few they want but know they are pipedreams or totally unrealistic).
The directors, Amanda McBaine and Jesse Moss, chose a small group out of the multitude to follow.  These are the young men running for the party chair and the governor.  Some of the campaigns, like those in “real life”, get dirty and I think that this gives us a lot to think about.
Directors McBaine and Moss took the time to let us get to know these boys and what makes them tick.  Even so, some of the election results were honestly a surprise to me.  This made the time I spent immersed in this film worthwhile and encouraged my decision to rate Boys State a 5-star film.
 
Director: Amanda McBaine, Jesse Moss
Cast: Steven Garza, Robert MacDougall, Ben Feinstein, René Otero
MPAA Rating: PG-13 (for some strong language, and thematic elements)
Selig Rating: 5 Stars
Runtime: 109 Min.
Playing: Available on Apple TV+ August 14, 2020
Trailer: Boys State – Official Trailer – Apple TV+
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### BOYS STATE – Interview with Filmmakers and Subjects
Here are our interviews with BOYS STATE‘s Directors Jesse Moss & Amanda McBaine and with the film’s three main subjects Steven Garza, René Otero, & Ben Feinstein.

The sensational winner of the Grand Jury Prize for documentary at this year’s Sundance Film Festival is a wildly entertaining and continually revealing immersion into a week-long annual program in which a thousand Texas high school seniors gather for an elaborate mock exercise: building their own state government. Filmmakers Jesse Moss and Amanda McBaine closely track the escalating tensions that arise within a particularly riveting gubernatorial race, training their cameras on unforgettable teenagers like Ben, a Reagan-loving arch-conservative who brims with confidence despite personal setbacks, and Steven, a progressive-minded child of Mexican immigrants who stands by his convictions amidst the sea of red. In the process, they have created a complex portrait of contemporary American masculinity, as well as a microcosm of our often dispiriting national political divisions that nevertheless manages to plant seeds of hope.  An Apple Original Films and A24 release.
Interviews:
Filmmakers Jesse Moss and Amanda McBaine.
https://seligfilmnews.com/wp-content/uploads/2020/08/Boys-State-Interviews-with-Jesse-and-Amanda.mp3
 
Subjects Steven Garza, René Otero, & Ben Feinstein discuss their first interactions with the film and also share fun details of their time in Austin.
https://seligfilmnews.com/wp-content/uploads/2020/08/Boys-State-Interview-with-Steven-Rene-and-Ben.mp3
 
Boys State is a well deserved front runner for the year’s best documentary.  Jesse and Amanda captured real truth in this documentary and give us an honest glimpse into our country’s political future.  A bright future if youngsters like Steven, Rene, Robert and Ben are apart of the political and social climate.  One of the year’s really important films that is both entertaining, emotional and enlightening.
For more information please visit Apple Original Films or A24 release.

 

#### BOYSS TOH BOYSS HAIN music launch in Juhu
Anup Jalota's Boyss Toh Boyss Hain music launch at Royal Garden, Juhu

#### BOYZ IN THE HOOD (1991) – Revisiting The Original Classic
 

		North Dallas Movie Review was a publication created to let filmgoers know about free screenings in and around the Dallas/Fort Worth area.  The monthly publication was published monthly from 1984 to 1999.  The publication had free screening information, movie reviews, interviews, contests and more. 
	

		Selig’s John Strange was a partner and assignment editor and Gary Murray was the lead writer. 
	

		This review appeared in the August 1991 issue.
	

	 

	 

	BOYZ IN THE HOOD (1991)

	 

	By: Gary Murray

	 

	Directed by: John Singleton

	 

	Cast:

	 

	MPAA Rating: R (for language, violence and sensuality)

	 

	Selig Rating: FULL PRICE

	 

	Runtime: 112 Min.

	 

	Original Release Date: 07/12/91

	 

	 

	Boyz in the Hood is the kind of film that I could talk about for days and still never convince anyone to actually go and see it.  It is a tough, honest portrayal of life in South Central Los Angeles.  Cuba Gooding, Jr. plays Tre, a bright young man who is sent to live with his father Furious Styles (Lawrence Fishburn) in, what was once, a safe area of Los Angeles.  As Tre becomes more a part of the neighborhood, the neighborhood becomes the ‘hood’, a violent, crime-infested gang zone.  There is the constant twirl of police helicopters and machine gun fire is more common than birds singing.

	 

	Furious tries to instill values, both personal and communal, into Tre while the reality of the hood offers another view to Tre.  There is an overwhelming no-win feeling throughout Boyz, but Furious and others offer a true glimmer of hope for both the youth of the neighborhood as well as the neighborhood itself.  Boyz in the Hood is a FULL PRICE, a must see.  It is one of the best films of 1991.

	 

	 

	The Selig Rating Scale:

	 

	FULL PRICE – Excellent movie, well worth the price

	MATINEE – Good movie

	DOLLAR – OK movie

	CABLE – No need to rush. Save it for a rainy day.

	FREEBIE – Good that I saw it on the big screen but wish I hadn't paid for it.

	COMMERCIAL TV – Commercials and cutting to the allotted time will not hurt this one.

	FORGET IT! – Bad. If you see this one, do yourself a favor and keep it to yourself.

	GET YOUR TORCHES – BAD! – Burn the script, the writer, the director and maybe even the actors!

#### BPM (Beats Per Minute) – A Review by Cynthia Flores
 

	BPM (Beats Per Minute) – A Review by Cynthia Flores

	 

	 

	Let me start by stating that the reason this film is not rated is because it would most likely have gotten an X rating because of one very tender but explicit scene towards the end.  Also take note that if you’re easily offended by gay sex or gay politics, then this is not the film for you, stop reading and go pick something else to consider watching this holiday season…

	 

	Ok, if you’re still here reading this, let's move on shall we?  BPM or also known as 120 BPM (which is the average heart rate) is in French with subtitles and set in the 1990's in France. It follows a group of gay HIV activists and friends that are called ACT UP (AIDS Coalition to Unleash Power). They’re a branch of the group that started in the US, in New York City.  In the film BPM, we see the group live out the mission statement of the organization which is “ACT UP is a diverse, non-partisan group of individuals united in anger and committed to direct action to end the AIDS crisis.  We advise and inform.  We demonstrate, WE ARE NOT SILENT.”  

	 

	In fact, the first time we meet the core group of people the film follows is at a protest disrupting a meeting that’s going on.  The film lets you be a fly on the wall and is shot like you’re in the group doing the demonstration.  It’s really exciting and I think a payoff for the scenes that are done in the weekly meetings where all the planning and information for the group is dealt with.  

	 

	For anyone that has been on any kind of committee of more than three people, then these scenes will trigger your PTSD from living thru the piles of mundane things people will argue over.  The director, Robin Campillo, mined his own past as an AIDS activist in the 90’s so all the little infighting and emotional outbursts that happen at these meetings has the ring of truth about them.  Unfortunately, I felt like a few of these scenes (most) could have been cut down in length and we would have still gotten the idea of all the hard work it takes to run a group like this.

	 

	I liked the film best when it focused on the relationship between Sean (Nahuel Perez Biscayart) a POS, slang they used for HIV positive person, and Nathan (Arnaud Valois), a new member to the group who is not infected with AIDS.  BPM does a great job showing the progression of their love story.  It shows them going from comrades fighting together in protests, to being friends, to being lovers, and ultimately to being in a committed relationship.  In fact, the scenes where Nathan is taking care of Shawn when Shawn is dying from the complications of AIDS are absolutely stunning and riveting.

	 

	BPM is not for everyone.  It’s gritty and unflinching as it shows their war against AIDS and the humanity of dealing with such a slow and painful death.  It’s not a perfect film, but it is worth seeing.  Case in point, France is entering it as their submission for Best Foreign Film at the next Oscars.  And, at its world premiere at the 2017 Cannes Film Festival, it won critical acclaim and the Grand Prix award.  

	 

	Only because I think it could have been much shorter, I give it a B+ rating.  I hope you will go see this poignant film.  If you do go, take someone you love with you because at it’s core, the film is about who you love, the act of loving, and the early loss of the dearly loved.  

	 

	 

	Directed by Robin Campillo

	Written By Robin Campillo, Philippe Mangeot

	Rated NR

	Selig Rating B+

	Running Time 140min

	Drama / Foreign

	Limited Release Angelika Film Center  

	Starring: Nahuel Perez Biscayart, Arnaud Valois, Adele Haenel, Antoine Reinartz

	 

	 

	The Selig Rating Scale:

	 

	A – Excellent movie, well worth the price.

	B – Good movie

	C – OK movie

	D – No need to rush. Save it for a rainy day.

	F – Good that I saw it on the big screen but wish I hadn't paid for it.

#### BRAVE
 
BRAVE
 
By Gary Murray
 
Starring the voice talents of Kelly MacDonald, Emma Thompson and Billy Connolly
 
Written by Brenda Chapman, Mark Chapman, Irene Mecchi and Steve Purcell
 
Directed by Brenda Chapman, Mark Chapman and Steve Purcell
 
Running time 100 min
 
MPAA Rating PG
 
Selig Film Rating FULL PRICE
 
Pixar is still the greatest studio of all time.  Even with the missteps of Cars 2 and John Carter, the little production house still managed to generate millions and win countless fans.  The latest is an introduction to the newest princess Merida and it is called Brave. 
 
The story takes place in a fantasy idea of Scotland in the days of the clans.  Merida (Kelly MacDonald) is the oldest daughter of King Fergus (Billy Connolly).  She is a fiercely independent young woman, handier with a bow and arrow than with the trappings of royalty.  As she becomes a young woman, she finds that she is to be given her hand in marriage.  This upsets her.
 
At a tournament, she takes up her weapon and stuns everyone by showing that she is a better archer than all her suitors.  This embarrasses the men who may be her future husband and infuriates the queen (Emma Thompson).  Merida storms out of the castle and notices the wisps in the forest.  This leads to a witch who offers Merida a spell that will help her out of her predicament.
 
This spell changes her mother and the two must flee the castle in order to find the witch and break the spell.  Brave is a tale of mothers and daughters.  It is also about doing what is right and finding out what is your responsibility.  It is also a gorgeous and empowering work of art.
 
The comic relief of the film is handled by the red-headed tykes that are Merida’s younger triplet brothers.  They are pastry-addicted little hellions who know every little nook and cranny of the castle.  These little guys will do anything for a sweet, much to the chagrin of everyone in the castle.   The mop-top junior league are reason enough to see the film.
 
Brave is one of the most beautiful films ever put on the silver screen.  With sweeping vistas that fill every bit of space on the cinematic canvas this is a 3D masterpiece vision.  The directing team of Brenda Chapman, Mark Chapman and Steve Purcell use every trick in the Pixar handbook to achieve a film that no one has ever seen before.   Pixar has always been at the cutting edge of innovation and this is another leap with the computer as cinematic art.
 
One of many reasons to see this film is the Pixar short that accompanies Brave.  The little film La Luna is a striking and lyric bit of storytelling, moving but using scant words.  It is of three generations of workers and a job that lives in fantasy.  It is a work that needs to be experienced on a large screen.
 
The story feels a bit like a Highland version of Brother Bear, one of the lesser animated Disney films.  That said it is still one heck of a fun ride and another triumph for the little studio that always makes 100 million per release.   
 
 
 

#### BRAVE THE DARK – A Review by John Strange
BRAVE THE DARK – A Review by John Strange
It took me some time after receiving the link to watch this film.  Not because I didn’t think I would like it, but because I was afraid it would be too sad.  I should have known better.
Brave the Dark is set in 1986, in a small town in Pennsylvania.  Stan Deen (Jarod Harris) is that high school teacher that likes everyone and everyone likes him.  Nate is one of his students. 
Many of Stan’s students turn to Mr. Deen for help with their problems.  But not Nate.  Stan can tell there is something wrong, something troubling the youth but has no idea what is wrong, or how he can help him.
When one of Nate’s friends talks him into committing a crime (burglary) using Nate’s car, Nate is arrested in the middle of a classroom full of students and marched out in handcuffs.
Stan steps in to help his student survive this disaster, even allowing Nate to live with him.  Nate’s embarrassment at needing help gets in his way as much as his need to control some part of his life.
In many ways, I was right that this is a very sad story, but the story takes an upturn from an unexpected quarter that made me very happy to see!
Jared Harris and Nicholas Hamilton as Stan and Nate, respectively, handle their difficult parts with panache.  The supporting characters are simply excellent in their roles.  This is a deep dark story with depths that both bothered and intrigued me.  Oddly, I found this film to be a very good watch!
 
Director: Damian Harris
Cast: Jared Harris, Martin Jarvis, Sasha Bhasin, Nicholas Hamilton, Will Price, Jamie Harris, Tobias Segal, Johnath Davis, Banks Quinney, Scottie DiGiacomo, Elise Hudson, Meredith Sullivan, Niva Patel, Gwyneth Anne Trumbore, Shannon Destiny Ryan, Kimberly S. Fairbanks, Searra Sawka, Ava Wrubel
MPAA Rating: PG-13 (for domestic violence/bloody images, suicide, some strong language, teen drinking, drug material, and smoking)
Selig Rating: 4.5 Stars
Runtime: 112 Min.
Release Date: 01/24/2025
Language: English
Movie Site: BRAVE THE DARK Official Site
Trailer: BRAVE THE DARK Official Trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### BRAVETOWN
 

	BRAVETOWN

	By Gary Murray

	Starring Josh Duhamel, Lucas Till and Kherington Payne

	Written by Oscar Orlando Torres

	Directed by Daniel Duran

	Running time 112 min

	MPAA Rating R

	Selig Film Rating Matinee

	 

	Way back in the 1980s, they used to make teen movies.  They were these films where the kid who lived in either NYC or LA had to move back to Middle America AKA Small Town America.  It was culture shock where the kid didn’t know anybody.  He’s befriended by the geeky kid, catches the eye of the cute popular girl and triggers the ire of the local macho boys.  There is always a fight that the school knows about but does nothing about and the moment where the kid does his skill and wins everyone over.  That skill could be playing a guitar or some non-football sport.  This film was made about a million times in the 1980s and eventually faded away.  Since nothing is never truly over in Hollywood, that ember is fanned in the new flick Bravetown.

	The film starts with Josh (Lucas Till) spinning records at a NYC club.  Behind the turntables and his computer, the guy has the skills to ramp up an audience.  We are told almost instantly that DJs are the new rock stars.  Interest is being shown by record company executives and all the girls on the dance floor want Josh.  It is a life of endless parties and tons of designer drugs.  All good things must come to an end, or in Josh’s case—an overdose.

	The judge sentences the underage boy to the guardianship of his father whom Josh has never met.  The man lives in a small town way in the sticks of fly-over country.  Before we can say plot twist, the boy is stuck in the little town, surrounded by hayseeds.  Almost as instantly, he is befriended by a younger kid Tony (Jae Head) who seems to be looking for an older brother figure. 

	Almost as instantly, he meets his counselor for the court-ordered sessions.  That guy is Alex (Josh Duhamel).  Josh realizes that Alex is a fish out of water in this small town and that there must be something more to his story.  Since Josh is a bit of a stoic loner, the two just sit around watching soccer and eating pizza.  Little counseling happens during the counseling sessions.

	Josh goes to a school dance and watches the local dance squad.  They are run by Mary (Kherington Payne) and they are terrible, the laughingstock of the school.  Josh steps behind the DJ booth and spins some beats and suddenly they are better.  So the cool kid shows the rural hicks how it is done in the big, bad city. Oh, and Tony and Mary are siblings. So far, this is shaping up to be every teen movie from the 1980s.

	Then the film takes a very solemn turn.  This is one of those small towns that has few ways out and the easiest is by joining the service.  That means there is a lot of lost family and friends who are gone. 

	In the film, there is this tree where the family members hang the medals of the dead on the branches.  It is a solid metaphor and the moment the film changes.  As the film opens up, we see that everyone in this world is damaged.   We know that Josh in an unwanted kid, but we find out that even in rural America, there are wounds that run deep.   Mary and Tony have lost their older brother to the war while Mom (Laura Dern) is lost in her depression over the event.  Also, Alex has lost his best friend to the war and has his own secret to why he’s in the small town.

	There is a big reveal in the third act that propels the last of the picture.  There are moments of realization and reflection that work as a commentary on how war affects those left behind.  Then, the film attempts to tie up in the cliché bow.  There is a dance team invitational that will be held in their small town if the local dance team can win all their competitions.  Everybody knows where this train is headed, straight to Obvious-ville. 

	One has to have a Glee suspension of disbelief to make this film work.   One has to believe that a bunch of farm girls can do a different professional dance routine each week with no adult training and supervision.  One has to believe that a rural farm town can have a giant professional stage and lighting sets waiting at their call.  And one has to believe that these kids can instantly street dance without any training and move like inner city kids who have practiced moves for years.  On one level, mid-American white kids trying to be hip and urban is pathetic and on the other hand it is sad.  That is where some of the dancing lays—between pathetic and sad.  Then, one has to believe that at the big competition, the dance troop would do a ‘dance as war’ metaphor interpretation, complete with Platoon references.  At best, half of this film is a adolescent fantasy of how dance truly is done.

	The other half of the film is where the film has some shine.  If the kid would have been the observer of how rural America is being devastated by the on-going and never-ending onslaught of a war lasting decades, that would have been an important and potent film.  If writer Oscar Orlando Torres it would have shown the senseless waste of human life that war is and how it affects the family back home for long after the last shot has rang out, that would have been an important film.  Bravetown almost got it half-right and getting half the answers right is still failing. 

	What is Bravetown?  Basically blend Step Up with those 1980s teen flicks, then add a giant helping of Coming Home and you have Bravetown.  It is nowhere near great a film as Coming Home and not as good as Step Up.  It they would have got rid of the dancing and focused on the idea of military loss that would have been a much more powerful film. 

#### BREAKING BREAD – Interview with Director Beth Elise Hawk
A documentary that is visually delicious and also just as impactful.  Director Beth Elise Hawk’s passionate dive into the world of an Israeli-Arab food festival and the chefs who make it possible leaves you emotionally struck.  Beth was kind enough to chat with us about the chefs, the food, and so much more!

Dr. Nof Atamna-Ismaeel was the first Muslim Arab to win Israel’s MasterChef television competition. Now, through her new food festival, she’s on a quest to effect social change, chef by chef.
Here is our interview with Director Beth Elise Hawk.
 
https://seligfilmnews.com/wp-content/uploads/2019/11/Beth-Hawk.mp3
 
Breaking Bread opens at the Napa Valley Film Festival on Friday NOVEMBER 15th.
The film then showcases at the OTHER ISRAEL FILM FESTIVAL at the Marlene Meyerson JCC Manhattan on Sunday.
Beth Elise Hawk

 

#### BREAKING DAWN – PART 2 – One-Sheet Reveal
The final theatrical one-sheet for the highly anticipated last film in the series, THE TWILIGHT SAGA: BREAKING DAWN – PART 2, will be fully revealed at dawn Pacific Time on Tuesday, October 2 at 9AM PT, after the culmination of a 24-hour worldwide countdown across all of the Facebook pages of the Twilight Saga network.

	In BREAKING DAWN – PART 2, Bella, Edward & Jacob must assemble vampire covens from across the globe to counter the new threat of the ruling Volturi.  In this spirit, a portion of the final theatrical one-sheet will be released at dawn local time around the world, giving each region around the world a chance to participate in the exciting launch.

	There will be 6 total portions revealed across 6 regional time zones, all on Tuesday morning local time, starting with New Zealand and ending with Los Angeles.  Each of the 6 portions will be released at the below times on the denoted Facebook pages.  We are asking fans to help us break each page's record for the highest number of "likes" on a post.

	The worldwide schedule is as follows:

	MONDAY, 1:00 PM PT (Tuesday, 8:00 AM – New Zealand)

	Section #1 revealed at Facebook.com/TwilightMovie

	MONDAY, 5:00 PM PT (Tuesday, 9:00 AM – Tokyo)

	Section #2 revealed at Facebook.com/NewMoon

	MONDAY, 9:00 PM PT (Tuesday, 8:00 AM – Dubai)

	Section #3 revealed at Facebook.com/Eclipse

	TUESDAY, 1:00 AM PT (9:00 AM – London)

	Section #4 revealed at Facebook.com/BreakingDawn

	TUESDAY, 5:00 AM PT (9:00 AM – Buenos Aires)

	Section #5 revealed at Facebook.com/EdwardCullen, Facebook.com/BellaSwan & Facebook.com/JacobBlack

	TUESDAY, 9:00 AM PT (North America)

	Full, final poster revealed at Facebook.com/Twilight

	 

	Facebook: https://www.facebook.com/events/250528108402904/

	Twitter: https://twitter.com/Twilight/status/252452821629272064

	 

#### BREAKING FAST – A Review by Cynthia Flores
BREAKING FAST – A Review by Cynthia Flores
Breaking Fast is that rare independent romance film that is more about how people choose to navigate their lives regarding the Muslim religion than the fact that it’s a gay love story. There was a time not too long ago that the fact the “love story” was between two men would be the whole point of a film. Luckily for us, the novelty of that shocking plot point has finally worn off, and now more nuances can be added to the gay storytelling plate. 
Breaking Fast started off as a short rom-com of the same name. It was the first film to feature a practicing Muslim character who is gay and not dealing with those two things in conflict, but rather in harmony. Because of the overwhelmingly positive responses to it at prestigious film festivals like The Cannes Film Festival, its writer/director, Mike Mosallam, got funding to make it into a feature film.
This rom-com is set in the pre-covid bright lights of West Hollywood, California. It tells the story of Mo (Haaz Sleiman), a practicing Muslim still reeling from the heartbreak of losing Hassan (Patrick Sabongui). Mo’s long-time closeted Muslim boyfriend who was part of the family. His best flaming friend Sam (Amin El Gamal) insists he attends his big birthday bash. That is where Mo is introduced to a single actor named Kal (Michael Cassidy). Kal has that all American hot boy next door look and is fluent in Arabic. He learned it when he was a kid when his dad was stationed there. The two men hit it off, and Kal gets himself invited to join Mo in his nightly Iftars. You see, it’s Ramadan when they meet, that is when Muslims fast from sunup to sundown for a month. The Iftars are the traditional meals eaten by Muslims when they break their fasts. Meal after meal, the two start to discover they have more in common than meets the eye. 
Breaking Fast is a witty, personable rom-com with depth and heart. The chemistry between the leads is believable and not forced. The writing is funny and natural. Also, I like the reverence they show to the Muslim faith and how complicated it can be for someone who is gay and still a believer.
I give Breaking Fast a 4-star rating. It’s so much fun to watch but be warned, it will make you hungry. There is a great deal of yummy food being made and consumed during this movie so be sure to have some snacks at the ready.
 
Directed by: Mike Mosallam
Written by: Mike Mosallam
Rated: NR
Selig Rating: 4 Stars
Running Time: 1hr 32min
Drama / Comedy/ Romance
Release: January 22nd VOD
Starring: Haaz Sleiman, Michael Cassidy, Amin El Gamal
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### BREAKING IN – A Review by Hollywood Hernandez
 

	BREAKING IN – A Review by Hollywood Hernandez

	 

	Just in time for Mother's Day, Gabrielle Union stars in Breaking In, a home invasion movie where she plays a mom who will stop at nothing to rescue her two kids who are being held hostage in the house.  They end up in the house in the first place when the family travels to the isolated fortress that her father built after he dies from being struck by a car.  But was it an accident? 

	 

	There are a lot more unanswered questions like that in the movie.  Like where did her father get the huge sum of money that he had stashed in the house?  Was he a crook or a spy?  Where is Shaun's (Gabrielle Union) husband?  But the biggest question is how did she become Liam Neeson and Bruce Willis all wrapped up into one?  For a simple mother of two, she has some amazing fighting skills.

	 

	However, if you leave reality for a while, this is an enjoyable movie.  Union is clearly the star of the film as the protective mother who battles (and usually gets the best of) four criminals who have broken into the house.  You'll find yourself cheering for the mother as she is relentless in her efforts to rescue her kids and just about the time the plot runs out of steam; the movie comes to an end.  (It runs for just about 90 minutes.)

	 

	Breaking In is rated PG-13 for plenty of violence and a few bloody images.  Just like last year's Kidnap with Halle Berry, this is a star vehicle for Gabrielle Union to carry the movie on her back.  Her action scenes and her catch phrases ("You picked the wrong house!) are memorable even if the entire movie is not.  On my "Hollywood Popcorn Scale" I rate the movie a MEDIUM. 

	 

	Official Site: www.breakinginmovie.com

#### BREAKWATER – Interview with Writer Director James Rowe and Producer Matt Paul
BREAKWATER – A young ex-con risks his newfound freedom to track down the estranged daughter of a fellow inmate, and unknowingly brings a devil from her past straight to her doorstep.    Writer/Director James Rowe and Producer Matt Paul talked with our Gadi Elkon about the film, the cast, and about their World Premiere tomorrow at CINEQUEST FILM AND CREATIVITY FESTIVAL 2023.

James and Matt talked with Gadi about filming in North Carolina, gathering a tremendous cast, the logistics of underwater shooting and so much more!
Here is our chat with Writer/Director James Rowe and Producer Matt Paul.

BREAKWATER has its World Premiere tomorrow Saturday August 19th at CINEQUEST.
 
 

#### BREWMANCE – A Review by Cynthia Flores
BREWMANCE – A Review by Cynthia Flores
First off, I love the title of this independently produced documentary about craft beer. I’m a wine person myself. However, the loving, straightforward approach that director Christo Brock uses in this film works well to educate and entertain.  
The American craft beer movement began with a group of restless homebrewers searching for something genuine and flavorful. Brewmance tells that story and brings us to the present where it has evolved into a redefinition of beer and an international cultural movement. 
The uniquely American spirit of rebellion and innovation survives in two groups of homebrewers from Long Beach, California, who are looking to open their own breweries and bring their beers to the world. Their blood, sweat, and beer stories are told between interviews and commentary from legendary brewers. We hear from giants in the field such as Ken Grossman (Sierra Nevada), Fritz Maytag (Anchor Brewing), Charlie Papazian, Vinnie Cilurzo (Russian River), Sam Calagione (Dogfish Head), Jim Koch (Boston Brewing). 
We watch and root for the Christian father-son team (Dan and Jesse Sandstrom), who grew close over making beer for their brand, Ten Mile Brewing Co. They know beer-making is not a place you see a lot of Christians. They want their brewery to be a place to meet and relate to people you wouldn’t find in church. At the same time, you will cheer for a retired rock star (Dan Regan) who is looking for the “quiet” existence of a brewery owner. He and his partners want to build a special kind of brewery. One that is a safe haven for workers, storytellers, shamans, down-n-out detectives, street samurai, graffiti artists, revolutionaries, punks, drunks, con artists, and pirates. All while pouring their craft beer from Liberation Brewing Co. 
When director Brock was asked why he chose to do a film on craft beer, he tells a story of his friend Tom getting into homebrewing. Tom invited him to a homebrew club meeting that he attended. It was an open forum for sharing and tasting. The director was touched by the brotherly mood in the group. Brock explained, “Even though I considered myself a foodie, I hadn’t ever experienced the spectrum of flavors and tastes that these beers could be. I was hooked.” He goes on to say, “After research, I began to see the connection between the restless soul of the Homebrewer and the professional craft brewer. It became increasingly obvious that one begat the other, and the story of it would make for an interesting documentary.”
He was right. Brewmance is a fun way to spend some time in front of your TV. So whether you’re already a craft beer aficionado or just enjoy a cold one on a hot day, this documentary is for you.
I give Brewmance a 4-star rating and a hearty “Cheers”!
 
Directed by: Christo Brock
Written by: Christo Brock, Sonja Schenk
Rated: NR
Selig Rating: 4 Stars
Running Time: 1hr 42min
Documentary
Release: April 12th on all VOD platforms
Starring: Sam Calagione, Maureen Ogle, Jim Koch
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### BREWMANCE – Interview with Filmmaker Christo Brock
“A Home Brewed Movie About Craft Beer”.
Documentary Filmmaker Christo Brock talked with Selig Film News about his latest movie, BREWMANCE.

Craft Beer began with a group of restless home brewers searching for something real and flavorful; in the last 40 years it’s become a global movement of taste and individuality. That spirit of rebellion and innovation exists in a few home brewers from Long Beach, California who will soon open their own breweries. With the help of iconic brewers Ken Grossman, Vinnie Cilurzo, Sam Calagione, Jim Koch and others, the soul of craft beer is finally revealed.  BREWMANCE
Documentary Filmmaker Christo Brock chatted with Selig Film News about his past work, his latest film, and so much more!
Interview with Filmmaker Christo Brock:
 

Brewmance Interview with Filmmaker Christo Brock.mp4 from Gadi Elkon on Vimeo.
The film is out on VOD starting on April 13th, 2021.
For more information please visit, BREWMANCE.

#### BRIAN BANKS – A Review by Cynthia Flores
 
BRIAN BANKS – A Review by Cynthia Flores
Most biographical dramas about people who are still alive and survived injustice tend to be heavy-handed and preachy.  Lucky for us, the new film from director Tom Shadyac, Brian Banks, isn’t in that category.
This film shows us a young Brian Banks (Aldis Hodge) who has the talent to back up his dream of playing football in the NFL.  His plans are halted when he’s wrongly convicted of rape and sent to prison at the tender age of sixteen.  Years later via the California Innocence Project, he fights to clear his name within America’s broken judicial system.
Brian Banks is moving and really brought home how broken our justice system is today.  Aldis Hodge is amazing as Brian.  His portrayal of the anguish and growth the real Brian went through is impactful.  The part of his mother Leomia (Sherri Shepherd) is small but powerful.  The actress always manages to bring depth and sensitivity to any role she does.  Speaking of characters, what is it with Greg Kinnear, recently all he plays are good guys in films.  In this movie, he plays the internationally known lawyer Justin Brooks who heads up the California Innocence Project – a non-profit organization that provides pro bono legal services to individuals who maintain their innocence of crimes for which they have been convicted.  I hope his next project is a scoundrel like his role in 1995s Sabrina.  He’s good at being bad on the big screen.
The biopic Brian Banks has strong writing, the cinematography is solid, and the acting will pull at your heartstrings.  So, if you’re a fan of the football player, this film will give you more insight into his epic background.  I give Brian Banks a B+ rating.  I think it’s an important film that will help further the cause for reform in our Judiciary System.
 
Directed by Tom Shadyac
Written by Doug Atchison
Rated PG-13
Selig Rating B+
Running Time 1hr 39min
Biogeographic Drama
Wide Release August 9th
Starring: Aldis Hodge, Gregg Kinnear, Sherri Shepherd, Xosha Roquemore
 
The Selig Rating Scale:
A – Excellent movie, well worth the price.
B – Good movie
C – OK movie
D – No need to rush. Save it for a rainy day.
F – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### BRIAN HELGELAND TO RECEIVE DISTINGUISHED SCREENWRITER HONOR AT 22ND ANNUAL AUSTIN FILM FESTIVAL & SCREENWRITERS CONFERENCE
 

	Austin Film Festival (AFF), the premier film festival recognizing writers’ and filmmakers’ contributions to film, television, and new media, announced today new programming for the 2015 Screenwriters Conference, held the first four days of the Festival this October 29-November 5.

	Brian Helgeland will receive AFF’s Distinguished Screenwriter honor at the Awards Luncheon, joining Outstanding Television Writer, Norman Lear. Among the films Helgeland has written and directed are Legend, 42, A Knight’s Tale, and Payback. Helgeland’s writing credits include L.A Confidential, Man on Fire, The Taking of Pelham 123, Conspiracy Theory, Green Zone, Blood Work and Mystic River for which he received an Academy Award nomination. Helgeland is also the recipient himself of the Academy Award, the Writers Guild of America Award, the PEN Center Literary Award, the Edgar Alan Poe Award, a two time recipient of the USC Scripter Award and the Sidney Lumet Award for Integrity in Entertainment.

	The 2015 Awards Luncheon is held Saturday, October 31st at the Austin Club. Previous Distinguished Screenwriter award recipients include James L. Brooks, Lawrence Kasdan, Callie Khouri, Frank Pierson, Harold Ramis, Caroline Thompson, Steven Zaillian, and more.

	Continuing the Festival’s long history of staged script readings, AFF will present an unproduced teleplay by Norman Lear, entitled Guess Who Died?, a series about the life-loving and fastest growing segment of our population who ask this question daily.

	Writing team Scott Neustadter and Michael H. Weber (writers The Fault in Our Stars, Paper Towns, (500) Days of Summer) will bring their unproduced screenplay Rosaline to the Festival for a reading to be directed by Alex Timbers (co-creator Mozart in the Jungle), based on the novel When You Were Mine by Rebecca Serle and the play Romeo and Juliet by William Shakespeare.

	New programming also includes panelist additions Michael Arndt (writer Little Miss Sunshine, Toy Story 3), Charles Burnett (writer Killer of Sheep), John Ridley (writer 12 Years a Slave; creator American Crime), and Gary Ross (writer/director Seabiscuit, Pleasantville).

	The Screenwriters Conference (October 29-November 1) will feature over 150 panels and speakers, with conversations that explore the art, craft, and business of writing for film, television, and new media. Among the list of confirmed panelists are Shane Black (writer/director Kiss Kiss Bang Bang, Iron Man 3), Jack Burditt (writer 30 Rock, Unbreakable Kimmy Schmidt), Peter Craig (writer The Town, The Hunger Games: Mockingjay – Parts I and II), Chad and Carey Hayes (writers The Conjuring, The Reaping), Mark Heyman (writer Black Swan, The Skeleton Twins), Angela Kang (writer The Walking Dead), Todd Kessler (co-creator Bloodline), Simon Kinberg (writer Sherlock Holmes, Mr. and Mrs. Smith), Jenny Lumet (writer Rachel Getting Married), Kelly Marcel (writer Saving Mr. Banks, 50 Shades of Grey), Jonathan Nolan (writer Interstellar, The Dark Knight), Nicole Perlman (writer Guardians of the Galaxy), Mark Protosevich (writer Thor, I Am Legend), Issa Rae (creator The Misadventures of an Awkward Black Girl), Jason Reitman (writer/director Up in the Air, Thank You For Smoking), Phil Rosenthal (creator Everybody Loves Raymond), Terry Rossio (writer Shrek, Pirates of the Caribbean), Liz Tigelaar (writer/producer Bates Motel, Nashville), David Wain (writer/director Wet Hot American Summer) and many others.

	The complete list of programming at the 22nd annual AFF, including the marquee program, short films, competition titles, and Conference panels, will be announced in late September.

#### Bridges of Madison County – Dallas Summer Musicals Interview – Mary Callanan
An incredible musical score in The Bridges of Madison County  carries you through the years of Francesca's life giving new meaning and power to the story.  A powerful, poignant, and passionate production that easily lives up to the Broadway image.  Witty inquisitive Marge (Mary Callanan) visited with me about this incredible role, the unique POV switch of the musical's book, and of course Mamma Mia, Gypsy and much more!

	

	The Bridges of Madison County is a wonderful Valentine's treat that has a ton of passion but much more heart.  Mary Callanan I talked a lot about the word love and all it's variations in this production.

https://seligfilmnews.com/wp-content/uploads/2016/02/Mary-Callanan-BMC-DSM-Story-of-Love-4.wav

	The set is something that truly stands out in the musical.  The constant movement of the characters adds many layers of depth to the Music Hall stage.  The glowing ever changing back drop adds such incredible scenic quality that you feel the open range effect of the Midwest.  The pacing throughout the production is more delicate and slow allowing for the story to flesh out.  Acting wise the production stems on Andrew Samonsky's ripped physique and his smoky voice.  Sadly, Elizabeth Stanley's Italian accent creates a sometimes tough listen even from the lower level seats.  But her powerful mannerisms and voice still burst to life when the moments rose into the more meaningful variety.  The love making scenes are tastefully done if not a bit corny and romance book level.  Through those sappy moments there is a real heavy dose of nostalgia and pride.  The Midwest cliche lifestyle is fully on force in the performances, but not with tongue in cheek delivery.  Instead there is a nod back to the old way of life and all the virtues of the WWII era and it's getting older in the wild 60s.  That touch of childish rebellion in kids roles Michael (John Campione – feisty and fiery performance) & Carolyn (Caitlin Houlahan – showcased an amazing amount of growth in a secondary character).  The mother daughter relationship is extremely powerful in the production and elevates the Musical past the book/film plot line.  You really capture the unique futures these two kids will have.  Michael's rebellion is bold and boisterous (weed smoking and chasing girls will do that to ya in the 1960s).  In the end though the plot twists in the musical really make the show something truly unique.

	 

	One key addition to the Bridges story is the lovable noisy neighbors Charlie and Marge.  Charlie's not so much noisy as he's married to Marge who's noisy enough for both.  I asked Mary about getting to play such a fun role.

https://seligfilmnews.com/wp-content/uploads/2016/02/Mary-Callanan-BMC-DSM-Marge-2.wav

	Mary went on to explain how important this role is to her and where it ranks in her favorite characters. 

https://seligfilmnews.com/wp-content/uploads/2016/02/Mary-Callanan-BMC-DSM-Role-of-a-Lifetime-5.wav

	As this musicals National Tour is still bustling along and will remain at Music Hall through V-Day, I asked Mary about another tour from her past.   We talked about the amazing Mamma Mia production.

https://seligfilmnews.com/wp-content/uploads/2016/02/Mary-Callanan-BMC-DSM-Mamma-Mia-1.wav

	That incredible run of Mamma Mia at Music Hall was in Dallas during the same weekend at the Super Bowl at Cowboy Stadium in 2011.  That show is still my favorite musical show at DSM.  3rd row with my mother on opening night, EPIC!  Mary remembered Dallas as well!!

https://seligfilmnews.com/wp-content/uploads/2016/02/Mary-Callanan-BMC-DSM-Bonus-Mamma-Mia-Super-Bowl-Weekend-Your-Mouth-Yes-Please.wav

	Bridges is at DSM through Feb 14th!  #BridgesDSM

	And to the amazing Mary Callanan, you are always one of our Dancing Queens!

#### BRIE’S BAKE OFF CHALLENGE – Interview with Filmmaker Emily Aguilar
Writer/Director/Producer Emily Aguilar’s third feature film is streaming on HBO MAX and a wonderful treat of a movie.  She was awesome enough to chat with our Gadi Elkon about the film.

Brie Hayes is an aspiring baker who wishes to win her school’s Spring Bake Off Challenge. Troubles ensue when Brie’s confidence reaches an ultimate low and her “arch nemesis”, Vanessa, does everything she can to slim Brie’s chances of winning. Brie’s family and her best friend Millie must help her gain perspective and practice to win. Stakes are high as these pre-teens compete for the grand prize of $5,000 and for four Cosmo Land tickets. This is the ultimate baking movie for children and adults who love watching cooking and baking shows.
Emily and Gadi talked extensively about the film, her many hats as producer/writer/director, and of course about all the baked goodies in the movie!
Interview with Filmmaker Emily Aguilar:

For more information about the film, BRIE’S BAKE OFF CHALLENGE.
For more info on the filmmaker, EMILY AGUILAR and her production company, The MomentEM.
Brie’s Bake Off Challenge now on HBO MAX.

#### BRIGSBY BEAR – A Review by John Strange
 

		BRIGSBY BEAR – A Review by John Strange
	

		 
	

		 
	

		James (Kyle Mooney) lives a happy life in an underground home in the hills with his parents.  Ted and April do their best to raise him right.  They make sure he does his lessons each day before he gets to watch his favorite show, Brigsby Bear.  Sometimes in the evenings, his dad, Ted (Mark Hamill), takes James up to the dome to watch the stars and the insects and animals. 
	

		 
	

		This is our first clue that something is not right.  The insects and animals are not real!  What else is wrong with this world?  At bedtime they shut the generator down for the night.  Why?  Is this a post-apocalyptic world?  James has been taught that the air is no longer safe to breath.  This explains why he is not supposed to go outside.  And why his dad wears a gas mask and air tank when he leaves for work each day.  But is it?
	

		 
	

		James sneaks out one night to sit on top of the airlock door and watch the stars through his gas mask.  Up the road he realizes he sees cars with red and blue flashing lights racing toward their home.  He races back inside just in time for the FBI to burst in and arrest his parents!  The very confused James is wrapped in a blanket and moved out of the home and into a squad car.
	

		 
	

		The first of so many incorrect assumptions is defeated in that car when he doesn't suffocate.  His real family, the Popes, and the life they lead is totally foreign to him.  Everything is new and perhaps a bit weird.  They try to wean him off Brigsby Bear.  What they don't understand is that he has become perhaps the biggest fan of Brigsby Bear possible.
	

		 
	

		James and his sister, Audrey (Ryan Simpkins), slowly bond (something that eludes his parents, Greg (Matt Walsh) and Louise (Michaela Watkins)) over of all things Brigsby Bear.  Despite his discovery that his "other dad" had made all the VHS tapes (over 25 years worth at one per week).James develops a dream to make a Brigsby Bear movie.
	

		 
	

		I think that Audrey begins helping him because of her attraction to Spenser (Jorge Lendeborg Jr.), a budding filmmaker but soon falls for the charms of the Brigsby Bear Movie story.  The making of this movie is a story worth watching all by itself! 
	

		 
	

		This movie starts off like a small quirky little story that you can watch but perhaps not without a few yawns.  And then as James' world turns over and over, the story gets more and more interesting.  James jumps into moviemaking in a big way.  His ideas about the story excite his new friends including of all people, the detective on his case, Detective Vogel (Greg Kinnear)!
	

		 
	

		This is a film that most people might not go to see based upon the description that is being publicized.  I am here to tell you that this film will delight you.   Brigsby Bear has fun and quirky characters (and many "normal" folks as well) and an interesting story worth watching.  Don't take young kids as that will be totally lost.  This film is aimed at adults who enjoy watching something a little different from your average film.  I guarantee that this one will give you hours of things to talk about!
	

		 
	

		 
	

		 
	

		Directed by: Dave McCary
	

		 
	

		Cast: Mark Hamill, Claire Danes, Kyle Mooney, Greg Kinnear, Andy Samberg, Michaela Watkins, Christopher Sullivan, Jorge Lendeborg Jr., Chris Provost, Ryan Simpkins
	

		 
	

		MPAA Rating: PG-13 (for thematic elements, brief sexuality, drug material and teen partying)
	

		 
	

		Selig Rating: A
	

		 
	

		Runtime: 100 Min.
	

		 
	

		 
	

		The Selig Rating Scale:
	

		 
	

		A – Excellent movie, well worth the price.
	

		B – Good movie
	

		C – OK movie
	

		D – No need to rush. Save it for a rainy day.
	

		F – Good that I saw it on the big screen but wish I hadn't paid for it.

#### BRING IT ON–THE MUSICAL
 
BRING IT ON—THE MUSICAL
 
By Gary Murray
 
Starring Taylor Louderman and Adrienne Warren
 
Libretto by Jeff Whitty
 
Music by Tom Kitt and Lin-Manuel Miranda
 
Lyrics by Amanda Green and Lin-Manuel Miranda
 
Bring it on was a cheerleading film from a few years ago.  I remember seeing it but do not remember any details of the film—it has just vanished from the backwash of memory.  So, with almost fresh eyes, I ventured into the Music Hall at Fair Park to see Bring it on—The Musical.   
 
The play starts with Campbell (Taylor Louderman).  She is captain of the Truman cheerleading squad and is poised to go for nationals.  Her second in command is Skylar (Kate Rockwell) and her second is Kylar (Janet Krupin).  The three run the tryouts and diss on mascot Bridget (Ryann Redmond).  Campbell sees something in the very young Eva (Elle McLemore in a brilliant scene-stealing part). 
 
When our cast is set, Campbell finds that she is to be transferred to Jackson High School.  Once there, she finds that Bridget is also part of the redistricting.  Campbell learns that Jackson is a very urban school and does not even have a cheerleading team.  But they do have a dance squad run by Bridgette (Adrienne Warren). 
 
Not to give away too much plot, Campbell decides that things are not all they seem at Truman High School and that he has been plotted against.  Her revenge, start her own cheerleading squad and take down her rivals.  The entire exercise of the musical is to get the kids dancing and going those stunning gymnastic moves one sees on the cheerleading competitions on ESPN.
 
The stage stays mostly barren with single rows of lockers to suggest high school.  Most of the set design is done by four giant movable screens that serve such diverse functions as scoreboards, bedrooms and scenery.  It is a cleaver way to keep the stage empty so the acrobatics will flow without obstacles. 
 
The part of the work that will make or break Bring it on when it makes it to the Great White Way will be the acrobatics done under the guise of cheerleading.  We get two different giant scenes with the Truman squad doing their routine and later the Jackson squad strutting their stuff. 
 
Before the matinee started, it was announced that due to some recent injuries, some of the stage stunts would not be presented.  With all the jumps and flips that occurred during the two hours, it is a wonder what more these young and talented performers could perform on stage.  Nothing was missing from either the enthusiasm or athleticism of Bring it on. 
 
The two leads of Bring it on are Taylor Louderman and Adrienne Warren.  Both are Broadway caliber singers and dancers.  Taylor who plays Campbell has the bigger role and the most growth potential role.  She is on stage almost the entire performance and never wavers for a moment.  Her voice is a swansong, pulling the audience into its mystic tone.  Adrienne Warren was just note on perfect giving some much needed gravity and more of her was needed on stage.  The few moments the two share together are magical. 
 
Of the secondary characters, Ryann Redmond showed some serious comedic chops.  She is the underdog of the work and the audience was rooting for her every step of the way.  There was just this sparkle with every turn the actress made, giving it all every moment on the boards.
 
The big fault of Bring it on is the lack of big musical show stopping numbers.   There was not one tune that jumped off the stage and into the audience hearts.  None of the songs captured the mind nor had a great hook that catches the ear.  If this were to be re-tooled before Broadway, the musical aspects would be the part to work on.  The story is cheeky and funny with a very ‘let’s put on a show’ feel.  It just needs ‘that song’ and ‘that moment’ to make it work.
 
All in all, Bring it on—The Musical is a charming winter diversion that should delight audiences–especially young girls.  It has some positive messages and is generally pleasing.
 

#### British Airways Celebrated ‘Silent Picturehouse’ in Mumbai in True Bollywood Style!
 

	Bollywood stars, movie lovers and film enthusiasts walked down the red carpet as British Airways launched the much awaited film extravaganza, ‘Silent Picturehouse’ to celebrate 100 glorious years of Indian cinema. The three day event, which promised its guests to travel the world from their seats, was hosted at Four Seasons Hotel, Mumbai from 16th of December to 18th of December. The event witnessed presence of some of the most prominent names in the film fraternity, including Karan Johar, hosting the gala night! Amongst other luminaries, sizzling Bollywood celebrities, Arjun Rampal, Malaika Arora Khan, Arbaaz Khan, Arjun Kapoor, Mandira Bedi, Chitrangda Singh and Minissha Lamba graced the occasion with their presence.
	 
	Christopher Fordyce, Regional Commercial Manager, South Asia, British Airways, said“India is one of our most significant markets and we take pride in being a part of the celebrations of completing 100 years of Indian cinema by bringing ‘Silent Picturehouse’ for the first time to Mumbai. We at British Airways, just like the Indian cinema are constantly redefining, innovating and introducing an array of new initiatives to showcase our drive towards customer gratification.
	 
	“Silent Picturehouse has truly been a unique opportunity for everyone here tonight to have had an on-board experience whilst enjoying our unparalleled inflight entertainment and delectable menu options from the comfort of their seat. This has been a truly exciting night for us and we do hope that our customers have had an extremely enjoyable experience.”
	 
	Commenting on his association with British Airways’ ‘Silent Picturehouse’, Karan Johar said, “I am delighted to be a part of the Indian film industry. This is a great year for us in India as we are celebrating 100 glorious years of the Indian cinema, perhaps the biggest film industry in the world. British Airways has brought an interesting concept of cinema viewing, Silent Picturehouse, to the people of Mumbai for the first time ever to commemorate this occasion. As part of this initiative, we have showcased some of my favourite selection of films from Dharma productions, which truly resonated with the spirit of Bollywood. I hope that people have enjoyed this unique cinematic experience combined with British Airways’ hospitality at the event.”
	 
	The screenings showcased Bollywood blockbuster films on three different screens, playing simultaneously in a space to recreate the in-flight entertainment experience with the traditional cinema viewing environment. The audience tuned in to pre-selected jury movies of their choice using wireless headphones and enjoyed the screenings. Movies screened at the event included Dharma Productions’ super hits such as, Kabhi Khushi Kabhie Gham, Kuch Kuch Hota Hai and Yeh Jawaani Hai Deewani, handpicked by Karan Johar himself.
	 
	In addition, the event witnessed an exquisite showcase of Queenie Dhody’s jewellery collection inspired by eternal beauties from different Bollywood eras.
	 
	The ceremony culminated with a gala event on Wednesday, 18th of December, which was attended by crème de la crème of Mumbai’s high society including numerous Bollywood celebrities.
	 
	The evening later saw the celebrations literally taken to the skies with the highest tea party in Mumbai with a smashing ‘Silent Disco’ after-party at AER Lounge at Four Seasons Hotel, Mumbai. Guests were treated to a selection of unique speciality teas from the Twinings’ Signature Tea Cocktails with an innovative new blend of the nation’s favourite drink, specifically designed for British Airways.

	The ‘Silent Picturehouse’ is a unique cinematic experience; an original concept by the British Airways launched globally in 2010 to mark the airline’s partnership with British Academy of Film and Television Arts (BAFTA).
	 
	***
	 
	SOPHIE CHOUDRY – Singer, Actor and former MTV VJ
	“British Airways have great connections around the globe especially to the UK. I always prefer British Airways whilst travelling to the UK. I especially like their inflight entertainment options. They have a good variety and I feel adding more Bollywood movies to the collection will make it even more exciting.”
	ARBAAZ KHAN – Bollywood actor, director and film producer
	“The British Airways event last evening at the Four Seasons to highlight 100 glorious years of Indian Cinema was a fab experience!”
	MANDIRA BEDI – Indian actress, model and television presenter
	“Silent Picturehouse was an exciting and unique experience brought by British Airways. I was curious to know I would travel the world from my seat as the invite said but I must say I quite enjoyed it. Great experience.”
	MALAIKA ARORA KHAN – Bollywood actress, dancer, model, VJ and televsion presenter
	“I was quite curious about the concept of British Airways’ ‘Silent Picturehouse’ and how it would work. I really enjoyed the experience of indulging in British Airways’ hospitality whilst watching some of the biggest super hits of Bollywood. This is something we enjoy on our long-haul flights when we travel with British Airways. A unique cinematic experience to remember!”
	MINISSHA LAMBA – Bollywood actress
	“It was great to be a part of the 100 years celebratory event with British Airways tonight. I really enjoyed the whole experience. It was indeed one of a kind. My favorite destination is London and there really is no better way to get to the city other than flying British Airways.”
	ARJUN KAPOOR – Bollywood actor
	“I had a great time at British Airways Silent Picturehouse to commemorate 100 years of Indian Cinema. It was definitely a unique experience, something I have not experienced or seen anywhere before this. It’s important to keep your audience in mind while introducing initiatives for them and like Bollywood, British Airways does a great job of that. It’s fun to be here tonight.”
	 

#### BRITISH COMEDY SERIES “HAPLESS” ARRIVES EXCLUSIVELY IN NORTH AMERICA AND THE U.K. ON CHAIFLICKS
Fans of “Curb Your Enthusiasm” can now get their fix of dry sardonic humor, mixed with a bit of British flavor, as ChaiFlicks, the only global streaming platform showcasing high-quality films and series centered on Jewish stories and culture from around the world, adds the British sitcom “Hapless” to its mix. After a limited run on Peacock in the U.S., the series follows neurotic journalist Paul Green (Tim Downie, “The King’s Speech”) and his efforts to write exciting articles for the UK’s “fourth largest Jewish newspaper,” The Jewish Enquirer. Paul often finds himself in awkward situations, mostly of his own making, thanks to his tendency to relate to others without a filter. Episodes will drop on the platform every Wednesday, with the first two episodes available NOW on chaiflicks.com.
The series is written by the award-winning comedy film and TV writer and director, Gary Sinyor (“The Bachelor,” “Stiff Upper Lips,” “Leon the Pig Farmer”), who, much like Larry David, has created characters in the series that resemble different versions of himself. He states, “I couldn’t have done it any other way. I think probably in everything that I’ve ever made, [the characters] are all versions of me.”
Critics worldwide have praised “Hapless,” calling it a “…hilarious British comedy meant to test boundaries,” by Fandomwire and “…feels fresh and funny and vital,” from The Forward.  The Jewish Chronicle hailed “The six episodes whizzed by, each of the 17 times I’ve watched them…”
“Hapless” is a strong contender for the shiniest hidden gem in the streaming world.  Below is a synopsis of the six episodes in Season 1:
 
The Playing with Fire
Paul is doing a story on a flirty fireman when Nazi graffiti is daubed on a wall. Paul’s sister, Naomi, needs a hand with her son, Joshie’s 6th birthday party, and Paul tries to help. It could work out well were it not for a some 30-year-old car racing set, a helium balloon, and Paul’s best friend Simon’s sexual designs on Ruth, the mother of the child from hell.
 
The Juicer
Naomi tells Paul that her juicer/spiritualist has warned that it would be dangerous for their dad to go on his cruise.  Paul’s best friend Simon’s birthday party is coming up, and it’s a costume party. A Vicar needs help from the Jewish Enquirer, and Paul negotiates a positive story for an outfit for the party. But a misunderstanding outside the bathroom leaves Paul buying flavored condoms while dressed as an Imam at a gas station.
 
The Key Cutter & The Vegan
Paul’s new key doesn’t work. When the Key Cutter asks for his address for the replacement drop-off, Paul is worried. If he gives his address, and this guy has his key, he could rob his house. A run-in with a possibly anti-Semitic driver’s awareness course and an even more possibly anti-Semitic vegan add to the confusion.
 
Bad Hair Day
Paul has to take Joshie for a haircut. He’s also going green by testing out an electric car. Is hair recyclable, and where would Paul take it if it were? Was it a good idea to offer little person Mark a lift in a car with only one car seat?
 
Feathers & Foreskins
Simon’s sister has had a baby boy and asks Paul for help with finding a Mohel for the circumcision. Liam, the boy’s dad, is dead set against having his boy’s penis “trimmed.” Leaving the existential question: is sex better with or without? Paul wants to find out. And…how does a dumb young YouTube vlogger get so many hits?
 
The Old Suit
Paul insults one of Joshie’s teachers and Naomi wants him to apologize, but Paul is busy testing out a research suit that adds 20 years to your age. Ronnie, Paul’s dad, introduces Paul to an old Jewish man who is “LGBTQ+”. After a full day as an 80-year-old, today is the day Paul realizes he is probably a fattist, racist, transphobic, and sexist. Ronnie has an insightful answer that involves Helen Mirren.

#### BRITTANY RUNS A MARATHON – A Review by Cynthia Flores
 
BRITTANY RUNS A MARATHON – A Review by Cynthia Flores
This film seems like it has a straightforward but creative premise.  An overweight NYC twenty-nine-year-old party girl named Brittany (Jillian Bell) realizes her life is going nowhere and sets out to lose weight and train for the city’s famous annual marathon.  Cue laugh track and string of jokes and pratfalls about being a fat chick in a skinny world.  Well this is not that simple or trite a film.  Brittany Runs A Marathon is based on a true story.  So, there are real heartfelt situations and natural comedy that comes out of the problems she is facing.  This is the feature directorial debut of writer/director Paul Downs.  If this is his first time out of the gate I can’t wait to see what he does next.
I love the fact that as Brittany comes to grips with getting fit she starts to see who her true friends are.  She takes a hard look at her roommate and gal pal Gretchen (Alice Lee).  Gretchen is too wrapped up living her life online and getting followers to be supportive of Brittany’s efforts to change.  The fact that she ends up in a group that supports each other as they train for the marathon is a miracle in itself.  Brittany’s running partners are Catherine (Michaela Watkins) who is her neighbor, is fit and thin and seems to have it all and Seth (Micah Stock) a gay man with a kid who wants to be fit so he can pay with his child better.  None of them would have been friends if it were not for running.  Add the character of the city of New York to the mix and you have a hit.
Brittany Runs A Marathon is a brilliant, realistic, and funny heartbreak of a film.  Anyone that has struggled with weight can relate to this movie.  I give this film an A+ so walk or run to your local theater and enjoy.
 
Directed by Paul Downs Colaizzo
Written by Paul Downs Colaizzo
Rated R
Running Time 1hr 44min
Comedy / Drama
Wide Release Sept 6th
Starring: Jillian Bell, Utkarsh Ambudkar, Alice Lee, Michaela Watkins, Micah Stock, Lil Rel Howery
 
The Selig Rating Scale:
 
A – Excellent movie, well worth the price.
B – Good movie
C – OK movie
D – No need to rush. Save it for a rainy day.
F – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### BROADWAY DALLAS – MY FAIR LADY – Review by Gadi Elkon
An SMU grad helps highlight the tremendous talent on showcase by the MY FAIR LADY national tour.  The production is at BROADWAY DALLAS thru November 13th at Music Hall at Fair Park.  Here is my full review of  The Lincoln Center Theater production of  Lerner & Loewe’s MY FAIR LADY.

Director Bartlett Sher’s glowing production is “thrilling, glorious and better than it ever was” (New York Times).  “Every so often a revival comes along that reminds you how indispensable great theater can be” (NY1).
Boasting such classic songs as “I Could Have Danced All Night,” “The Rain in Spain,” “Wouldn’t It Be Loverly” and “On the Street Where You Live,” MY FAIR LADY tells the story of Eliza Doolittle, a young Cockney flower seller, and Henry Higgins, a linguistics professor who is determined to transform her into his idea of a “proper lady.”  But who is really being transformed?
Oklahoma State’s Madeline Powell as our Eliza Doolittle and SMU’s Jonathan Grunert as our Professor Henry Higgins bring a southern charm to this revival of the century old Brit tale of transformation.  My Fair Lady’s familiarity is deserved and the fluid pace in this production hold true to the classic feel of Shaw’s Pygmalion.  Along with Madeline and Jonathan are a tremendous cast that heightens the spectacular rags to riches flip that is showcased in this iconic production.  The pacing though is what stands out about the revival.  The amount of movement in and out of the numbers really keeps the action vivid, as we see London change like Eliza.  Even with that transformative element the vast wealth differences of the time are perfectly captured.  The underlining class struggle is a powerful element behind the whimsical nature of the plot.  You find yourself flowing nicely with the spectacle while still hoping for that ‘a ha’ moment.  The other standout element is of course the costumes and especially Doolittle’s dresses.
The production holds a classic feel and stands strongly important to today’s audience.  Unlike Oklahoma that was treated to a massive transformation with it’s revival recently, this production is more an homage.  The story structure allows for that familiarity but still pushes the boundaries.
Wouldn’t it be lovely to start your fall with a tale of transformation from the mind of George Benard Shaw?!?!?
The tour is at Broadway Dallas thru November 13th.  For more information, MY FAIR LADY.
 
 

#### BROADWAY DALLAS 2022 – Jesus Christ Superstar – Review by Gadi Elkon
To some baby Jesus is their favorite, to others its the swole carpenter Jesus and for a ton its Jesus up on a cross.  But for you folks loving Jesus with a guitar than Jesus Christ Superstar is your favorite savior.  Is the singing messiah worth your time?  Here is my full review of JESUS CHRIST SUPERSTAR at BROADAWAY DALLAS.

Jesus Christ Superstar is an iconic musical phenomenon with a world-wide fan base. In celebration of its 50th Anniversary, a new mesmerizing production comes to North America. Originally staged by London’s Regent’s Park Open Air Theatre and helmed by the acclaimed director Timothy Sheader (Crazy for You, Into the Woods) and award winning choreographer Drew McOnie (King Kong, Strictly Ballroom), this production won the 2017 Olivier Award for Best Musical Revival garnering unprecedented reviews and accolades. Appealing to both theater audiences and concert music fans, this production pays tribute to the historic 1971 Billboard Album of the Year while creating a modern, theatrical world that is uniquely fresh and inspiring. 
With music and lyrics by Emmy, Grammy, Oscar and Tony winners Andrew Lloyd Webber and Tim Rice, Jesus Christ Superstar is set against the backdrop of an extraordinary series of events during the final weeks in the life of Jesus Christ as seen through the eyes of Judas. Reflecting the rock roots that defined a generation, the legendary score includes ‘I Don’t Know How to Love Him’, ‘Gethsemane’ and ‘Superstar’.
Before the Christ lets give a shout out to Broadway Dallas.  Yup the organization formally known as Dallas Summer Musicals has pulled a Prince like change.  Instead of a cool symbol we are now going to watch our big touring musicals at BROADWAY DALLAS!!  So right out the gate your admission to this show not only gives you a rebranding but a resurrection.  Not exactly a Holy Trinity but 2 out of 3 ain’t bad.
The 50th Anniversary Tour of the beloved musical is in Big D through April 17th.  The 90-minute, without an intermission, production seems like the perfect choice as it is a raucous crowd pleasing story we’re all pretty familiar.  The plot is set up nicely in your Sunday school readings but basically is the final days of Jesus on the earth.  Even from the beginning we know our main villain character, a fella named Judas.  Omar Lopez-Cepero delivers a strong performance as the silver loving betrayer of G-d’s only forgotten son.  The drastic difference between Omar and Aaron LaVigne’s Jesus is a nice physical difference helping add to their falling out as besties.  
LaVigne’s quiet opening half of the production is totally transformed by the conclusion as his powerful singing and physicality are the real showcase of this production.  Not sure if his portrayal is up their with Jeff Fenholt  (Broadway) or Paul Nicholas (West End) original takes and certainly not Ted Neeley in Jewison’s film adaptation.  Nonetheless, Aaron really carries himself well throughout and his glitter-soaked body at the end has battled on for your worthy applause.  Alvin Crawford’s booming Caiaphas is a real stand out and owns his numbers.
The production of course fits in nicely with your early Easter fun and it’s pacing should keep the entire family entertained.  This production does have a lovely set with its wood cross structure really giving the cast a ton to work around.  I think the kids will be as giddy as I was when the lit up walking staffs popped up in a few numbers.  The staff game in this production is maybe its real secret weapon.  Whether its Caiaphas and his crew or the entire cast swinging their wooden lightsabers throughout Jerusalem you can’t help but smile.  Contrasting their grays and brown attire throughout these glowing orbs help fully illuminate the stage.
As Broadway Dallas looks to show off their new digs, even if the hall seems EXACTLY the same, it is fitting for a heaven sent production to kick off the rebranding.  1st year of the new name, 50th anniversary of Jesus Christ Superstar, 3 plus millennium worth of plot and all in 90 minutes of fun.  Sounds good for this Jewish reviewer.
Bob your head to the kick ass music too.  Thanks Andrew Lloyd Webber.
JESUS CHRIST SUPERSTAR runs through April 17th.
For all the information and much more check out BROADWAY DALLAS.
  
 

#### Broadway Dallas and Live Nation Announce Multi-Year Partnership
 
Broadway Dallas and Live Nation today announced a multi-year partnership to bring a wide-ranging, diverse programming line-up to the 3,400 seat Music Hall at Fair Park.
Since opening in 1925, the Music Hall has hosted thousands of events ranging from Broadway to concerts to comedy and speakers. Notable events include HAMILTON, THE PHANTOM OF THE OPERA, Dr. Martin Luther King, Liza Minnelli, Jerry Seinfeld, Dolly Parton, Dionne Warwick, Liberace and hundreds more.
“We are privileged to have the nearly 100-year-old Music Hall in our care,” said Ken Novice, president and CEO of Broadway Dallas. “While Broadway performances take up a significant portion of our calendar, there are dozens of weeks each year where the venue sits empty.  This new partnership with Live Nation will help ensure that the Music Hall is occupied as much as possible with diverse, world-class artists and that the legacy of this marvelous venue continues to grow.”
Already announced Live Nation shows at the Music Hall include K-POP sensations LOONA (August 25), Il Divo (August 27), The Australian Pink Floyd Show (August 28), The O’Jays + The Commodores (September 4), A Magical Cirque Christmas (November 19), zoe (December 9), Alton Brown (December 10) with many more to be announced soon.  Tickets available for purchase at www.ticketmaster.com or via www.BroadwayDallas.org.
“Our experience with shows at the Music Hall has been great,” said Anthony Nicolaidis, Live Nation’s Dallas Market President. “We love the historic atmosphere of the venue and being part of the resurgence of the entire Fair Park district. And the capacity offers a great option for artists to play. We look forward to formalizing our relationship.”
Recent successful Live Nation shows at the Music Hall include two sell-outs of comedian Hasan Minhaj, and German techno-pop icons Kraftwerk.
This new partnership has far-reaching economic impact for the community.
“The additional activity in the Music Hall results in more employment days for part-time event staff including ushers, ticket takers, security, concessions staff, parking personnel and our backstage productions crew,” added Novice. “And I know that the restaurants in the growing Exposition Park area directly across the street from us, and in Deep Ellum will benefit as well.”
The Music Hall joins a robust roster of venues with which Live Nation partners including:  The Pavilion at Toyota Music Factory, Dos Equis Pavilion, House of Blues Dallas and The Echo Lounge & Music Hall.

#### Broadway Dallas Announces 2023/2024 Germania Insurance Broadway Series
FUNNY GIRL
 
Broadway Dallas and Broadway Across America (BAA) today announced the full lineup of Broadway shows coming to Dallas for the 2023/2024 Germania Insurance Broadway Series presented by Broadway Dallas. The season includes four Dallas premieres and the return of audience favorites.
Season tickets are available now. Packages start at $230 and new patrons can visit BroadwayDallas.org or call 866-276-4884 (Monday-Friday: 10 a.m. – 5 p.m.) to subscribe. Subscriber benefits include access to the best seats for one low price, priority access to additional tickets before public on sale, option to enroll in interest and fee-free payment plans, and ticket exchange privileges.
“We’re thrilled to announce such a fantastic season, with four shows premiering at the Music Hall for the very first time and several crowd pleasers making their return. This season has something for everyone,” said Ken Novice, President and CEO of Broadway Dallas.
The 2023/2024 Germania Insurance Broadway Series launches in November with the multi-Tony Award®-winning new musical centered around the making of the 1992 Dangerous World Tour, MJ. The series continues with Cameron Mackintosh’s acclaimed production of Alain Boublil and Claude-Michel Schönberg’s Tony Award®-winning musical phenomenon LES MISÉRABLES; the inspiring journey of a woman who broke barriers and became the Queen of Rock n’ Roll, TINA – THE TINA TURNER MUSICAL; the Broadway smash-hit musical based on Tim Burton’s dearly beloved film, BEETLEJUICE; the Tony Award®-winning new musical featuring the songs of Bob Dylan, GIRL FROM THE NORTH COUNTRY; the Pulitzer Prize-winning story of America then, told by America now, HAMILTON; Broadway’s beloved Tony Award®-winning musical comedy phenomenon HAIRSPRAY; and the bittersweet comedy featuring one of the greatest musical scores of all time, FUNNY GIRL.
HAMILTON will be presented by Broadway Dallas at the Winspear Opera House as part of its on-going collaboration with the AT&T Performing Arts Center.
All current subscribers will be automatically renewed into the 2023/2024 season. Renewals will be processed on Tuesday, January 31, 2023.
Single tickets to individual shows will go on sale at a later date. Group pricing is available now for groups of 10 or more. Reserve by calling (214) 426-4768 or emailing Groups@BroadwayDallas.org.
Subscribers can make the most of their season with CenterStage. CenterStage members enjoy tailored benefits that enhance their experience each time they visit the theater – all while supporting artistic excellence at Broadway Dallas and helping to spread the spirit of Broadway to all corners of our community.
Broadway Dallas strives to impact the lives of children and families through community outreach and education. Broadway Dallas offers year-round performances for diverse audiences of all ages and provides a wide array of arts-driven, equitable programs, such as ConnecTix, Community Spotlight, 212° Connect, and Broadway Dallas’ annual High School Musical Theatre Awards, all of which have been uniquely created to help us share the spirit of Broadway and will continue in the 2023/2024 season.
 
MJ
November 21 – December 3, 2023 – Music Hall at Fair Park

LES MISÉRABLES
December 20 – 31, 2023 – Music Hall at Fair Park

TINA – THE TINA TURNER MUSICAL
January 23 – February 4, 2024 – Music Hall at Fair Park

BEETLEJUICE
February 20 – March 3, 2024 – Music Hall at Fair Park

GIRL FROM THE NORTH COUNTRY
April 9 – 21, 2024 – Music Hall at Fair Park

HAMILTON
May 8 – June 9, 2024 – Winspear Opera House

HAIRSPRAY
June 18 – 30, 2024 – Music Hall at Fair Park

FUNNY GIRL
August 6 – 18, 2024 – Music Hall at Fair Park
 

#### Broadway Dallas Announces 2024/2025 Broadway Series
COME FROM AWAY
 
Broadway Dallas and Broadway Across America (BAA) today announced the full lineup of Broadway shows coming to Dallas in the 2024/2025 Broadway Series presented by Broadway Dallas. The season includes four Dallas premieres and the return of audience favorites.
Season tickets are available now. 7-show packages start at $245 and new patrons can visit BroadwayDallas.org or call 866-276-4884 (Monday-Friday: 10 a.m. – 5 p.m.) to subscribe. Subscriber benefits include access to the best seats for one low price, priority access to additional tickets before public on sale, option to enroll in interest and fee-free payment plans, and ticket exchange privileges. All current subscribers will be automatically renewed into the 2024/2025 season and beyond risk free.
“Our fabulous 2024/2025 season is packed with brand new Broadway hits and the return of many classics and crowd favorites,” says Ken Novice, President and CEO of Broadway Dallas. “We’re so proud to bring this lineup to Dallas and we can’t wait to share it with all of you.”
The 2024/2025 Broadway Series launches in December with the Tony Award®–winning musical comedy SHUCKED. The  series   continues   with   the  high-flying musical that has been thrilling audiences of all ages for close to 70 years in a newly-imagined production, PETER PAN; the hilarious new musical that flips the script on the greatest love story ever told, & JULIET; the beloved, cinematic classic adapted for the stage, BACK TO THE FUTURE: THE MUSICAL; the smash hit musical based on the songs of ABBA, MAMMA MIA!; one of the most breathtaking and beloved productions ever to grace the stage, Disney’s THE LION KING; an epic story of perseverance and hope that speaks to every generation, LIFE OF PI; and THE WIZ returns “home” to stages across America in an all-new Broadway-bound tour, the first one in 40 years. In addition, the haunting and hopeful theatrical experience that grabs you and never lets go, HADESTOWN, and the remarkable true story of the small town in Newfoundland that opened their homes to 7,000 stranded travelers on 9/11, COME FROM AWAY will be offered as season options.
LIFE OF PI and COME FROM AWAY will be presented by Broadway Dallas at the Winspear Opera House as part of its on-going collaboration with the AT&T Performing Arts Center.
Single tickets to individual shows will go on sale at a later date. Group pricing is available now for groups of 10 or more. Reserve by calling (214) 426-4768 or emailing Groups@BroadwayDallas.org.
Subscribers can make the most of their season with CenterStage. CenterStage members enjoy tailored benefits that enhance their experience each time they visit the theater – all while supporting artistic excellence at Broadway Dallas and helping to spread the spirit of Broadway to all corners of our community.
Broadway Dallas strives to impact the lives of children and families through community outreach and education. Broadway Dallas offers year-round performances for diverse audiences of all ages and provides a wide array of arts-driven, equitable programs, such as ConnecTix, Community Spotlight, 212° Connect, and Broadway Dallas’ annual High School Musical Theatre Awards, all of which have been uniquely created to help us share the spirit of Broadway and will continue in the 2024/2025 season.
 
SHUCKED | December 3 – 15, 2024
Presented by Broadway Dallas at the Music Hall at Fair Park
 
SHUCKED is the Tony Award®–winning musical comedy The Wall Street Journal calls “flat out hilarious!” And nobody knows funny like economists. Featuring a book by Tony Award winner Robert Horn (Tootsie), a score by the Grammy® Award–winning songwriting team of Brandy Clark and Shane McAnally (Kacey Musgraves’ “Follow Your Arrow”) and directed by Tony Award winner Jack O’Brien (Hairspray), this corn-fed, corn-bred American musical is sure to satisfy your appetite for great musical theater.
 
 
PETER PAN | December 25, 2024 – January 5, 2025
Presented by Broadway Dallas at the Music Hall at Fair Park
 
This high-flying musical has been thrilling audiences of all ages for close to 70 years and is now being brought back to life in a new adaptation by celebrated playwright Larissa FastHorse, directed by Emmy Award winner Lonny Price and choreography by Lorin Latarro. The adventure begins when PETER PAN and his mischievous sidekick, Tinker Bell, visit the bedroom of the Darling children late one night. With a sprinkle of fairy dust and a few happy thoughts, the children are taken on a magical journey they will never forget. This extraordinary musical full of excitement and adventure features iconic and timeless songs including “I’m Flying,” “I Gotta Crow,” “I Won’t Grow Up” and “Neverland.” PETER PAN embraces the child in us all so go on a journey from the second star to the right and straight on ‘til morning – your entire family will be Hooked!
 
 
& JULIET | January 28 – February 9, 2025
Presented by Broadway Dallas at the Music Hall at Fair Park
 
Created by the Emmy®-winning writer from “Schitt’s Creek,” this hilarious new musical flips the script on the greatest love story ever told. & JULIET asks: what would happen next if Juliet didn’t end it all over Romeo? Get whisked away on a fabulous journey as she ditches her famous ending for a fresh beginning and a second chance at life and love—her way.
Juliet’s new story bursts to life through a playlist of pop anthems as iconic as her name, including “Since U Been Gone‚” “Roar,” “Baby One More Time,” “Larger Than Life‚” “That’s The Way It Is,“ and “Can’t Stop the Feeling!”—all from the genius songwriter/producer behind more #1 hits than any other artist this century. Break free of the balcony scene and get into this romantic comedy that proves there’s life after Romeo. The only thing tragic would be missing it.
 
 
BACK TO THE FUTURE: THE MUSICAL | March 18 – 30, 2025
Presented by Broadway Dallas at the Music Hall at Fair Park
 
Great Scott! BACK TO THE FUTURE, the beloved, cinematic classic is now a Broadway musical with its destination set for Dallas in 2025.
Winner of the 2022 Olivier Award for Best New Musical, four WhatsOnStage Awards, including Best New Musical, and the Broadway World Award for Best New Musical, BACK TO THE FUTURE: THE MUSICAL is adapted for the stage by the iconic film’s creators Bob Gale (Back to the Future trilogy) and Robert Zemeckis (Forrest Gump) and directed by the Tony Award®-winner John Rando with original music by multi-Grammy® winners Alan Silvestri (Avengers: Endgame) and Glen Ballard (Michael Jackson’s “Man in the Mirror”), alongside hit songs from the movie including “The Power of Love,” “Johnny B. Goode,” “Earth Angel,” and “Back in Time.”
When Marty McFly finds himself transported back to 1955 in a time machine built by the eccentric scientist Doc Brown, he accidentally changes the course of history. Now he’s in a race against time to fix the present, escape the past, and send himself… back to the future. When BACK TO THE FUTURE hits 88mph, it’ll change musical theatre history forever.
 
 
MAMMA MIA! | April 15 – 27, 2025
Presented by Broadway Dallas at the Music Hall at Fair Park
 
A mother. A daughter. 3 possible dads.
And a trip down the aisle you’ll never forget!
Set on a Greek island paradise where the sun always shines, a tale of love, friendship, and identity is beautifully told through the timeless hits of ABBA. On the eve of her wedding, a daughter’s quest to discover the father she’s never known brings three men from her mother’s past back to the island they last visited decades ago.
For nearly 25 years, people all around the world have fallen in love with the characters, the story, and the music that make MAMMA MIA! the ultimate feel-good show.
 
Disney’s THE LION KING | June 4 – July 3, 2025
Presented by Broadway Dallas at the Music Hall at Fair Park
(Make it an 8-show package)
 
More than 100 million people around the world have experienced the phenomenon of Disney’s THE LION KING, and now you can, too, when Dallas’ best-loved musical returns to the Music Hall at Fair Park.  Winner of six Tony Awards®, including Best Musical, this landmark musical event brings together one of the most imaginative creative teams on Broadway.  Tony Award®-winning director Julie Taymor brings to life a story filled with hope and adventure set against an amazing backdrop of stunning visuals.  THE LION KING also features some of Broadway’s most recognizable music, crafted by Tony Award®-winning artists Elton John and Tim Rice.  There is simply nothing else like THE LION KING.
 
 
LIFE OF PI | August 5 – 17, 2025
Presented by Broadway Dallas at the Winspear Opera House
 
A THEATRICAL EVENT UNLIKE ANYTHING ELSE!
Winner of three Tony Awards® and the Olivier Award for Best Play, the Broadway and West End sensation LIFE OF PI is “an exhilarating evening of theater” (The Wall Street Journal).
Based on the novel that sold more than 15 million copies and became a worldwide phenomenon, LIFE OF PI is an epic story of perseverance and hope that speaks to every generation and “gives new life to Broadway” (The Today Show).
After a shipwreck in the middle of the Pacific Ocean, a sixteen-year-old boy named Pi survives on a lifeboat with four companions— a hyena, a zebra, an orangutan and a Royal Bengal tiger.
Told with jaw-dropping visuals, world class puppetry and exquisite stagecraft, LIFE OF PI creates a breathtaking journey that will leave you filled with awe and joy.
 
 
THE WIZ | September 9 – 21, 2025
Presented by Broadway Dallas at the Music Hall at Fair Park
 
The Tony® Award-winning Best Musical that took the world by storm is back.
THE WIZ returns “home” to stages across America in an all-new Broadway-bound tour, the first one in 40 years.
This groundbreaking twist on The Wizard of Oz changed the face of Broadway – from its iconic score packed with soul, gospel, rock, and finger-snapping ‘70s funk to its stirring tale of Dorothy’s journey to find her place in a contemporary world. A dynamite infusion of ballet, jazz, and modern pop brings a whole new groove to easing on down the road.
Featuring a book by William F. Brown and a Tony Award-winning score by Charlie Smalls (and others), director Schele Williams (The Notebook, revival of Disney’s Aida), award-winning choreographer JaQuel Knight (Beyoncé’s “Single Ladies,” Black is King), additional material by Tony-nominated and Emmy-nominated writer and TV host Amber Ruffin (“The Amber Ruffin Show,” “Late Night With Seth Meyers”), Joseph Joubert (music supervision, orchestrations, & music arrangements), Allen René Louis (vocal arrangements, music arrangements), and Emmy Award®-winning music director and Grammy Award®-winning writer, Adam Blackstone (Dance Music Arranger), have conjured up an Oz unlike anything ever seen before. So everybody rejoice!
 
COME FROM AWAY | January 14 – 19, 2025
Presented by Broadway Dallas at the Winspear Opera House
(Season option)
 
Broadway’s COME FROM AWAY is a Best Musical winner all across North America!
This New York Times Critics’ Pick takes you into the heart of the remarkable true story of 7,000 stranded passengers and the small town in Newfoundland that welcomed them. Cultures clashed and nerves ran high, but uneasiness turned into trust, music soared into the night, and gratitude grew into enduring friendships.
Don’t miss this breathtaking musical written by Tony® nominees Irene Sankoff and David Hein, directed by Tony-winning Best Director, Christopher Ashley and musical staging by Tony-nominee Kelly Devine. The tour is directed by Daniel Goldstein with musical staging by Richard J. Hinds, based on the original Broadway direction and choreography.
Newsweek cheers, “It takes you to a place you never want to leave!”
On 9/11, the world stopped.
On 9/12, their stories moved us all.
 
 
HADESTOWN | February 25 – March 2, 2025
Presented by Broadway Dallas at the Music Hall at Fair Park
(Season option)
COME SEE HOW THE WORLD COULD BE.
Welcome to HADESTOWN, where a song can change your fate. Winner of eight 2019 Tony Awards® including Best Musical and the 2020 Grammy® Award for Best Musical Theater Album, this acclaimed new show from celebrated singer-songwriter Anaïs Mitchell and innovative director Rachel Chavkin (Natasha, Pierre & The Great Comet of 1812) is a love story for today… and always.
HADESTOWN intertwines two mythic tales — that of young dreamers Orpheus and Eurydice, and that of King Hades and his wife Persephone — as it invites you on a hell-raising journey to the underworld and back. Mitchell’s beguiling melodies and Chavkin’s poetic imagination pit industry against nature, doubt against faith, and fear against love. Performed by a vibrant ensemble of actors, dancers and singers, HADESTOWN is a haunting and hopeful theatrical experience that grabs you and never lets go.

#### Broadway Dallas Announces 2025/2026 Broadway Series
Broadway Dallas and Broadway Across America (BAA) today announced the full lineup of Broadway shows coming to Dallas in the 2025/2026 Broadway Series presented by Broadway Dallas. The season includes six Dallas premieres and the return of audience favorites.
Season tickets are available now. 7-show packages start at $270 and new patrons can visit BroadwayDallas.org or call (866) 276-4884 (Monday-Friday: 10 a.m. – 5 p.m.) to subscribe. Subscriber benefits include access to the best seats for one low price, priority access to additional tickets before public on sale, option to enroll in interest and fee-free payment plans, and ticket exchange privileges. All current subscribers will be automatically renewed into the 2025/2026 season and beyond risk free.
“Our 2025/2026 season is stacked with fantastic shows that are sure to please! With a mix of fresh new Broadway productions, classics, and family friendly shows, there’s something for everyone to enjoy,” says Ken Novice, President and CEO of Broadway Dallas. “We’re proud to deliver yet another wonderful season of Broadway to North Texas.”
The 2025/2026 Broadway Series launches in November with the winner of the 2024 Tony Award® for Best Musical, THE OUTSIDERS. The series continues with Disney’s 30th Anniversary production of BEAUTY AND THE BEAST; the Tony Award®–winning Best Musical about growing up and growing old, KIMBERLY AKIMBO; the Tony Award®-winning new musical that brings F. Scott Fitzgerald’s classic story and the Roaring Twenties to life on stage, THE GREAT GATSBY; the uplifting and exhilarating Neil Diamond musical memoir, A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL; the irresistible song and dance spectacular, SOME LIKE IT HOT; the triumphant return of Dallas’ most “popular” musical, WICKED; and the ultimate whodunit that will leave you dying of laughter and keep you guessing, CLUE. In addition, the electrifying global sensation, SIX will be offered as a season option.
KIMBERLY AKIMBO and CLUE will be presented by Broadway Dallas at the Winspear Opera House as part of its on-going collaboration with the AT&T Performing Arts Center.
Single tickets to individual shows will go on sale at a later date. Group pricing is available now for groups of 10 or more. Reserve by calling (214) 426-4768 or emailing Groups@BroadwayDallas.org.
Subscribers can make the most of their season with CenterStage. CenterStage members enjoy tailored benefits that enhance their experience each time they visit the theater – all while supporting artistic excellence at Broadway Dallas and helping to spread the spirit of Broadway to all corners of our community.
Broadway Dallas strives to impact the lives of children and families through community outreach and education. Broadway Dallas offers year-round performances for diverse audiences of all ages and provides a wide array of arts-driven, equitable programs, such as ConnecTix, Community Spotlight, Dallas ISD Day, and Broadway Dallas’ annual High School Musical Theatre Awards, all of which have been uniquely created to help us share the spirit of Broadway and will continue in the 2025/2026 season.
 
THE OUTSIDERS | November 4-16, 2025
Presented by Broadway Dallas at the Music Hall at Fair Park
 
The winner of the 2024 Tony Award® for Best Musical is THE OUTSIDERS.
 
Adapted from S.E. HINTON’s seminal novel and FRANCIS FORD COPPOLA’s iconic film, this thrilling new musical features a book by ADAM RAPP with JUSTIN LEVINE, music and lyrics by JAMESTOWN REVIVAL (Jonathan Clay & Zach Chance) and JUSTIN LEVINE, music supervision, orchestration, and arrangements by JUSTIN LEVINE, choreography by RICK KUPERMAN & JEFF KUPERMAN, and direction by Tony Award® winner DANYA TAYMOR. Entertainment Weekly says, “It has the power to inspire an entire generation.” 
 
In Tulsa, Oklahoma, 1967, Ponyboy Curtis, his best friend Johnny Cade and their Greaser family of ‘outsiders’ battle with their affluent rivals, the Socs. THE OUTSIDERS navigates the complexities of self-discovery as the Greasers dream about who they want to become in a world that may never accept them. With a dynamic original score, THE OUTSIDERS is a story of friendship, family, belonging…and the realization that there is still “lots of good in the world.”
 
 
Disney’s BEAUTY AND THE BEAST | December 16, 2025 – January 4, 2026
Presented by Broadway Dallas at the Music Hall at Fair Park
 
Be Our Guest at Disney’s 30th Anniversary production of BEAUTY AND THE BEAST, the breathtaking musical filled with the romance and grandeur audiences know and love.
 
This enchanting and timeless tale has been brought to life like never before, with spectacular new sets and dazzling costumes. The show boasts the Oscar®-winning and Tony Award®-nominated score, including the classic songs “Be Our Guest” and “Beauty and the Beast.”
 
Reuniting to create this new production are members of the original Tony Award®-winning artistic team, including composer Alan Menken, lyricist Tim Rice, book writer Linda Woolverton, with direction and choreography by Matt West, scenic design by Stanley A. Meyer, costume design by Ann Hould-Ward and lighting design by Natasha Katz. 
 
BEAUTY AND THE BEAST is the beloved musical that will fill your heart with joy and Disney magic.
 
 
KIMBERLY AKIMBO | January 6-18, 2026
Presented by Broadway Dallas at the Winspear Opera House
 
KIMBERLY AKIMBO is the winner of five 2023 Tony Awards including BEST MUSICAL!
 
A new musical about growing up and growing old (in no particular order), KIMBERLY AKIMBO is the winner of 5 Tony Awards including BEST MUSICAL. It features Tony Award-winning book and lyrics by David Lindsay-Abaire (Shrek), a Tony Award-winning score by Jeanine Tesori (Fun Home), choreography by Danny Mefford (Dear Evan Hansen) and direction by Tony-nominated director Jessica Stone (Water for Elephants).
 
Kimberly is about to turn 16 and recently moved with her family to a new town in suburban New Jersey. In this “howlingly funny heartbreaker of a show” (The New Yorker), Kim is forced to navigate family dysfunction, a rare genetic condition, her first crush … and possible felony charges. Ever the optimist, she is determined to find happiness against all odds and embark on a great adventure. 
 
 
THE GREAT GATSBY | February 17 – March 1, 2026
Presented by Broadway Dallas at the Music Hall at Fair Park
 
THE PARTY’S ROARING IN DALLAS!
 
THE GREAT GATSBY is a “Broadway extravaganza that explodes with life and energy” (Entertainment Weekly). Based on the classic American novel by F. Scott Fitzgerald, the Tony Award®-winning new musical is an unforgettable journey of love, wealth and tragedy that brings the Roaring Twenties to life on stage. 
 
Directed by Marc Bruni (Beautiful: The Carole King Musical), this story of extravagance and longing features choreography by Dominique Kelley (So You Think You Can Dance), a book by Kait Kerrigan (The Mad Ones) and a jazz- and pop-influenced original score by Jason Howland (Little Women) and Nathan Tysen (Paradise Square).
 
 
A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL | March 10-22, 2026
Presented by Broadway Dallas at the Music Hall at Fair Park
 
Created in collaboration with Neil Diamond himself, A BEAUTIFUL NOISE is the uplifting true story of how a kid from Brooklyn became a chart-busting, show-stopping American rock icon. With 120 million albums sold, a catalogue of classics like “America,” “Forever in Blue Jeans,” and “Sweet Caroline,” an induction into the Songwriters and Rock and Roll Halls of Fame, a Grammy® Lifetime Achievement Award, and sold-out concerts around the world that made him bigger than Elvis, Neil Diamond’s story was made to shine on Broadway-and head out on the road across America.
 
Like Jersey Boys and Beautiful: The Carole King Musical before it, A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL is an inspiring, exhilarating, energy-filled musical memoir, that tells the untold true story of how America’s greatest hitmaker became a star, set to the songs that defined his career.
 
 
SOME LIKE IT HOT | March 31 – April 12, 2026
Presented by Broadway Dallas at the Music Hall at Fair Park
 
Winner of 4 Tony Awards®, including Best Choreography and Best Costumes, and the Grammy Award® for Best Musical Theater Album, SOME LIKE IT HOT is “A Super-Sized, All-Out Song-And-Dance Spectacular!” – The New York Times
 
Set in Chicago when Prohibition has everyone thirsty for a little excitement, SOME LIKE IT HOT is the “glorious, big, high-kicking” (Associated Press) story of two musicians forced to flee the Windy City after witnessing a mob hit. With gangsters hot on their heels, they catch a cross-country train for the life-chasing, life-changing trip of a lifetime.
 
And what a trip it is! With its irresistible combination of heart and laughs, song and dance, SOME LIKE IT HOT won more theater awards than any show in its season, and was named Best Musical by the Drama Desk, The Drama League, and the Outer Critics Circle. No wonder Deadline calls it “a tap-dancing, razzle-dazzling embrace of everything you love about musical theater.”
 
 
WICKED | May 6 – June 14, 2026
Presented by Broadway Dallas at the Music Hall at Fair Park
(Make it an 8-show package)
 
The Original Broadway Blockbuster.
 
WICKED, Dallas’s most “popular” musical, flies back to Music Hall at Fair Park for a six-week engagement.
 
Immerse yourself in the wonderful Land of Oz, where there is a young woman, born with emerald-green skin—smart, fiery, misunderstood and possessing an extraordinary talent. When she meets a bubbly blonde who is exceptionally popular, their initial rivalry turns into the unlikeliest of friendships…until the world decides to call one good and the other one wicked.
 
From the first electrifying note to the final breathtaking moment, WICKED—the untold true story of the Witches of Oz—transfixes audiences with its wildly inventive story. “If every musical had the brains, heart and courage of WICKED, Broadway really would be a magical place” (Time Magazine).
 
 
CLUE | June 16-28, 2026
Presented by Broadway Dallas at the Winspear Opera House
 
A mansion. A murder. A mystery.
 
Murder and blackmail are on the menu when six mysterious guests assemble at Boddy Manor for a night they’ll never forget! Was it Mrs. Peacock in the study with the knife? Or was it Colonel Mustard in the library with the wrench? Based on the fan-favorite 1985 Paramount Pictures movie and inspired by the classic Hasbro board game, Clue is the ultimate whodunit that will leave you dying of laughter and keep you guessing until the final twist.
 
 
SIX | January 27 – February 1, 2026 
Presented by Broadway Dallas at the Music Hall at Fair Park
(Season option)
 
From Tudor Queens to Pop Icons, the SIX wives of Henry VIII take the microphone to remix five hundred years of historical heartbreak into a Euphoric Celebration of 21st century girl power! This new original musical is the global sensation that everyone is losing their head over!
 
SIX won 23 awards in the 2021/2022 Broadway season, including the Tony Award® for Best Original Score (Music and Lyrics) and the Outer Critics Circle Award for Best Musical. 
 
The New York Times says SIX “TOTALLY RULES!” (Critic’s Pick) and The Washington Post hails SIX as “Exactly the kind of energizing, inspirational illumination this town aches for!”
 
The SIX: LIVE ON OPENING NIGHT Broadway album debuted at Number 1 on the Billboard cast album charts and surpassed 6 million streams in its first month.

#### Broadway Dallas Announces THE BOOK OF MORMON As 2022-2023 Season Option
 
Broadway Dallas and Broadway Across America (BAA) have announced the National Tour of THE BOOK OF MORMON, winner of nine Tony Awards including Best Musical, will play a strictly limited one-week engagement from August 1, 2023 through August 6, 2023 at the Music Hall at Fair Park in Dallas.  The only way to guarantee seats at this time is to add THE BOOK OF MORMON as a Season Option when you subscribe to the 2022-2023 Germania Insurance Broadway Series presented by Broadway Dallas, on sale now. Single ticket information will be announced at a later date. Tickets are now available to groups.  Group orders of 10 or more may be placed by calling 214-426-4768 or emailing Groups@BroadwayDallas.org.
THE BOOK OF MORMON features book, music and lyrics by Trey Parker, Robert Lopez and Matt Stone. The Broadway production is directed by Parker and Casey Nicholaw, and choreographed by Nicholaw. Set design is by three-time Tony Award winner Scott Pask, costume design is by two-time Tony Award winner Ann Roth, lighting design is by five-time Tony Award winner Brian MacDevitt and sound design is by two-time Tony Award winner Brian Ronan. Orchestrations are by Tony Award winner Larry Hochman and two-time Tony Award winner Stephen Oremus. Music direction and vocal arrangements are by Oremus.
Since opening on March 24, 2011, THE BOOK OF MORMON has become one of the most successful shows in Broadway history, breaking the Eugene O’Neill Theatre house record more than 50 times. In addition to nine Tony Awards including Best Musical and the Grammy for Best Musical Theatre Album, THE BOOK OF MORMON won five Drama Desk Awards including Best Musical, the NY Drama Critics Circle Award for Best Musical, the Drama League Award for Best Musical and four Outer Critics Circle Awards including Best Musical.
The West End production opened in February 2013, winning four Olivier Awards including Best New Musical, and breaking the record for the highest single day of sales in West End history. The first-ever UK and European tour launched in Manchester in June 2019, winning ‘Best Theatre Show’ at the Manchester Evening News City Life Awards before touring throughout the UK and Europe
THE BOOK OF MORMON has been performed on three continents and has won over 30 international awards. The musical has smashed long-standing box office records in New York, London, Melbourne, Sydney and in cities across the U.S. and the world.
The Original Broadway Cast Recording for THE BOOK OF MORMON, winner of the 2011 Grammy Award for Best Musical Theater Album, is available on Ghostlight Records.
NETWORKS PRESENTATIONS (Producer) is an industry-leading producer of touring theatrical productions, committed to delivering quality entertainment to audiences worldwide for more than 25 years. www.networkstours.com

#### Broadway Dallas Hosts Spotlight Dinner Celebrating & JULIET
On Monday, February 3, Broadway Dallas patrons Catalina Gonzalez Jorba and Santiago Jorba transported guests back to Verona, Italy at their stunning Architectural Digest-featured home in Highland Park in celebration of the Broadway production & JULIET and its Dallas-native cast members, Rachel Simone Webb and Shelby Griswold, currently on stage at the Music Hall at Fair Park. Sixty attendees mixed, mingled, and delighted in the juxtaposition of antiques and vibrant hues throughout the home at this dinner, which is part of the Broadway Dallas Spotlight Dinner Series presented by PNC Bank. Now in its third year, the Spotlight Dinner Series is an exclusive, ticketed opportunity for patrons to dine in exceptional Dallas homes, themed to a current or upcoming Broadway production, and benefitting the organization’s ongoing artistic and education initiatives.
The evening began with a couture cocktail reception, featuring show-themed “Romeo” and “Juliet” drinks courtesy of Constellation Brands, as guests meandered through the glowing European ambiance of the exquisite home and outdoor space. Broadway Dallas President and CEO, Ken Novice welcomed guests then led a Q&A session with & JULIET cast members Rachel Simone Webb and Shelby Griswold. Webb, who graduated from Booker T. Washington High School for the Performing and Visual Arts currently stars in the titular role of “Juliet.” Following the Q&A, Griswold, & JULIET ensemble member and a 2016 Broadway Dallas High School Musical Theatre Award-winner, graced everyone with a moving performance of “That’s The Way It Is” from the production.
A contemporary, curated three-course Italian dinner catered by Art 2 Catering was served, featuring a wild mushroom and spinach ravioli with truffle cream, beef braciole with shaved asparagus and risotto alla milanese, finished with a chocolate tartlet with candied grapefruit peel and caramel gelati for dessert. HALL wines were poured throughout the evening as guests gathered at jewel-toned tables adorned with florals from Bottega de Flores. The evening concluded with an encore performance of “Jolene” by Griswold. In attendance were:  Helen and Brendan McGuire, Paul Waggoner and Kymberley Scalia, Gina and Pepe Hermosillo, Elizabeth and Mark Cannon, Lynn Fisher and Bobby Mahurin, Andrea Shurley, Casey Thompson, and more.
Tickets for Broadway Dallas’ upcoming Spotlight Dinner celebrating Disney’s THE LION KING will go on sale in March at $450 a seat. Proceeds allow Broadway Dallas to continue their proud 80-year legacy of presenting and promoting excellence in live musical theater at the historic Music Hall at Fair Park, and their multi-generational education and community outreach initiatives that serve more than 155,000 people in 100+ zip codes in collaboration with more than 100 partner organizations in North Texas.
On March 29, 2025, don’t miss the Broadway Dallas 2025 Gala featuring VIP tickets to a full performance of BACK TO THE FUTURE: THE MUSICAL, and a kickoff to the celebration of the 100th Anniversary of the Music Hall at Fair Park. For more info, visit https://broadwaydallas.org/shows/broadway-dallas-2025-gala/.

#### Broadway Dallas Raises Record-Breaking $1.1 Million at 2025 Gala
On Saturday, March 29, Gala Chairs John Quattrocchi and Joseph DeMartino, welcomed more than 380 Dallas leaders, philanthropists, and lovers of the arts to celebrate the magic of musical theater at Broadway Dallas’ 2025 Gala featuring a full performance of BACK TO THE FUTURE: THE MUSICAL, raising a record-breaking $1.1 million in support of Broadway Dallas’ education and community outreach programs.
Conceived by Mr. DeMartino in conjunction with Elisabeth Landry of Silver Lining Events + Co., the bodacious Broadway meets the 80s celebration at the Music Hall at Fair Park began with a cocktail reception in the DeLorean High West Lounge sponsored by High West Distillery, followed by a three-course chef-curated dinner menu created by FGF Catering and paired with HALL Wines.
The Music Hall’s Crystal Terrace dining room was transformed into a creative, modern version of the 1980s. Sophisticated neons, clean lines, scientific energy and the ‘Power of Love’ for Broadway made the space a spectacle to see with projections provided by Lightware Labs, and adorned by Bella Acento, Top Tier, Imperial Flooring, and Murray Media. Guests were treated to complimentary valet sponsored by Luminate, a private wealth advisory practice of Ameriprise Financial Services, LLC, and attendees shopped for one-of-a-kind trips, concert tickets, sporting events, dining experiences, and more in a silent auction sponsored by Break Away Tours.
During dinner, guests were treated to a performance of “The Power of Love” by Damson Chola Jr., deemed Best High School Actor in the Country at the national JIMMY Awards and winner of the Broadway Dallas 2024 National High School Musical Theatre Awards, and 25 students from Damson’s alma mater, Cleburn High School, who participate annually in Broadway Dallas’ High School Musical Theatre Awards (HSTMA). Then, paddles throughout the room began to rise in a thrilling live auction sponsored by The Rosewood Corporation.
“On behalf of Broadway Dallas, I want to express my deepest gratitude for the unwavering support of our donors, sponsors, and gala guests,” said Ken Novice, President and CEO of Broadway Dallas. “Our supporters play a vital role in our ability to achieve our vision and continue our mission to positively impact lives on stage, in classrooms, and throughout the community in our own unique way–with the spirit of Broadway.”
Champagne bubbles, sponsored by Julien X Peralta, filled the air as Gala attendees entered the theater for a nostalgic trip back in time with a performance of BACK TO THE FUTURE: THE MUSICAL, the beloved cinematic classic turned high-tech, special effects-filled Broadway musical spectacle. Following the performance guests headed to the Back to the Future-themed After Party, with the cast from the show joining in the festivities. The party featured signature cocktails courtesy of High West Whiskey and HALL Wines as guests danced the night away to beats by DJ Lucy Wrubel.
Guests in attendance included Lindsay Billingsley, Calvert Collins Bratton and Vince Bratton, Cindy and Charlie Feld, Pepe and Gina Hermosillo, Mabrie and Marshall Jackson, Cata Gonzales Jorba, Lynn Fisher and Bobby Mahurin, Brendan and Helen McGuire, Josey and Craig Kennington, Cynt and Kenneth Marshall, Michelle and Chris Mazzini, Brendan and Helen McGuire, Abraham Salum and Randy Katz, Robert and Mary Lucille Quick, Andrew and Sheri Rosen, Katie Robbins, Phil and Toni Sanders, Mazin and Katherine Sbati, Kymberley Scalia and Paul Waggoner, Diane and John Scovell, Jennifer and Derek Sprague, and Herb Weitzman.
In addition to the Gala Chairs, the 2025 Broadway Dallas DELORIAN table sponsors included Baker McKenzie, Mark & Elizabeth Cannon, Forvis Mazars, HALL Group, High West Distillery, The Massiatte Family, Michelle & Chris Mazzini, Kouy Kolar-Novice & Ken Novice, PNC Bank, Phil & Toni Sanders, and Randy & Laura Wright/Wright Family Foundation.
GREAT SCOTT table underwriters included Calvert Collins Bratton & Vince Bratton, Margot & Adam Carter, Richard & Janice Davis, Frost Bank, Haynes and Boone, LLP, H-E-B, Highlander Partners, L.P., Luminate, powered by Ameriprise Financial, Cecilia & John Morgan; Katie Morgan & Aaron Michelsohn, Gail Plummer and John Cattaneo, TeamIzzy Foundation, PwC, Sheri & Andrew Rosen, Jane & Chick Schoen, Micah & Natalie Smith, BSW The Voice Center, and Western Addition.
Gala proceeds support the nonprofit’s mission to spread the gift of Broadway to more than 60,000 students and their families each year, including 6,800 Dallas County students who this September who will experience a Broadway production at the Music Hall and STEM curriculum in their classrooms inspired by the show, and more than 5,000 students from 81 schools who participate in the Broadway Dallas High School Musical Theatre Awards.

#### Broadway Dallas Unveils Exhibit–SOUTH DALLAS STORIES: FAIR PARK UPROOTED
 
On the 60th Anniversary of Martin Luther King, Jr.’s visit to the Music Hall at Fair Park, Broadway Dallas is proud to announce the unveiling of its first public exhibition, South Dallas Stories: Fair Park Uprooted, commemorating the vibrant though problematic history of Fair Park/South Dallas and its community members. Centered on truth-telling and narrative change, the exhibit sheds light on the evolution of Fair Park/South Dallas and is intended to expose all who visit the Music Hall to the role that racism played in the development of the Fair Park/South Dallas neighborhood.
South Dallas Stories: Fair Park Uprooted is generously underwritten by The Addy Foundation.
Located inside the front lobby of the Music Hall at Fair Park, South Dallas Stories: Fair Park Uprooted features stories from some of the neighborhood’s most devoted residents, historical artifacts, and memorabilia. The exhibit is presented in a variety of media forms, and every six months elements of the exhibit will change resulting in a rotation of content for visitors to experience.
“As members of this community, we feel that it is important to acknowledge the past and honor our neighbors in a meaningful way,” says Ken Novice, president of Broadway Dallas. “This exhibition is a vital component of Broadway Dallas’ racial equity journey, and we are proud to use our platform to create this learning experience for all who visit the Music Hall. I’d like to thank and celebrate the many community members who participated with us in creating the Uprooted installation.”
South Dallas Stories: Fair Park Uprooted is free and open to the public from 9 a.m. to 5 p.m. on weekdays and during performances at the Music Hall at Fair Park.
Exhibit contributors include Daisha Art Gallery, Dallas Public Library, Forest Forward, FGIII Fine Art Productions, Soul Rep Theatre Company, Jodi Voice-Yellowfish, Lucy Cain, Dr. Marta M. Torres, Stuart Williams, and The Honorable Diane Ragsdale.

#### BROADWAY PRODUCERS TO BRING EASTER-THEMED FAMILY MUSICAL TO BIG SCREEN
 

	The producers of Matilda the Musical, La Cage aux Folles, and Sundance hits Mother of George and Blue Caprice are proud to present EASTER MYSTERIES, a modern reimagining of two medieval mystery plays that was performed at Hunter College last week and filmed for a theatrical release next March. The music, libretto and lyrics are by John O’Boyle, a Tony Award-winning Broadway producer, and the motion picture is directed by Danny Goldstein (Godspell, Tamar of The River) with Musical Arrangements and Music Direction by Milton Granger (Mary Poppins).

	EASTER MYSTERIES reinterprets iconic figures in human terms – ordinary people with hopes, dreams and fears, uncertain of what lies ahead. Using the universal themes of death and Resurrection and love vs. betrayal, the passion play moves through Jesus’ arrival in Jerusalem, the Last Supper, his arrest, Peter’s struggle with faith, and Jesus’ death, followed by the sightings of Jesus after his burial, Peter’s reconciliation of faith, and Jesus’ reappearance and Ascension. All begin a journey with certain expectations, only to find something very different from what they anticipated.

	“Entering into the mystery of the Passion is something millions of people try to do every Easter season,” explained O’Boyle. “Participating in that mystery with a fresh and compelling angle of vision—and in a cinematic setting—seems a worthy goal.”

	The array of leading lights that make up the cast includes Wallace Smith (Les Miserables, Rocky, Godspell) as Jesus, Tony Award nominee Phillip Boykin (Porgy and Bess, On the Town) as Caiaphas, Erin Davie (Side Show, Grey Gardens, Drood) as Mary, Kevin Early (A Tale of Two Cities, Thoroughly Modern Millie) as Peter, and Stephen Lee Anderson (Spiderman, Wicked, Fiddler on the Roof) as Herod. Aside from the classic biblical story, the show emphasizes faith in one’s own abilities and the power to overcome personal struggles.

	O’Boyle’s fellow producer, three-time Tony Award winner Ron Simons of New York-based SimonSays Entertainment (Gin Game, A Gentleman's Guide, Porgy and Bess), called the Hunter College performance and filming “a tribute to the power in believing in something bigger than oneself.”

	“The music is the wondrous connective tissue that brings this production to a remarkable level,” added director Goldstein. “Easter Mysteries is a great combination of humor, humanity and heartwarming family entertainment that offers modern day appeal to the greatest story ever told.”

	The filmed presentation of the rousing oratorio will take place in 22 cities across the U.S. in March of 2016. For more information visit online at www.facebook.com/EasterMysteriesFilm.

#### BROKEN LAND – Interview with Writer Director JT Walker and Actor David Morse
Writer/Director J.T. Walker and Actor David Morse spoke with our Gadi Elkon about the new feature film BROKEN LAND.

Carson Tidwell (David Morse) wants nothing more than to be left alone on his rural Texas ranch. When he accidentally shoots a pregnant migrant worker crossing his land, he feels compelled to protect her from his estranged Border Patrol agent son. As she recovers, a bond forms that ultimately heals them both.
Gadi started his conversation with JT and David by discussing this being Walker’s feature film debut.  Gadi asked David about his history of working with filmmakers on their feature debuts.  Both JT and David discussed Texas, car, hats, and crafting this moving drama.
Here is our interview with Filmmaker JT Walker and Actor David Morse.

The film is out digital this Friday June 12th.
For more info, BROKEN LAND.

#### BROOKLYN – Review By Gadi Elkon
BROOKLYN tells the story of Eilis Lacey (Saoirse Ronan), a young Irish immigrant navigating her way through 1950s Brooklyn. Lured by the promise of America, Eilis departs Ireland and the comfort of her mother’s home for the shores of New York City.  From Fox Searchlight Website.

	Click through for my full review.

	

	Jim Broadbent's character is one of the more prominent and important figures in the life of Eilis Lacey (Saoirse Ronan), but our moments with Broadbent's Father Flood are few and far between.  This element of lacking more moments of importance really make Brooklyn just a good film and not one of the year's best.  Saoirse Ronan is a complete fulfilled character and completely will pull you in, but it's the lack of completion in the rest of the cast that makes this film not hard hitting enough.

	Love is obviously the main emotion you are meant to feel in the story.  We do get cute adorable moments that lead up to Eilis falling for Emory Cohen's Tony.  But everything comes so easily and quickly.  Tony notices her, tony makes all the moves, tony does all the plotting of what to do.  Tony impacts the movement and pace of the story so much more than Eilis that you question why?  Are we not here to see a young girl become woman through the hardships of moving to a brand new world by herself.  Instead all of her movement revolves around Tony.  The love itself seems to fake and easy to be honest and real.  You question does this guy really win this particular girl, why is he so into her?  Now when an unexpected death pulls her back to Ireland, the really intriguing story begins.

	Her journey back to Ireland isn't just about her testing her love with this new beau in Domhnall Gleeson's Jim Farrell, but it's about the majestic nature of Ireland itself.  The visual touches by cinematographer Yves Belanger are the highlight of the film, next to the beauty of Saorise we get to see New York and Ireland in the 50's with all it's glory.  The film has all the right visual touches to make it look amazing.  The costumes, the recreation of the famous buildings, the cars and all of the 1950's feel are completely present and beautifully done.  The artistic design behind the film should garner much praise and potential awards.  One of the best looking films of the year.

	Another saving grace for the film is it's quirky sense of humor, especially showcased in the scene stealing performance of Mrs Kehoe by Julie Walters.  Honestly, Mrs. Kehoe's life story might have made for an amazing movie in its self.  Along with Broadbent's Father Flood we just don't get enough of Mrs Kehoe for her to be a truly impactful character.  We spend time with cheesy moments of learning to eat spaghetti rather than heartfelt exchanges with characters who have survived in the new world.  Brooklyn is a very unrealistic and honest portrayal of what it must have been like to completely uproot your life and start with nothing in a new scary world.  Eilis's journey is to easy and lacks real conflict to make it believable.  Even when she must decide between staying in Ireland with Jim Farrell or go back to Brooklyn to be with Tony, she makes the choice in one solitary moment of anger.  It was just hard to not think this is to sappy and cheesy to be hardhitting.

	In the end, Brooklyn is a solid step up in the right direction of Director John Crowley.  Overall though the story lacks true depth and has no real peril that seems strong enough to really effect our lovely lead actress.  There are great performances from Ronan, Gleeson, the veterans in Walters and Broadbent and even a really powerful go from Fiona Glascott who plays Eilis sister Rose.  The costumes, the production and art design along with the stellar cinematography really make the film look incredible.  A worthy film to see that has more heart than the blockbusters like Spectre or Hunger Games, but still not as important a film to see as Spotlight, Room or Truth are in comparison.

	For more information about Fox Searchlight's Broolyn please go, here.

	

	 

#### Brooklyn’s Greenpoint Film Festival 2023 Announces Film Lineup With Big Focus on Ukraine and Poland
 
Brooklyn’s Greenpoint Film Festival announced the film lineup for its 12th edition, which will return to indoors screenings for the first time in two years August 2-6. GFF will kick things off with an Opening Night “Echoes of Ukraine” theme featuring Elwira Niewiera and Piotr Roslowski’s documentary The Hamlet Syndrome. Saim Sadiq’s Joyland will be the Closing Night selection.
As it has for more than a decade, the film festival will be screening and celebrating truly independent films and filmmakers, a world away from the studios and (especially notable at this time) the AMPTP.
The film festival will include 48 films (10 features, 38 shorts), with screenings at The Boiler / ELM Foundation (191 N. 14th Street). Along with the Opening Night selection, this year’s lineup has strong representation from Poland, along with Greenpoint FF’s solid survey of stateside indie films. Film industry catering favorites Wilson Rivas Crafts will have a food truck on the premises providing food and concessions for film goers and attendees. The Boiler’s backyard will serve as the film festival’s film-centric community mixer epicenter – open to the public and serving food and beverages before everyone heads inside for that day or evening’s air-conditioned screenings.
Filmmakers and celebrity guests will participate in GFF’s green “red” carpet, and the Filmmaker Awards will be presented prior to the Closing Night screening. Short film award winners will receive a “Short to Feature Accelerator” prize by R2W2.
Greenpoint Film Festival Creative Director Ricardo Vilar, said, “We are thrilled to be returning indoors for this year’s edition of the film festival. We’re having fun when say we are “steaming” our films this year since we’ll be in The Boiler but our lineup definitely has a lot of heat with award winners, thought provoking subjects, exciting new talent, and more. For more than a decade, we have celebrated cinema here in North Brooklyn, and this year’s edition looks to be one of our strongest yet.”
The Opening Night presentation on Thursday, August 3 is themed “Echoes of Ukraine” featuring Elwira Niewiera and Piotr Roslowski’s The Hamlet Syndrome. The film looks at a group of young Ukrainian actors, each with psychological scars of the war in Donbas, who are cast in an experimental theatrical production of Hamlet. As they confront Hamlet’s famous “To be, or not to be” soliloquy, the actors process their own dilemmas, mere months prior to Russia’s 2022 full-scale invasion of their country. The screening will be preceded by Orr Bortman’s short documentary Lesyk a.k.a. Words of Wisdom which profiles Astoria’s Alexander Lesyk Balaban, a Ukraininan stamp collector who’s prized collection is part of the fight for the survival of Ukraine’s identity and history.
The Closing Night selection is Saim Sadiq’s feature film debut Joyland. The first Pakistani film to premiere at the Cannes Film Festival, where it won the Un Certain Regard Jury Prize as well as the Queer Palm. The film follows a man who takes a job as a backup dancer at a Bollywood-style burlesque. His infatuation with another performer, a dynamic and strong-willed trans woman leads to trouble and complications with his family and wife. The presentation will feature a special pre-recorded interview with Sadiq and cast members with Siddhant Adlakha following the screening.
Highlights among the other features include two films from Poland with kids at the center of their stories. Piotr Stasik’s Film For Aliens is about a boy given the task to make a film for aliens that will help save the world, and Ana Maria Kasperska’s Hela focuses on a teenage girl who makes up her mind to track down her recently adopted little sister and bring her back so they can be together.
On Wednesday, August 2, Michał Kwieciński’s Filip will be screened at a special invite only Greenpoint FF preview at the Polish Consulate. Based on Leopold Tyrmand’s autobiographical novel, the film is a gritty character study focused on a handsome young Polish Jew who escapes the Warsaw Ghetto and disguises himself as a French Gentile so he can work as a waiter in an exclusive hotel and restaurant in Frankfurt. He revels being in the center of luxury and romancing Aryan women – which is punishable by death. When the war begins to take a bloody toll on those closest to him, his intricately built alternate life and world starts to crumble.
Filmmaker-focused highlights include a special workshop, “How to Make a Documentary in One Day,” for young, aspiring filmmakers (21 years-old or less) and will be taught by Piotr Stasik (Director, Film For Aliens). The workshop will focus on ways the kids can tell stories via film. More information on the workshop is HERE (Google forms to apply).
Part and parcel of the Festival’s mission is to call for a green and eco-friendly future and with that in mind, the festival is teaming up with New York City’s largest soundstage company – Broadway Stages, who has made an unparalleled commitment to renewable energy by conveying solar power to their soundstages and productions. Similarly, all of the Greenpoint Film Festival’s venue dressings, provided by Universal Production Services are also eco-friendly, including a Step-and-Repeat made out of wood with replaceable logos instead of printing them and each year throwing out the prints.
To purchase passes and tickets and to find more information on the Greenpoint Film Festival, please visit:https://greenpointfilmfestival.org/.
 
2023 Greenpoint Film Festival Official Selections
PRIVATE POLISH CONSULATE PREVIEW
Filip
Director: Michał Kwieciński
Country: Poland; Running Time: 125 min
In 1943, a Polish Jew, who managed to escape from the Warsaw ghetto, is waiting restaurant tables in Frankfurt while pretending to be French and taking revenge on the Nazis in his own unique way.
OPENING NIGHT – ECHOES OF UKRAINE
The Hamlet Syndrome
Directors: Elwira Niewiera, Piotr Roslowski
Country: Poland; Running Time: 85 min
The Hamlet Syndrome is a powerful portrait of a vibrant young Ukrainian generation, the first one born after the collapse of the Soviet Union, shaped by the Maidan Revolution of 2013, empowered by political change and scarred by war.
Preceded by
Lesyk a.k.a. Words of Wisdom
Director: Orr Bortman
Country: USA; Running Time: 32 min
A moving portrait of Alexander Lesyk Balaban, an eccentric Ukraine stamp collector living in Astoria, NY for over fifty years. Told across four seasons and spanning over 1,000 years of history, come spend some time with Lesyk, who’s extensive stamp collection is part of the fight for the survival of Ukraine’s identity and history.
CLOSING NIGHT
Joyland
Director: Saim Sadiq
Country: Pakistan; Running Time: 127 min
The youngest son in a traditional Pakistani family takes a job as a backup dancer in a Bollywood-style burlesque and quickly becomes infatuated with the strong-willed trans woman who runs the show.
ADDITIONAL NARRATIVE FEATURES
Film For Aliens
Director: Piotr Stasik
Country: Poland; Running Time: 73 min
Fourteen-year-old Jeremi is a YouTuber. His father, a space agency employee, promised to show him the launch of a real rocket, but called it off at the very last minute. Instead, he sends the boy to his grandpa’s place in the countryside. To distract Jeremi from spending time on the Internet, his father comes up with a competition. Jeremi receives a package with a small robot that gives him tasks to complete. The boy is supposed to create a message for aliens in the form of a film, which will help to save the world. At first unhappy, Jeremi gradually makes friends with a group of local kids. Together, they make the film until the secret plan comes to light.
Hela
Director: Anna Maria Kasperska
Country: Poland; Running Time: 84 min
When teenage trouble maker orphan Hela learns that her 5 years old sister has been adopted, she decides to run away from the reformatory to find and kidnap her sibling.
Mechanical Bulls
Directors: Jake Schick, Joshua Laufer
Country: USA; Running Time: 62 min
Mechanical Bulls is the story of four wayward twenty-somethings reconnecting after years apart. Taking place over the course of one day, the once close-knit group attempt to confront their personal truths and unresolved issues with each other.
DOCUMENTARY FEATURES
The Artist and the Astronaut
Director: Bill Muench
Country: USA; Running Time: 100 min
The Artist & the Astronaut tells the unlikely love story between the artist Pat Musick, a civil rights activist, and the Apollo astronaut Jerry Carr as they participate in some of the most historic events in human history.
Into The Spotlight
Director: Thaddeus D. Matula
Country: USA; Running Time: 99 min
A heartfelt story of how a script, a stage, and a theater program composed of adults with disabilities celebrate their creativity, explore life’s complexities, and empower a community, in their own words and their own way.
Searching: Our Quest for Meaning in the Age of Science
Director: Geoff Haines-Stiles
Country: USA; Running Time: 100 min
Physicist and best-selling author Alan Lightman investigates how key findings of modern science help us find our bearings in the cosmos. What do these new discoveries tell us about ourselves, and how do we find meaning in them? Travel from the infinity of the small to the infinity of the large, meeting with the co-discoverer of one of the most distant galaxies yet known.
Stopping The Next Pandemics
Director: Xavier Deleu
Country: France; Running Time: 96 min
Stopping the next pandemic is a new challenge to the most prominent scientists. Their field studies around the world are showing that our health as humans depends on animal and environmental health. Diseases that occur in the remotest places are now our concern. We live in a connected world. We will have to preserve the environment to prevent future pandemics.
NARRATIVE SHORTS
A History of Sitting in Waiting Rooms
Director: Lorena Russi
Country: USA; Running Time: 9 min
A History of Sitting in Waiting Rooms is the coming of age story you never knew you wanted. Meet Lorenita: a rambunctious six-year-old with six cavities. One for each letter in her name no one can pronounce. Lorenita is a butch Latina fighting to find herself in the cacophony of Queens, NY in the 90s. With the help of her imaginary best friend, Boo, a civil war ghost, Lorenita will poorly navigate the drawn-out pains of puberty.
And Along Came Lily
Director: Danielle Hope Diamond
Country: USA; Running Time: 11 min
And Along Came Lily is an intimate story following a young woman’s journey to understanding the mythical orgasm. Media often portrays sex as all “sexy” “fun” and “adventurous”, but it rarely dives into how complicated and stressful trying to “find” pleasure in the bedroom is. Lily is a sheltered midwesterner struggling with what it means for her to have pleasure and with the help of her best friend Rachel, what that journey looks like.
Astonishing Little Feet
Director: Maegan Houang
Country: USA; Running Time: 9 min
Afong Moy, the first documented Chinese woman to come to the United States, realizes the men who separated her from her family only have interest in profiting off the peculiarities of her bound feet.
Bad Blood
Director: Caitlyn Johnson
Country: USA; Running Time: 11 min
On an Autumn Friday, 10-year-old Olivia receives her period for the first time. However, she shields the truth from her mother, Sharon, and her older sister, Andrea, in hopes of attending a sleepover at the family’s church. Blind to her young sister’s experience, Andrea continues to defy her mother’s wishes as she searches for freedom and her identity outside of their family unit. Unable to communicate as they wish they could, these two sisters find themselves navigating their coming-of-age stories as they try to overcome the guilt of their shame together.
Bowling 4 Eva
Director: Aelfie Oudghiri
Country: USA; Running Time: 14 min
A troubled teen girl spends her time trolling men online and bowling with her grandfather while becoming increasingly medicated by her psychiatrist.
The Confirmation (La Confirmation)
Director: Juan Pablo Daranas Molina
Country: USA; Running Time: 11 min
A tenacious biologist grapples with her beliefs when her ailing daughter turns to spiritual healing in search of a cure.
The Cookbook
Director: Pedro Chaves
Country: USA; Running Time: 22 min
After his father’s debilitating stroke, an estranged son returns home to Central New York where he’s torn between taking over his father’s Lebanese restaurant and carrying on family tradition or pursuing his own dream.
Daddy’s Night
Director: William Pinke
Country: USA; Running Time: 18 min
With Mommy out for the night, Daddy invites over Natalie. But when his daughter Betsy wakes up afraid of a monster, can Daddy put her back to bed in time to get in bed with Natalie?
The Ever Hours
Director: Ella Vance
Country: USA; Running Time: 8 min
In a dreamlike montage of tangible love, we follow three separate stories: Cleo and Noah, a mother and her young daughter, Elsie and Aaliyah, lovers, and Thomas and Kait, an elderly father and his daughter. We are touched by intimate moments of joy and peace in these love stories before transitioning to a lens of loss. The tone is not one of sadness but of hope as we transcend into an abstract interpretation of love as an ethereal and immortal energy that surrounds us even beyond death.
Forgive
Director: Brittany Reeon Lee
Country: USA; Running Time: 36 min
Five people from different walks of life are joined by an art therapist whose sister was a victim of sexual violence. Together, they embark on a session in order to alleviate their feelings of guilt and regret. The session unfolds with each participant candidly sharing their deeply-rooted guilt, shedding light on the personal burdens they’ve been carrying. As the session continues, the therapist’s ulterior motive is revealed, prompting all but one participant to leave.
Fundamental Shapes
Director: Colin Alistair Campbell
Country: USA; Running Time: 15 min
Jacob, an unemployed actor, stumbles into an unusual gig: nude figure model for a fine arts class. When his next-door neighbor turns up, he must find a way to keep his identity hidden, and their budding romance intact. A gentle romantic comedy about vulnerability, surprising coincidences, and the unexpected ways we find love.
Hangman
Director: Megan Brotherton
Country: USA; Running Time: 15 min
A recently widowed woman works through the complexities of grief with the help of friends, strangers and Tupperware.
Hot Tears
Director: Abigail Weinick
Country: USA; Running Time: 14 min
When a precocious eighth-grader develops a crush on her older sister’s 20-year-old boyfriend, the line between friendliness and flirtatiousness becomes blurred. Eve finds herself lost in his ambiguous nature. After a mutual attraction forms between the two, Eve has to face the consequences head-on.
Hush
Director: Xueni Yang
Country: Czech Republic; Running Time: 15 min
June, a standby dancer, is obsessed with dancing and wants to learn solo choreography with the lead dancer Lauren. However, as soon as she wins the opportunity from Lauren, she is distanced by the group. Thus, she decides to cancel her rehearsal schedule with Lauren and fixes her relationship with the others. When she thinks her life returns to normal, Lauren gets injured during the rehearsal for unclear reasons and has to quit the practice. Feeling guilty about Lauren’s injury, June wants to fill her position as the only person who learned her part to secure the coming show. However, she has to face the same isolation again when she does so.
Interview with Traveler #582
Director: Lisa Steindler, Jon Bernson
Country: USA; Running Time: 10 min
Drawing the power dynamics of a job interview out from behind closed doors, Traveler #582 takes aim at this absurd capitalist ritual and its many tropes.
Leaving Yellowstone
Director: Kayla Arend
Country: USA; Running Time: 23 min
What starts as a romantic trip in the wilderness, turns ugly as Tessa fights for her life in the winter of Yellowstone National Park. Tessa is excited to visit Yellowstone National Park with her new boyfriend, Mark. However, when they arrive, Mark changes, aggression and cruelty building as Tessa starts finding disturbing artifacts around his cabin. What begins as an idyllic winter weekend slowly becomes a nightmare as Tessa realizes she’s alone in the woods with a man she really doesn’t know at all.
Let My Grandpa into Heaven
Director: Lana Bolycheva
Country: USA; Running Time: 8 min
On the day of grandfather’s funeral, 6-year-old Lucas hears his father Patrick in a fit of anger says that the deceased grandpa should be burning in hell. Lucas decides to do everything to help his grandfather avoid hell. By the advice of the priesе Lucas is trying to engage his father into grandpa’s soul rescuing but his father refuses. Their conflict leads to the accident. Lucas faints and gets the opportunity to visit his grandfather who is stuck in space for unforgiven parent’s souls. Their Lucas acquires a new vampire friend who is happy to help the boy.
Lunchbox
Director: Anne Hu
Country: USA; Running Time: 16 min
When a Taiwanese American woman prepares lunches from her childhood, she struggles to forgive herself for pushing away her immigrant mother.
Made in Germany (OT: Zeitpunkt X)
Director: Simon Schneider
Country: Germany; Running Time: 25 min
A nearly finished construction site. The wiring is completed, the walls are painted, the final inspections are being done. The construction manager Thomas Zetzsche is proud of his achievement. The prestigious building he created is a modern dream come true. But suddenly that dream begins to crumble as more and more defects appear. Cables run into dead ends, the fire protection malfunctions and entire rooms go missing. Desperately Thomas is trying to fix the building until he finally accepts that the opening date has to be postponed. Now he must confront his own responsibility in this faulty system and draw the necessary.
Made in Heaven
Director: Yiqing Zhao
Country: USA; Running Time: 14 min
Serena, a closeted lesbian, accidentally finds her mother trying to reconnect with an old boyfriend. She sends her girlfriend to be her mom’s assistant, only to realize her secret can no longer stay hidden.
New Lives
Director: Joey Schweitzer
Country: USA; Running Time: 20 min
A psychological portrait of a Holocaust survivor navigating the trauma of her past with the pressures of assimilation, in 1950s Brooklyn.
No Other Gods But Me
Director: Alex Spott
Country: USA; Running Time: 7 min
In the midst of a sexual awakening, a religious teen finally musters up the courage to kiss her crush, but will lust send her straight to h-e-double-hockey-sticks?
Nora
Director: Caitlin Ferrell
Country: USA; Running Time: 10 min
Influenced by Henrik Ibsen’s “A Doll’s House”, Nora is confronted with her primal urges, when her husband is away on a business trip and she is left home confined to herself.
Powerful Stuff
Director: Justin Andrew Davis
Country: USA; Running Time: 17 min
Confronted by the inspiration for his most problematic character, an indie filmmaker fights to save his career at the premiere of his debut feature.
Repentance
Director: Sam Motamedi
Country: USA; Running Time: 9 min
After sharing online a video of herself dancing, a young Iranian woman is being pressured to apologize on public television.
Rest
Director: Micah Stathis
Country: USA; Running Time: 11 min
Iris, a recently sober alcoholic, is due in court tomorrow: rested and prepared. Unable to fall asleep, she battles the voices in her head and her own desire for a drink as the night stretches on, seemingly without end.
Smothered
Director: Heather Luscombe
Country: USA; Running Time: 10 min
Slim and Dani’s relationship has passed its expiration date, they ride their addiction of each other until it’s too late.
Starved
Director: Sydney Giacomazzi
Country: USA; Running Time: 9 min
A young man’s pet goldfish sits atop a dresser, observing its owner neglect his ambitions, relationship and livelihood in order to feed the only thing that matters: an opioid addiction.
Stay Don’t Go
Director: Brian Velsor
Country: USA; Running Time: 20 min
As the search for a missing teenage girl goes cold – Martha, a devoted volunteer, stumbles across a possible lead. When her warnings are met with indifference and exhaustion, Martha is forced to take matters into her own hands.
Sulam (Ladder)
Director: Noam Argov
Country: USA; Running Time: 11 min
When an immigrant teen must help her mother buy a ladder before a school exam, tensions of belonging in a new country bubble to the surface.
Till Eye Die
Director: Pimprenelle Rouyer
Country: USA; Running Time: 15 min
Isaac is a young painter who suffers from achromatopsia. Since birth, he only sees in black, white and shades of grey. His life changes overnight, when he takes a pill that will make him see in color.
Wild Geese Returning
Director: Ming Zhang
Country: USA; Running Time: 15 min
A blind painter who has never seen the sea is obsessed with painting it, hoping to capture its entirety—till the sea takes him.
DOCUMENTARY SHORTS
Achromatism
Director: Manal Fadlalla
Country: USA; Running Time: 5 min
My documentary is about the way black hijabis are represented in the media through dance. I plan to enlighten people’s knowledge on us black hijabis through a preformative and cinematic documentary.The media is extremely biased in who they want to present to the public and I find that unfair. We work just as hard as others so why is our talent pushed aside?
Breadwinners: Raina Kennedy
Directors: Emily Delaney, Courtney Schaefer
Country: USA; Running Time: 11 min
Breadwinners is a five-part mini docuseries that examines the complex relationship between New Yorkers and the people who feed them. By focusing on farmers, food distributors, and home cooks, the series explores access to sustenance, the power of land, and the magic of community. Episode 4 features Raina Kennedy – co-owner and sourcer for Brooklyn Packers, a co-op that makes food more accessible by distributing fresh produce throughout Brooklyn and Queens without the grocery store pricing.
Faith in Blackness: An Exploration of AfroLatine Spirituality
Director: Charles Reynoso
Country: USA; Running Time: 27 min
“How can the creator of the universe be smaller than me?” Black Latine people around the world practice a myriad of faith traditions. This short-form documentary explores dynamic identities of these AfroLatine people and their journey for a home, a faith in Blackness.
Feeling the Apocalypse
Director: Chen Sing Yap
Country: Canada; Running Time: 7 min
A psychotherapist struggling with climate anxiety explores what it means to live in a dying world.
Limbo
Director: Alex Ramsey
Country: USA; Running Time: 7 min
Edward, now 28, hasn’t seen his family since he crossed the US-Mexico border on foot 10 years ago. Trapped in the US by a maddening waiting game for citizenship, he grapples with the idea of leaving the life he built in New York behind forever in exchange for a long overdue homecoming. Will Edward reunite with his family or continue on in his self-imposed purgatory?

#### Brooklyn’s Greenpoint Film Festival 2023 Wraps Inspired Fest with Filmmaker Awards
Greenpoint Film Festival – Into The Spotlight Green Carpet 2023
 
Brooklyn’s Greenpoint Film Festival announced the winning films and filmmakers following the conclusion of its 12th edition. Piotr Stasik’s Film For Aliens was a two-time winner, taking home the Best Narrative Feature award as well as the festival’s Grand Jury Award. Thaddeus D. Matula’s Into The Spotlight won Best Documentary Feature.
The Greenpoint Film Festival also announced the films/filmmakers selected for their coveted R2W2 Accelerator and Mentorship Prizes. Maegan A. Houang won the GFF23 Short to Feature Accelerator Prize for her “audaciously original and promisingly groundbreaking work” in Astonishing Little Feet, and Alex Spott won the GFF23 Talent Mentorship Prize for the “clarity of vision and creativity” showcased in her film No Other Gods But Me. The Short to Feature Accelerator Prize consists of in-kind consultation services in development, financing, production to distribution that will lay the groundwork to propel the short film into the production of the feature film version of it, while the Talent Mentorship Prize consists of coaching the winning talent to help best position themselves in the market and to lay the groundwork for having a sustainable talent career.
Greenpoint Film Festival Creative Director Ricardo Vilar, said, “This was a wonderful edition of the film festival, highlighted by a coming together of filmmakers both local and as far away as Europe and Asia to share their films with us and connect with each other, here in North Brooklyn. It was exciting to hear audience members and their fellow filmmakers give feedback with conversations inspired by the thought provoking subjects and entertaining cinema they had just watched. Presenting these awards was a perfect way to wrap up a fantastic event celebrating truly independent film.”
Additional winners included Anne Hu’s Lunchbox (Best Narrative Short Film), Alex Ramsey’s Limbo (Best Documentary Short Film), and Chen Sing Yap’s Feeling The Apocalypse (Best Animation Film). Honorable mentions went to Lorena Russi’s A History of Sitting in Waiting Rooms, Manal Fadlala’s Achromatism, Sam Motamedi’s Repentance, Noam Argov’s Sulam, and Simon Schneider’s Zeitpunkt X.
Following a standing room only screening of Michał Kwieciński’s Filip at the Polish Consulate, the Greenpoint Film Festival presented four days of screenings, panels, and interactive presentations at The Boiler / ELM Foundation (191 N. 14th Street) which included interactive conversations with a computer-generated killer whale for audience members waiting to take their seats the next screening. The lineup has strong representation from Poland, as well as a respectful nod to Ukraine courtesy of the Opening Night presentation of Elwira Niewiera and Piotr Roslowski’s dramatic feature The Hamlet Syndrome and Orr Bortman’s short documentary Lesyk a.k.a. Words of Wisdom. Eventual award-winner Piotr Stasik headed a special workshop, “How to Make a Documentary in One Day,” for young, aspiring filmmakers (21 years-old or less), and the Closing Night presentation of Saim Sadiq’s Un Certain Regard Jury Prize winner Joyland concluded the festival with a special pre-recorded interview with Sadiq and cast members with Siddhant Adlakha following the screening.
This year the Greenpoint Film Festival also teamed up with New York City’s largest soundstage company – Broadway Stages, highlighting their commitment to renewable energy and eco-friendly production utilizing “green” venue dressings, including a Step-and-Repeat made of wood with replaceable logos.
To find more information on the Greenpoint Film Festival, please visit: https://greenpointfilmfestival.org/.
 
2023 Greenpoint Film Festival Filmmaker Awards
Grand Jury Award
Film For Aliens
Director: Piotr Stasik
Best Narrative Feature Film
Film For Aliens
Director: Piotr Stasik
Best Documentary Feature Film
Into The Spotlight
Director: Thaddeus D. Matula
R2W2 Short to Feature Accelerator Prize
Astonishing Little Feet
Director: Maegan A. Houang
R2W2 Talent Mentorship Prize
No Other Gods But Me
Director: Alex Spott
Best Narrative Short Film
Lunchbox
Director: Anne Hu
Best Documentary Short Film
Limbo
Director: Alex Ramsey
Best Animation Film
Feeling The Apocalypse
Director: Chen Sing Yap
Honorable Mentions
A History of Sitting in Waiting Rooms
Director: Lorena Russi
Achromatism
Director: Manal Fadlala
Repentance
Director: Sam Motamedi
Sulam
Director: Noam Argov
Zeitpunkt X
Director: Simon Schneider
 

#### Brooklyn’s Greenpoint Film Festival 2024 Announces Filmmaker Awards
Between Earth & Sky  
 
Brooklyn’s 13th Annual Greenpoint Film Festival announced the winning films and filmmakers following the conclusion of the most expansive and successful edition in the event’s history. Ewa Wikiel’sKRZYK: Losing Control took home the Best Narrative Feature award. Miwene, directed by a team consisting of Keith Heyward, Jennifer Berglund, Gange Anita Yeti Enomenga, and Obe Beatriz Nenquimo Nihua, won Best Documentary Feature.
Honorable mentions in the Narrative Features category included Marco Amenta’s Anna, and Flora Martinez’s Itzia, Tango & Cacao. Katie Dellamaggiore’s Small Town Universe was a Runner Up in the Documentary Feature category.
Greenpoint Film Festival Creative Director Ricardo Vilar, said, “This year’s edition of the film festival was by far the most ambitious and impactful edition we have presented here in North Brooklyn. From tripling our submissions to running 3 venues simultaneously with a program of 115 films screenings & 3 XR exhibits, to having sold over 1,000 tickets, our team truly outdid themselves. This year has set the vibes and tone we have been yearning for since the current team took the reins and we hope to continue expanding in the coming years, not just in numbers but in quality and fastidious care for filmmakers and their films.”
Winners in the Short Films section included Julia Elihu’s In the Garden of Tulips (Best Narrative Short Film) and Andrew Nadkarni’s Between Earth & Sky (Best Documentary Short Film). The Narrative Short Film Runner Up was Szymon Wackowski’s The Joy of Living, and Honorable Mentions went to Melvin Mak’s Lie With Me, Eva Matz’s I Don’t Want to Have to Be Loud, and Laurier Fourniau’s Vambora. The Documentary Short Film Runner Up was Vika Evdokimenko’s I Don’t Need Adult Conversation. Honorable Mentions went to Trisha Pickelhaupt’s Apples to Oranges, Lucy Morales Carlisle’s DelMar, and Andrés Salaberri Pueyo’s Sheep, Marriage, and Smuggling.
Executive Programmer and Film Curator of GPFF, Roy Wol said, “As the festival comes to a close, it’s incredibly fulfilling to see the impact these films have had on our audiences and the connections formed throughout the events. The awards reflect the outstanding talent and unique stories we had the honor of presenting, and our case study panels showcased some of the most unique projects and talents of the year. As programmers, we are driven by a passion for bringing the richness of international and under-told cinema to our local audiences and to the media executives seeking fresh talent.”
The 2024 Greenpoint Film Festival broke attendance records both online and in person. The festival’s PERSPECTIVES theme was celebrated by setting up and designing 3 warehouses at the ELM Foundation hub (191 N. 14th Street) into 2 screening rooms showcasing 108 films and an XR Gallery with 3 exhibits. Each venue was designed and named after a unique stance of differing perspectives: House of Motions, House of Stillness and House of the Observer. All venues were linked by a central outdoor area where networking between filmmakers, sponsors and neighbors took place while enjoying food and drinks supplied by various festival vendors. That location also served as the home for the film festival’s two Green Carpets backed by Greenpoint Film Festival’s distinctive carved step and repeat on Opening and Closing Night.
Once again, the film festival took care to pay homage to the cultural heritage of the neighborhood of Greenpoint which is inherently Polish. This year, that traditional focus was led by a special program of 7 feature length films presented at Film Noir (122 Meserole Avenue). Several Polish filmmakers traveled to Brooklyn from Poland for the occasion and added a vibrant presence, context, and passion for cinema to each of their post-screening Q&A sessions.
In addition to the increased audience attendance, the Greenpoint Film Festival enjoyed the attendance and participation of over 100 filmmakers and creative film teams from countries worldwide representing their films at the festival. From the U.S., those filmmakers came from California, Florida, Georgia, Connecticut, Vermont, and Alaska, and internationally, filmmakers came from Poland, Italy, Spain, France, Germany, Japan, and South Korea. Notable guests included Academy Award nominees Paul Giamatti, and Josh Seftel, and Tony Award winner Debra Monk. We hosted filmmakers in Brooklyn traveling stateside from California, Florida, Georgia, Connecticut, Vermont, and Alaska, and from outside U.S. filmmakers came from Poland, Italy, Spain, France, Germany, Japan, and South Korea.
To find more information on the Greenpoint Film Festival, please visit: https://greenpointfilmfestival.org/.
2024 Greenpoint Film Festival Filmmaker Awards
 
FEATURE FILMS
Best Narrative Feature Film
KRZYK: Losing Control
Director: Ewa Wikiel
 
Honorable Mentions
Anna 
Director: Marco Amenta
Itzia, Tango & Cacao   
Director: Flora Martinez
Best Documentary Feature Film
Miwene
Directors: Keith Heyward, Jennifer Berglund, Gange Anita Yeti Enomenga,
Obe Beatriz Nenquimo Nihua
Runner Up
Small Town Universe 
Director: Katie Dellamaggiore
SHORT FILMS
Best Narrative Short Film
In the Garden of Tulips  
Director: Julia Elihu
Runner Up 
The Joy of Living                                                                  
Director: Szymon Wackowski
Honorable Mentions
Lie With Me                                                                            
Director: Melvin Mak
I Don’t Want to Have to Be Loud                                        
Director: Eva Matz
Vambora
Director: Laurier Fourniau
Best Documentary Short Film
Between Earth & Sky  
Director: Andrew Nadkarni
Runner Up
I Don’t Need Adult Conversation                                        
Director: Vika Evdokimenko
Honorable Mentions
Apples to Oranges                                                               
Director: Trisha Pickelhaupt
DelMar  
Director: Lucy Morales Carlisle
Sheep, Marriage, and Smuggling                                       
Director: Andrés Salaberri Pueyo

#### BROS – A Review by Cynthia Flores
BROS – A Review by Cynthia Flores
This fall, Universal Pictures proudly presents the first romantic comedy from a major studio that, wait for it, stars and is co-written by an openly gay man, Billy Eichner. The film is about two gay men in New York who maybe, possibly, probably, stumble toward love. Maybe. They’re both very busy. 
Bros tells the story of Bobby Leiber (Billy Eichner). He is a cis-gendered white gay man who, by his forties, has a successful career in podcasting and is the head of a new museum about to open in NYC. It will be the first museum entirely about LGBTQ History. Working, or rather arguing with his museum board of bi-sexual, transgendered, lesbian, and nonbinary people. They are determined to raise the extra money needed to open the museum finally. 
Life is stressful, and Bobby is doing his thing when he meets the beautiful and out-of-his-league Aaron Shepard (Luke Macfarlane). He’s a lawyer who hates his job and blows off steam at the dance clubs where he hooks up with people for casual sex. In proper rom-com fashion, both men lock eyes across the crowded dance floor, and it’s on. 
As all rom-coms dictate, there will be swoon-worthy moments like someone running down a street towards the one they finally realize they care for. Mixed, of course, with heartfelt comedy about finding sex, love, and romance amidst the madness of the NYC dating scene. This film is just like every other romantic comedy ever made, except it’s about two dudes trying to figure it all out.
When asked why he greenlighted this project, executive producer Judd Apatow is quoted as saying: “When I produce movies like this, I try to tell people about writing from their heart. Telling the kind of story that forces them to dig deep into who they are and their experiences. I am a big fan of Billy Eichner, who did just that with this script. Making this a very honest and very funny movie about relationships. As we say, he went there, and he’s telling the truth. I think that is why audiences will connect with it.”  
Bros is not for everyone because of its frank and funny portrayal of Billy Eichner’s idea of the nonchalant sex scene in NYC in the gay community. Unlike most PG romcoms, the two people falling in love don’t just bounce into bed, and we see them both the following day with big smiles on their faces. Bros has an R rating for a reason. However, the sex scenes are not done to titillate but instead to move the storyline forward. And I did mention that they are cringe-worthy funny at times, right? 
I give Bros 4-stars. It’s not for anyone easily offended by “man on man on man” sex. Yes, I got the count right. But Bros is a funny and welcome part of the new rom-com landscape. 
 
Directed by: Nicholas Stoller
Written by: Billy Eichner, Nicholas Stoller
Rated: R
Selig Rating: 4 Stars
Running Time: 1hr 55min
Comedy/ Romantic
Release: In Theaters only on September 30th
Starring: Luke Macfarlane, Billy Eichner, Kristin Chenoweth, Debra Messing
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### Brotherhood – A Review by Gary Murray
BROTHERHOOD
By Gary Murray 
Starring Jon Foster, Lou Taylor Pucci, Arlen Escarpeta and Trevor Morgan 
Written and directed by Will Cannon 
Running time 81 min
MPAA Rating R
Selig Film Rating FULL PRICE
I give local independent films a different scale than the big budget blockbusters that Hollywood churns out. Where the professionals in La La Land have all the resources and wherewithal to have just about anything put on the screen, the local guys have to use their ingenuity and a bit of good luck to get a film finished, much make it a watchable experience. That said, Brotherhood is the best film I have seen so far in 2011.
The story is of a college frat prank that goes horribly wrong. Frank (Jon Foster) is the Alpha Male dog of the frat house who is almost gleeful in his torture of the pledge class. He and the upper-classmen are taking the new guys around in a van and making them go inside and rob a corner store for $19.10, the year Sigma Zeta Chi fraternity was formed. It is just a set-up and a frat member is inside, letting the pledge know it was just a little trick. 
Unfortunately Frank goes to the wrong store and sends Kevin (Lou Taylor Pucci) into the store where there is no brother, just a night-shift clerk. The guy behind the counter is Mike (Arlen Escarpeta). A gun battle ensues where Kevin is shot. They run back to the house.
Pledge member Adam (Trevor Morgan) wants to take the wounded Kevin to the hospital. Frank wants to do everything to protect the fraternity. Some members go back to the little store to get the security tapes while other frat boys try to find a doctor who will look at Kevin and keep his mouth shut. Since this is during Hell Week, other elements of humiliation begin to compound the situation. Every time the brothers of the fraternity have everything plugged up, another opening starts the boat sinking again.
Writer/Director Will Cannon puts his stamp on the world with Brotherhood. Using just about every trick in the film-makers handbook, he crafts a web of action with tension to spare. He adds complication upon complication to the night of Sigma Zeta Chi to an almost comical effect but it works to keep the flow of the picture. He never drops into a lower gear as he propels his cast down this dark road. It is just brilliant craftsmanship. When he throws the final volley of his screenplay at the audience it is as unexpected as it is logical. 
The other element that makes Brotherhood work is the casting. Jon Foster is such a smarmy self-centered frat boy one would have expected him to be fighting the Delta House a few decades ago. His ‘do everything not to get in trouble’ mantra is basically his undoing. One knows that he is going to get his comeuppance, just not the when and where. 
Trevor Morgan does a stand-out job as the voice of reason in this reasonless world. He sees the errors of what his fellow brothers are doing but is almost totally helpless in correcting this sinking ship. 
Brotherhood is just a film that shouldn’t be missed. It takes the audience on a wild ride of bad choices that never lets up until the very last moment. A roller coaster of emotions, it will keep you guessing until the next wild turn. The best way to describe it is a black comedy full of action and suspense, a true thriller.

#### BTS ARMY: FOREVER WE ARE YOUNG – A Review by Cynthia Flores
This new documentary is the feature film debut for Patty Ahn, while co-director Grace Lee has directed several other feature-length documentaries, including American Revolutionary: The Evolution of Grace Lee Boggs, Makers: Women in Politics, and Off the Menu: Asian America. They are in the entertainment business as producers and writers. Together, they are part of the BTS ARMY and have given us a fun celebration of the amazing rise of global K-pop supergroup BTS. The coolest part of the film is that it is told entirely through the eyes of the singing group’s devoted fanbase, known as ARMY (an acronym for Adorable Representative M.C. for Youth, currently at 90 million and growing globally). 
Most music documentaries would follow the group around, and do a lot of behind-the-scenes footage and interviews with the band, which consists of lead vocalist Jungkook, vocals V, vocalist Jimin, lead rapper Suga, Jin, and main rapper RM. Instead, this film opens with sweet and interesting interviews with members of the ARMY from all over the world. These interviews, which are some of the most personal, do a great job of spotlighting the special bond shared and the passion that these ARMY people have for this singing group.
BTS ARMY fans really are everywhere and in countries that would totally surprise you. The band is a global household name because of the fan base that defies the stereotypes of teeny-bopper fans. ARMY is an intergenerational and socially savvy group of people. It is a group of people who have only one thing in common, and that is the positive and great-sounding music of BTS. This gives them a sense of belonging and identity. Also, ARMY as a group understands logistics and how to best use the power of their fan base to get things done. These fans have been organizing since 2013 to help BTS dominate the charts.
I give BTS ARMY: Forever We Are Young 4 stars. It’s a well-done documentary that helps explain why the band’s fans are so devoted. I am sure they will see it in theaters before it is released for streaming, so they can enjoy the loving treatment their band and their movement were given. MADE BY ARMY FOR ARMY.
 
Directed by: Grace Lee, Patty Ahn
Rated: NR
Running Time: 1 hr 31 min
Documentary/ Music
Release: In Theaters July 30th
Starring: BTS, ARMY
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### BTS ARMY: FOREVER WE ARE YOUNG – A Review by Jenn Rohm
K-Pop fandoms have been growing in population around the world, and with over 90 million fans and growing, the Army (“Adorable Representative M.C. for Youth) is the largest.  The band these fans adore is BTS (Bangtan Sonyeondan: translates to Bulletproof Boy Scouts).  Which happens to be one of the few K-Pop bands I know the name of.  This is due to news coverage, such as their contribution to the Black Lives Matter movement, and when each member fulfilled their military obligation. 
Directors Patty Ahn and Grace Lee have created a documentary that offers some of the history of the band, with a greater focus on the fans.  These two ladies happen to be Army members themselves, and their adoration of the band and the bonds with other fans are evident.  The variety of people and the multiple countries represented speaks to the wide reach of the ‘being true to yourself’ messaging in many BTS songs.
The pacing of the documentary is well done, and I did not check the time once while watching.  This felt like a digital scrapbook, providing enough information for someone unfamiliar with the K-Pop movement to gain an understanding of the genre, while also allowing members of the Army to feel the love and appreciation for their participation.  There is also an underlying message that suggests that when enough people come together and utilize the technology available to them, change will occur.    
The showings in the theater should be filled with Army members and those who want to understand what being a member of Army means to their loved ones.
 
Director: Patty Ahn, Grace Lee  
Selig Rating: 3 stars
Runtime: 1h 30m
Release Date: July 30, 2025
Genre(s): Documentary, Music
Movie Site: BTS Army: Forever We are Young website
Trailer: BTS Army: Forever We are Young trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### Buffalo 8 Acquires Juice Groove Films’ Documentary BLIND EYE ARTIST
 
Buffalo 8 has acquired Worldwide rights to Juice Groove Films’ documentary Blind Eye Artist, about the inspirational life story and unique visual style of art sensation Justin Wadlington. Following the film’s run on the regional film festival circuit, Blind Eye Artist, directed by Ashwin Chaudhary and produced by Jonathan Korn, is set release on major streaming platforms including Amazon, Vudu, and others on October 6.
The feature film debut by the filmmaking team of Chaudhary and Korn, Blind Eye Artist focuses on Wadlington, his creative approach and inspiration acrylic painting, and the path his life took following a tragic accident that left him blind in one eye at the age of 5. Growing up without parents in the inner city of Philadelphia, which amounted to a constant struggle to survive in emergency shelters and group homes, he re-discovered his childhood passion for art while in the break room at his day job as a young man, eventually building a new identity for himself as the Blind Eye Artist.
Today, Justin’s artwork has reached the upper tiers of the art world with numerous famous and influential people (including Shaquille O’Neal, Kevin Hart, and Brooke Shields) among his fans and clients. Now as an established artist, Justin seeks to inspire kids who from all backgrounds to believe that they can do anything they put their mind to.
Chaudhary and Korn said, with “Blind Eye Artist, we felt a great responsibility to share Justin’s story and introduce this very special person and truly unique artistic vision to the world. We are thrilled that Buffalo 8 saw what we saw as filmmakers and was inspired by the film and decided to champion it. We look forward to the film gaining a wide audience thanks to Buffalo 8 and maybe being a source of inspiration for children and others that could use a guiding force like Justin, and example of what they can achieve despite a myriad of challenges as exemplified by his life.”
“We are thrilled to bring Justin Wadlington’s extraordinary story to global audiences,” stated Buffalo 8’s Head of Distribution, Nikki Stier Justice. “This documentary is a powerful testament to the resilience of the human spirit and the transformative power of art.”
The deal was negotiated by Nikki Stier Justice on behalf of Buffalo 8 and Juice Groove Films’ Jonathan Korn and Ashwin Chaudhary.

#### BULL
BULL

	By Gary Murray

	Starring Ian Ferguson, Alex Ross, Jeremy Schwartz and Natalie Young

	Written by Mike Bartlett

	Directed by Christine Vela

	Running time 55 min

	Selig Rating FULL PRICE

	 

	Imagine The Office, not the American version but the original British version.  Take out the silly and add in the vitriol.  That is the play Bull, a savage bit of workplace intrigue.

	On a dangerous, snowy night thirty some-odd patrons braved the miserable weather to attend this new play by Mike Bartlett.  Bull is directed by Christine Vela and is part of the Elevator Project at the AT&T Performing Arts Center.  It is performed at the Wyle Trheatre-6th Floor from February 26th to March 14th.  

	The stage is almost in the round, with minimal sets of a few modern curved benches and lighting suggesting the waiting room of a new office. 

	Before the play starts, the audience is bombarded with nihilistic punk music, cutting and chopping into the airwaves.  The play takes place in England and everyone takes on an English accent.

	Thomas (Ian Ferguson) enters.  He is the type of office drone that is in every office, someone who has little personality outside the confines of work.

	There is a big presentation and Thomas needs support.  Eventually both Tony (Alex Ross) and Isobel (Natalie Young) enter.  Both mock the choice of suit by Thomas.  It is the beginning of his work downfall.

	Both see weakness in Thomas and both attack him, verbally like bullies.  They use paranoia like a weapon.  Touching is more like an animal tasting its prey before devouring it. 

	Bull is two strong willed against one weaker willed individual.  The two pursue like hyenas around a weakened prey.  Eventually the boss Carter (Jeremy Schwartz) appears.  He is the lion in this scenario, taking his own verbal pound of flesh. 

	All in all, Bull is about the jungle that is the modern workplace and how it takes being strong to survive.  It is also a fascinating study on modern man in a modern setting and how we have seldom changed from our animal ancestors.

	Ian Ferguson comes across as a David Brent from the British Office and the Joker from The Dark Knight.  He smirks and smiles with a charm that befriends his intentions to harm.  There is a manic glee in his eyes when he delivers cutting lines.

	Natalie Young is a viper on the floor boards.  Her attack is meticulous, taking apart Thomas piece by piece.   It almost feels as if she is doing him a favor by berating the man.  In a sense, she is being cruel to be kind. 

	Jeremy Schwartz roars on the stage and commands every moment he is on the center.  He has the smallest role but makes the most of it with an authoritative presence. 

	Ian Ferguson is our every man.  He is the weak superego in this Sigmund Freud analysis of work as a structural model of the psyche.  In the end, we cannot root for him but pity his lack of ego or id. 

	The play is directed by Christine Vela.  During this short work, she puts her actors through an emotion rollercoaster, never letting up on the affecting twists and turns.   One can understand why the play is so short; the audience could not take two hours of a work of this nature. 

	Since the play is so short, after the work the entire cast come on stage and talks to the audience.  There is a discussion of how the audience reacted to each cast member and how each cast member prepared for their roles.  They fill in the blanks of both the production and the process.  It is almost like the commentary track on a DVD but where the audience can become a part of the conversation.

	Kudos have to go to Lighting Designer Aaron Johansen and Artistic Director Alex Organ.  They take a minimal amount of props and light to create an entire world.  The suggestion of a larger existence give the play a common feel. 

	Bull is not a play for everyone and some may find the entire exercise unsettling.  I found the work intriguing and a bit disquieting at the same time.  This is a play that will stay with the audience for a long time and raise much late night discussions from those who experience it.  This, in the end, is the point of art.  

#### BULLET PROOF – Interview with Director & Star James Clayton
Director and Actor James Clayton talked with our Gadi Elkon about everything, BULLET PROOF.

Vinnie Jones (Snatch) plays Temple, a sadistic mob boss, in this gritty, white-knuckle action ride. After stealing millions in cash from Temple’s drug-dealing hideout, the Thief finds a stowaway in his getaway car – Temple’s pregnant wife, Mia! Desperate to reclaim his cash – and his unborn son – Temple sends out a squad of hit men and bounty hunters to bring in Mia and the Thief. Speed, cleverness, and good aim give the duo a brief advantage, but how long will their luck hold out? 
James and Gadi talked about the unique location finds for the film, the great cast, the awesome stunt/fight/car sequences, and much more!
Interview with Director and Lead Actor James Clayton.

Available in Select Theaters, On Digital, and On Demand August 19th!
For more info, BULLET PROOF.

#### BULLET TO THE HEAD
BULLET TO THE HEAD

	 

	By Gary “Slug to the Derriere” Murray

	Starring Sylvester Stallone, Jason Momoa and Christian Slater

	Written by Alessandro Camon and based on the graphic novel by Alexis Nolent

	Directed by Walter Hill

	Running time 91 min

	MPAA Rating R

	Selig Film Rating Matinee

	 

	One forgets that Sylvester Stallone wrote Rocky, the Academy Award winning film.  He is best known for grunting and mumbling his way through a series of action-adventure films in the 1980s and 1990s.  His resume includes flicks such as Cliffhanger, Judge Dredd and Demolition Man.  It escapes most movie fans that he has shown some wider range in Assassins, Cop Land and Oscar. 

	Lately, he has taken on smaller roles and ensemble works.  His turn in The Expendables franchise still proves that the man has some box office clout.  His latest step back into action-hero superstardom is the very brutal Bullet to the Head.

	The film starts with a voice-over and the first of several killings.  We soon find out that Sly is James Bonorno, a low-level hit man in Baton Rouge, LA.  He and his partner have finished a job and are waiting to get paid.  The work they perform is not pretty or nice but it is a way to make money.

	At the seedy Cajun bar, the men are attacked and James barely escapes.  Very soon he realizes that he was set-up by the contract issuer and his life is in jeopardy.  He lost his partner, has not been paid and is very upset about both developments.

	Added into the mix is Taylor Kwon (Sung Kang).  He is a by-the-book cop on an investigation to figure out how a series of murders in another city are connected to Baton Rouge.  The local cops are not interested and not willing to help.  Very soon Kwon and Bonorno meet. 

	Each has something the other wants and both eventually want the same thing—justice.  It is just that Kwon wants legal justice and Bonorno wants street justice.  Both men do not trust the other and both know that an evitable confrontation between them will eventually happen.  They just have to work together, for now.

	The two men follow the clues of the deaths, a trail of blood that leads to a crooked lawyer (Christian Slater) and a crooked deal straight out of Broken City.  The plot of the film feels more than a bit derivative than original.  But the endpoint of the film is just a frame to hand action on.

	With a title like Bullet to the Head, one should know what you are getting into and the film delivers on that level.   This is a very violent film, not meant for children or the squeamish.  This is a vicious action thriller with loads of dead bodies and flying plasma.  Though there are not the scores of bodies that permeate a Rambo flick, the dead do pile up eventually.

	Walter Hill was the director the great cult classic Streets of Fire as well as such hits as The Warriors, Another 48 Hrs and Red Heat.   Here he shows off his skill set as an action director plus a few tricks he has picked-up by watching others in his producer role.  Walter Hill keeps up a brisk pace as he pushes from scene to scene.   He knows that he is not making art but delivering a product to the masses.

	Even as a senior citizen, Sly Stallone still cuts an impressive figure.  He looks the part of the buff and brazen action star and has not aged like some of his fellow elder statesmen of action cinema.  With his tight shirt showing tones muscles, it is as if Sly has beaten the aging process and will live, young and strong, forever.  It must be massive amounts of testosterone.

	January has seen The Last Stand and now with Bullet to the Head.   It feels as if the 1980s are back.  That may or may not be a good thing.  Many films of that decade were just terrible, full of over-acting and joking asides.  While this is not a great film, it is a decent diversion, not much more. 

	 

#### BULLETS OVER BROADWAY – INTERVIEW W/ ANDREW HENDRICK
"Based on the screenplay of the acclaimed 1994 film by Woody Allen and Douglas McGrath, BULLETS OVER BROADWAY brings the talents of Woody Allen and Tony-Winning director Susan Stroman together for the first time."  From DSM Website.

	Click through for our interview with Ensemble member Andrew Hendrick.

	

	BULLETS OVER BROADWAY is presented by Dallas Summer Musicals June 14-26, 2016 at Music Hall at Fair Park.

	Interview with Ensemble member – Andrew Hendrick:

	Andrew started our chat off by explaining the journey from auditioning for the tour to now being at DSM this week.

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	I asked Andrew about getting to work with the amazing Tony Award Winning Director and Choreographer Susan Stroman.

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	Andrew talked about the different approach of this show compared to his previous work on stage.

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	We talked about Andrew getting to visit our city and explore the DFW metroplex.

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	Andrew's "Day Job" is working for Broadway Records.

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	BULLETS OVER BROADWAY is presented by Dallas Summer Musicals June 14-26 at Music Hall at Fair Park.

#### BULLETT RAJA: Making Of The Movie Poster
Making of the movie poster for the hit film Bullett Raja.

	httpvh://www.youtube.com/watch?v=0IuBGN6TmI4

#### BUMBLEBEE – A Review by Hollywood Hernandez
 
BUMBLEBEE – A Review by Hollywood Hernandez
Bumblebee is a Transformers prequel set in the 1980s and it’s a bit different than previous Transformers movies.  While it still has the great CGI special effects, Bumblebee has a different feel to it.  First, Michael Bay is not directing this installment.  It’s directed by Travis Knight who is probably best known for his 2014 animated film The Box Trolls.  It also features a teenage girl as the main character, Charlie (played by Hailee Steinfeld), who’s lost her father and is trying to adjust to her life with a new step-father and as a young girl on the verge of turning 18.  Also, the 1980s era setting gives the movie the feel of some classic 80s movie like Back to the Future and ET.  It also includes a pretty gnarly 80’s soundtrack.
When the movie starts a civil war is raging on Cybertron, the Transformers home planet.  Autobot leader Optimus Prime, who only has a small part in the movie, sends his young lieutenant B-127 on a mission to earth to secure a base and to wait for the arrival of the Autobots on their new home.  But “Bumblebee” is followed to earth by two Decepticons who injure him and damage his voicebox leaving him unable to speak.
Young Charlie finds him in a trash pile at the marina and takes him home to rebuild him but quickly finds out he’s not your average VW Beetle.  The two Decepticons who traveled to earth to destroy Bumblebee, one voiced by Angela Bassett, convince the government agents on the trail of Bumblebee, led by John Cena, to allow them access to US satellites to track down the rebel Autobot.  One of the flaws of the movie is Cena’s character.  He’s a bit one dimensional as the federal agent in charge.
Bumblebee is a chance for the fan favorite Autobot to show what he’s got.  While I kept waiting for more Autobots to come to his assistance in this movie, he is a one-man army.
The movie has a lot of heart.  It’s funny and the scenes with Bumblebee and Charlie are the best parts of the movie.  For me, this is the best of the Transformers movies.  The movie is rated PG-13 for violence and has a run time of 1 hour and 53 minutes.  On my “Hollywood Popcorn Scale” I rate Bumblebee a LARGE.

#### BUON GIORNO! DALLAS FILM SOCIETY’S 2013 DALLAS INTERNATIONAL FILM FESTIVAL TO FOCUS LENS ON ITALY, NEW VENUE
From the birthplace of the Renaissance to a new local venue, DIFF brings together the best from around the world to celebrate the art of film—Dallas style

	DALLAS, TX – The Dallas Film Society is pleased to announce the 7th Annual Dallas International Film Festival as it casts an all-star line-up of films for the much-anticipated event April 4-14, 2013. Many established and up-and-coming filmmakers from all over the world will descend upon Dallas for the event, which will bring a host of worldly surprises and names to North Texas. This year, DIFF is pleased to add a new, world-class viewing venue to the Festival, LOOK Cinemas, whose state-of-the-art technology and unparalleled dining will elevate the experience of enjoying the art of film.

	“Film is an experience best enjoyed in the company of good food and friends,” said Lee Papert, President/CEO, Dallas Film Society. “We are excited to add LOOK to our venue line-up, which includes a variety of Dallas’s best destinations, from theaters to parks – everywhere the art of film can be.”

	DIFF takes over LOOK Cinemas

	DIFF isn’t just taking place at LOOK Cinemas; the Festival is taking over LOOK Cinemas on Opening Night on April 4. Truly experience LOOK Cinemas, located at Prestonwood and Belt Line roads, Festival style. LOOK Cinemas opens as the new 1,900-seat entertainment and dining complex that combines thought-provoking film with mouth-watering food. Nick & Sam’s Grill and Coal Vines are both co-located within the complex.

	“It’s our honor at LOOK Cinemas to roll out the red carpet and host the opening night of the Dallas International Film Festival as we introduce our new theater, dining and entertainment complex,” said Tom Stephenson, CEO of LOOK Cinemas. “This is the perfect complement to the public opening of LOOK Cinemas on March 29.”

	Other DIFF venues host everything from panel talks to screenings and include Dallas’s new Klyde Warren Park, Angelika Film Center Dallas, Landmark Theatre’s The Magnolia, Cinemark West Plano, The Texas Theatre, Hotel Palomar Dallas and the Nasher Sculpture Center.

	Italy Spotlight, Films and Special Events

	More than 150 films from all over the world will screen over the 11-day Festival. This year’s Festival will have people lusting for all things “Italia” all Festival long. The Dallas Film Society will pay homage to the cinematic achievements of Italian filmmakers by featuring Italy as this year’s cultural spotlight.

	“For more than 110 years, Italian filmmakers have been producing innovative films that capture audiences and awards around the Globe,” said James Faust, artistic director, Dallas Film Society. “Italian filmmakers have pushed the envelope for decades and have helped set the standard for great cinema. With Italy’s rich film past and present, we’re excited to shine a spotlight on that heritage at DIFF.”

	Other special events include High School Day (April 5) in Dallas Arts District, Family Day at Klyde Warren Park (April 6) and Latino Day in West Village (April 7). There will be Red Carpet appearances and star-studded galas taking place at some of the finest venues Dallas has to offer.

	Passes and Tickets

	Passes are on sale now online only through the Prekindle Box Office. Passes are also on sale and range from $100 for a Festival Lounge Pass to $750 for an all-access Star Pass, which includes:

	All-access pass to all screenings
	One invitation to the Opening Night Screening & Gala on April 4, 2013, subject to availability.
	Admission for one person to all Centerpiece screenings and parties during the Festival
	Access for one person to the Festival Lounge. (Must be 21 or over to enter the Festival Lounge or to consume alcohol.)
	Admission for one person to all regular film screenings and panel discussions
	Dallas International Film Festival swag bag full of unforgettable merchandise

	Tickets will go on sale in March 14. To purchase tickets and passes, visit: www.DallasFilm.org.

	 

	About the Dallas Film Society

	The Dallas Film Society celebrates films and their impact on society.  A 501(c)3 non-profit organization, the Dallas Film Society recognizes and honors filmmakers for their achievements in enhancing the creative community, provides educational programs to students to develop better understanding of the role of film in today's world, and promotes the City of Dallas and its commitment to the art of filmmaking. The annual Dallas International Film Festival, scheduled for April 4-14, 2013, is a presentation of the Dallas Film Society. In addition to producing one of the largest festivals in the Southwest, the Society produces numerous year round events, screening series and partnership programs with arts organizations around the city.  For more information, call (214) 720-0555, or visit www.DallasFilm.org.  The offices of the Dallas Film Society are located at 3625 North Hall Street, Suite 740, Dallas, TX 75219. 

	 

	2013 Dallas International Film Festival Sponsors

	ABCO; Akin Gump Strauss Hauer and Feld, LLP; Alamo Drafthouse DFW; The Angelika Film Center; The Arthur E. Benjamin Foundation; Austin Film Festival; Barefoot Wine & Bubbly; Baylor Heart and Vascular Hospital; BNY Mellon Wealth Management; Boardwalk Auto Group Volkswagen Dealers; CBS Radio; Central 214; Cinemark USA, Inc.; Colibri Promotions; Community Trust Bank, The Container Store; The Crow Collection of Asian Art; D Magazine; Dallas Film Commission; Dallas Museum of Art; Dallas Observer; Deep Eddy Vodka; Downtown Dallas, Inc.; Earth Day Dallas; El Creative; Flagship Marketing; Forte; Gemini Light, Sound & Video; GrandLuxe Magazine; Hotel Palomar; KellyKitchensPR.com; Klyde Warren Park; LOOK Cinemas; Mary Kay; Mockingbird Station; Mockingbird Taproom; Modern Luxury Media; Movie Magic; My Sweet Charity; Nasher Sculpture Center; Panavision; Pencilneck Software; Post Asylum; Prekindle; Pure Evil Sound & Music Design; Rentex; ScreenFX Academy; Southwest Airlines; Stella Artois; Texas Association of Film Commissions; Texas Capital Bank; Texas Film Commission; Time Warner Cable; TXU Energy; Vergent Communications; West Village; WFAA; and Whole Foods.

	 

	About Boardwalk Automotive Group Volkswagen Dealerships
	Boardwalk Auto Group has three Volkswagen Dealerships serving the North Dallas community. Boardwalk Volkswagen, located in Richardson, Texas, was recently named 2012 Volkswagen Dealer of the Year for Texas by DealerRater® reflecting on the dealer's commitment to unparalleled customer service.  Park Cities Volkswagen and McKinney Volkswagen are also two of the Highest-Rated DealerRater® Certified Volkswagen Dealers in Texas. Boardwalk Auto Group Volkswagen Dealers offer the absolute best selection and price in the Metroplex in addition to their state-of-the art Service Departments. Boardwalk Auto Group is one of the premier auto groups in the nation representing Porsche, Audi and Volkswagen.  For more information about Boardwalk Auto Group Volkswagen Dealers, please visit www.DallasVWDealers.com.

	###

#### BURDEN – A Review By Gadi Elkon
Actor Andrew Heckler dives into the Director’s chair with his feature debut, BURDEN.  Here is my review of the film.

BURDEN tells the incredible true story of Michael “Mike” Burden (Garrett Hedlund), an ardent young member of the South Carolina Ku Klux Klan who rose to the rank of Grand Dragon – and walked away from all of it with the help of a new love and an unlikely ally, the African American religious leader and social activist Reverend David Kennedy (Forest Whitaker). The film’s cast additionally includes Tom Wilkinson, Andrea Riseborough, Tess Harper, and Crystal Fox. The film also stars Usher.
The story seems so unbelievable but as we see the impact poverty has on “Mike” Burden and his new family the more reality sets in for this film.  Director Andrew Heckler allows a more calm pace to unravel our story of overcoming one’s racists upbringing.  Burden’s life switch is pushed by his unwavering love Judy (Andrea Riseborough).  Hedlund and Riseborough have tremendous chemistry and mixed in with the perfect casting of Forest Whitaker, as Reverend David Kennedy, we are left with a hidden gem of a film.  Crystal Fox and Dexter Darden play Reverend Kennedy wife and son respectfully.  This tight knit family is forced to deal with incredible odds and their strength is a really important element of the film.
The cinematography by Jeremy Rouse highlights the rural beauty of South Carolina as well as capturing the impact poverty has on this community.  The way in which Heckler and Rouse and have visually tackled this slow burning film allows for the audience to sink into the sorrow.  This slow approach gives off enough sentimentality to keep interest and open up for some powerful emotional sequences.  Usher’s character Clarence Brooks is a pivotal figure but sadly the film seems to have left the connection to Mike on the back burner.  We are told about their childhood, but a few scenes of them would have added another layer of sorrow.  The abrupt ending also hinder the film a bit, but the way in which we are shown the real life figures helps recover the emotional ties to the movie.
Dickon Hinchliffe score and the added music touches, especially two Eddie Vedder songs (!!!), really add a much needed layer to the movie.  Along with the rugged look the music hammers home to way in which years of poverty infect the emotional resonance of the black and white communities.  The long racist history is the cloud of fog that never wavers from the South Carolina setting.
Burden is an ambitious film for tackling such a dramatic true story.  Learning of the amazing way in which the power of love truly did conquer all is a much needed film experience for our torn country.
 
BURDEN – 3.5 Stars.
Directed by: Andrew Heckler
Written by: Andrew Heckler
Rated R
Running Time: 1h 57min
Drama
Limited Release: March 6th
Starring: Garrett Hedlund, Forest Whitaker, Tom Wilkinson, Andrea Riseborough, Tess Harper, Usher Raymond, Crystal Fox, and Dexter Darden.
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### BURDEN – A Review by Hollywood Hernandez
BURDEN – A Review by Hollywood Hernandez
Burden is the true story about the life of Mike Burden, played by Garrett Hedlund. He is a Grand Dragon in the Ku Klux Klan and his life takes a turn for the worse when he decides to leave the KKK. He loses his job and his home after his evil, racist boss seeks revenge on him for leaving the Klan. Tom Griffin (Tom Wilkinson) does everything in his power to make Mike regret leaving the Ku Klux Klan. Wilkerson does an excellent job of playing someone who is pure evil.
Forest Whitaker’s character, Reverend Kennedy, gets involved when the Klan opens up a KKK museum right in the middle of town. Reverend Kennedy fights back not with hate or violence. His weapon is love and through protests by his church members, he hopes to show the Klan the error of their ways.
Burden takes place in 1996 in Laurens, South Carolina, a place where blacks were treated as second class citizens and racism was commonplace in the small town. The movie is a “no holds barred” true story about race that shows the ugliness of hatred toward our fellow man. Meanwhile, Mike falls in love with a single mother and when the two become homeless, against the wishes of his family, Reverend Kennedy takes them in.
To see the evolution of Garrett Hedlund’s character is like watching a drug addict go through recovery. He has his moments of kindness where he treats black people with respect and then he’ll sometimes slip back into being the old Mike, using the “N-word” when talking to blacks and showing them total disrespect. It’s the Reverend Kennedy who convinces him that all men are brothers. Burden is a real story about love winning over hate and the subject matter is just as relevant now as it was then.
It’s an important movie for the times we are living in now. It reminds us not to forget what happened in the past or we’ll be doomed to repeat it.
The movie is rated R for harsh language, including frequent use of “The N-Word”, and runs for 2 hours and 9 minutes. On my “Hollywood Popcorn Scale” I rate Burden a JUMBO.

#### BURIED – A Review by Gary Murray
BURIED
Starring Ryan Reynolds
Written by Chris Sparling
Directed by Rodrigo Cortes
MPAA Rating R
Running time 95 min
Selig Film Scale Matinee
 
The thriller is one of the longest running genres of film. A slick little entertainment that chills and thrills as it spills on the audience are one of the bedrock ways of the Silver Screen. When done effectively, these flicks can still keep the audience glued in their seats, not wanting to miss a moment of the story. Adding to this rich heritage is Buried, the most claustrophobic flicks that has ever been put on the big screen.
The film starts in total darkness. Soon we find out why. Paul (Ryan Reynolds) is in a simple wooden coffin, buried under the sands of Iraq. He is a truck driver, a part of a military convoy. The group was hit and he was captured. Now, the bad guys want cash to let him go. All of this is discovered by Paul as he talks on a cell phone. The entire film takes place in the coffin, with only a lighter and a cell to give any light. The film never leaves this set, we never get any scenes of back story, all 90 minutes occur within the confines of the coffin.
Paul goes through all the stages of grief as he figures out his plight. He pleads and threatens on the phone, realizing that he must get into contact with US forces before his air and cell phone battery run out. He calls his US family, pleading with them to get help. He reflects on his situation as he does everything he can to get out. The unseen voices of his tormentors is used in a vicious fashion, just a bunch of guys who want cash.
Since Ryan Reynolds in the only actor in the piece, he has a Herculean task, to keep the audience interested in his plight. He delivers an Oscar worthy performance here, having to do all his acting with little movement and basically no one to play against. I know that some will think that he does nothing other than be trapped. That is the brilliance of the performance. He must use his voice to get across all the fear and anger. The role of Paul is the textbook definition of a ‘hands down’ performance. While I doubt that most of the Academy will see how difficult this role is to pull off, it is definitely deserving of an Oscar nod. 
Director Rodrigo Cortes works within the greatest confines ever self-imposed on screen. By giving us nothing, he delivers everything. The suspense of the situation becomes a claustrophobic melee of emotions, never giving the audience a single beat of letting up. He just pushes every button with a madman’s glee. The script by Chris Sparling becomes a masterpiece of despair, wishing the best for our character and expecting the worst
Alfred Hitchcock was one quoted as saying (and I paraphrase) that is you let off a bomb, you scare the audience for a minute but if the audience knows that the bomb is there, about to be blown, you can build suspense much longer. That is the basic premise of Buried. This is a solid suspense laden thriller where we are given all the elements to frighten and let them spill across the screen. Buried is a unique film that proves that one doesn’t need a lot to make a great movie. 
 

#### Burlesque – A Review by Gary Murray
BURLESQUE 
By Gary Murray
Starring Cher, Christine Aguilera, Eric Dane, Cam Gigandet, Julianne Hough, Peter Gallagher, Alan Cumming, Kristen Bell and Stanley Tucci
Written and directed by Steve Antin 
Running time 1hr 40 min
MPAA Rating PG-13
Selig Film Rating Matinee
The musical has been making a huge comeback in the last decade. Flicks like Sweeny Todd, Rent and Chicago have been giant draws and Glee is dominating the small screen. The latest film to try and combine music, dancing and acting is Burlesque. 
The story of Burlesque is the story of Ali (Christina Aguilera) a small town girl with a big city voice who moves to LA for a better life. Almost instantly she stumbles on the run-down performing space–The Burlesque Lounge. Walking in the theater, Ali realizes that this is the place to be. She only has to convince the owner Tess (Cher). 
Tess has her own problems with her ex-husband co-owner (Peter Gallagher) and her gay assistant (Stanley Tucci). There is also the financial burden hanging over the club and a businessman Marcus (Eric Dane) who wants to become a partner. We get the idea early on that he is to be our villain of the piece.
Ali, who can’t get an audition, forces her way to being a cocktail waitress in the club. Jack (Cam Gigandet) is the cute bartender with a perchance with the 88 keys. He has a betrothed but lets Ali crash in his tiny apartment until she can get on her feet. Soon, Ali gets her chance to audition and wins a spot in the chorus. This irks the featured dancer (Kristen Bell) who plots a revenge.
Now that all the elements are in place, can one guess how it is all going to end? One will only be surprised if they have never seen just about any musical from the 1930’s and 40’s 
This is a star turn for Christine Aguilera. Everyone who listens to the radio knows that she has some massive vocal chops but she holds her own in scenes with some very seasoned performers. She is light and funny, with just a hint of the naughty girl next door. Burlesque is going to launch her career as a major screen performer. Christine shows that she is a true triple threat.
In Burlesque Cher isn’t acting, she’s being Cher. She’s won the Oscar and given some memorable performances but here she just seems to be doing her character from the old Sonny and Cher Show. She does get two numbers in the film and just nails a torch song toward the end. She shows that her voice is still an instrument to be admired. 
Stanley Tucci plays that same Stanley Tucci character he played in The Devil Wears Prada and about a dozen other films Even though he gets a major share of the punch lines, they begin to run a little trite after awhile. Alan Cumming channels Joel Gray from Cabaret but without all the flash. 
That may be the biggest problem with Burlesque–it reminds one of too many other films. There are elements from so many different musicals and MTV videos that it almost becomes parody. The plot is simplistic to a fault and the dialogue has such platitudes as “Every opportunity has a shelf-life.” 
Director Steve Antin fills his movie with musical number after musical number when he should have done some more work on the screenplay. Every good musical has scenes where people are not singing and pushing the plot along. Either that or the musical numbers drive the plot along. Here all the musical numbers are there to be musical numbers, story be damned. To be totally honest though, people will not go to a movie like Burlesque to see drama. They go to see stunning costumes, soul touching musical numbers and flashy dancing. This movie has it in spades. The problem–the best musicals have a strong solid story and the weak ones have weak plots. 
Going it to this film, I figured it was going to be a stunner like Moulin Rouge or a turkey ala Showgirls. The final product is somewhere in the middle, leaning toward the good side. It is sexy and not sexual, think Maxim magazine and not Playboy. While not one of the big musical films of all time, Burlesque entertains on a base level. It may not be a movie for the ages but it is one that will generate a legion of musical fans.

#### BURNING – A Review by Cynthia Flores
 

	BURNING – A Review by Cynthia Flores

	 

	Phenomenal is the first word I can think of to describe the new Korean language film Burning from director and co-writer Chang-dong Lee.  The story of the film is expanded from Haruki Murakami’s short story “Barn Burning,” and is a portrait of a romantic triangle of sorts.  We see Jongsu (Yoo Ah-in), an aspiring young writer who after graduating university is just floundering working as a part-time delivery man.  It’s on one of his runs that he meets a young woman he knew from childhood, Haemi (Jeon Jong-seo), who is about to embark on a trip to Africa to see something called “the Great Hunger” dance.  She too is a part-time worker and has saved up for this big trip.  She asks him to look after her extremely shy cat Boil.  The two of them start a sexual affair before she leaves for her two-week dream vacation.  During that time the quiet and reserved Jongsu feeds and cares for a cat he never sees and masturbates on her bed to feel close to Haemi.  He has also moved back to his childhood humble home to care for the place as he awaits his father’s trial for assault to conclude.  Enter the third part of the triangle Ben (Steven Yeun), who Haemi met on vacation and has brought him back as a boyfriend.  He’s a Gatsby-esque good looking man who is six or seven years their senior.  Ben has a mysterious source of income and a very unusual hobby he tells Jongsu about when they get high together.

	 

	Everything about Burning is at a perfect pitch to create a tension-filled ride.  Mowg composed the tremendously haunting score that goes hand in hand with the painterly cinematography of Hong Gyeong-Pyo.  The way the film shows us the busy, cluttered sense of life in the big city and then paints us this portrait of uneasy calm out on the farming town near the border to North Korea is stunning and sublime.

	 

	Burning is a tense, multiple-character study.  The shy intelligent young writer coming into his own.  The lonely girl next door that grew up to be a beauty but is touched by melancholy.  And the reptilian-like rich man that looks like he has it all but has never shed a tear in his entire, entitled life.  The movie accumulates a series of unanswered questions and unspoken motivations to conjure a mood of uncertainty as it takes us to an unexpected ending that will have you talking about it well after the credits have rolled.  I know this film will be with us at Oscar time and I am calling it a “Must See Film.”  I give this movie an A+ rating.

	 

	Directed by Chang-dong Lee

	Written By Jungmi Oh, Chang-dong Lee (Screen Play), Haruki Murakami (Short Story)

	Rated NR

	Selig Rating A+

	Running Time 2hr 28min

	Drama / Mystery / Foreign

	Limited Release November 9th Th Angelika Film Center Dallas & Plano

	Starring: Yoo Ah-In, Steven Yeun, Jeon Jong-seo

	 

	 

	The Selig Rating Scale:

	 

	A – Excellent movie, well worth the price.

	B – Good movie

	C – OK movie

	D – No need to rush. Save it for a rainy day.

	F – Good that I saw it on the big screen but wish I hadn't paid for it.

#### Burning Annie Interviews with Randy Mack, Van Flesher and Gary Lundy
Burning Annie's journey to release should have its own movie.  The witty comedy that tackles Woody Allen's classic Annie Hall with a keen mind, open heart and a sly tongue jammed fully into cheek is a true indie gem. Click through for interviews with Producer/Co-Writer Randy Mack, Director Van Flesher and Lead Actor Gary Lundy about the film, the journey and so much more. 

	

	Email Interviews with Producer/Writer Randy Mack, Director Van Flesher and Lead Actor Gary Lundy.

	I've got to start with what did y'all say in your letter to Woody that got this script approved??

	Randy Mack (RM) –

	It wasn't one letter. Woody Allen has a lot of reps, including the Tenenbaum brothers who are his lawyer-manager team. I called them both and was bounced back and forth as I worked out who did what. Eventually I figured out Irwin handled personal appearances, acting jobs, and miscellany, which our request was. Irwin strongly hinted that Woody would be more open to looking at the script if there was an offer for a role with it, so I wrote in a cameo (he was to be the guy who interrupts Max & Julie's first kiss in the library. Max would do a huge double-take & say "That guy looks exactly like…" and Julie says "Ernest Borgnine, I know!" We could shoot Woody's one line literally anywhere and cut it in, in the infinitesimal chance he agreed). Basically the acting offer was a Trojan horse.

	 

	Irwin showed the script and offer to Woody in their monthly meeting, and Woody passed, but Irwin (who I was friendly with by this time) suggested he sign a Covenant Not To Sue as a consolation prize. He then surprised me with this document when I stopped by his office. I have no idea if it's binding but it helped us raise money and find new investors in post. I'm certain Woody never even opened the script.

		Van Flesher (VF) –
	

		I proposed a treatise on May/December romances; Randy wisely rejected.
	

	What was West Virginia like in the winter of 02', I'm imaging Winter's Bone but your film doesn't look like that at ALL.

	VF –

	It was exactly like Winter's Bone, except colder, and we probably had a lot more fun making our movie. So take that, Jennifer Lawrence. I went to college in Huntington, did radio shifts at the station where we shot, but I couldn't portray my college experience unless the film were called Burning Bergman or Tarkovsky in Flames or Altman Kill Kill.

	Gary Lundy (GL) –

	I don't recall the West Virginia winter being too harsh, and I don't remember the landscape seeming too desolate. I had just come from Philadelphia, which had a starker feel. West Virginia was pretty charming actually. It was nice being there.

	RM –

		The main thing I bring to all my films as a producer is moderate and cooperative weather.
	

		 
	

		Gary what was this wonderful cast like and for you personally jumping into a lead role must have been such a huge moment.  Any specific scenes or fond moments from the set?
	

		GL –
	

		The cast was amazing. Everyone got along very well, which isn't always the case. I remember shooting on day-one with Brian Klugman and laughing to the extent that completing the take became difficult. To have that kind of thing happen on the first day of shooting is unusual and speaks to the chemistry we all had. 
	

		 
	

		As far as my experience being a lead, I was very excited about it. I'd acted before, but it was the first time I got to carry a film. That said, the movie ended up feeling like an ensemble piece. That's what happens when you get good actors–distinctions like lead and supporting become less relevant.
	

		 
	

		VF –
	

		He may not have known it but nobody else in the cast liked Gary, they just acted like they did, you know to protect his fragile ego.
	

		
		Van and Randy outside of the huge editing problems what was the HD experience like in the early 2000s?  Our company makes DCPs I'm curious looking at the editing and transferring of files what was the biggest breakthrough to get the film to look as it does now. 
	

		RM –
	

		It was pretty hellish. The largest hard drives were 250 MB and we needed five of them just for the DVcam offline. Final Cut Pro was brand new, nobody knew how to make it work with HDcam decks, and most of the major post-production facilities in LA either lied or were deluded about their understanding of HD workflow. 
	

		 
	

		Over time I learned that if I could get a facility to admit their ignorance, I could get them to help with our issues for cheap or free using our project as the guinea pig for experiments. There was no "best practices," it was the wild west and together we worked out procedures and do's and don'ts. 
	

		 
	

		In late 2003 I discovered a trick to get FCP 3 to natively edit HD footage, which solved a huge number of our issues (which were largely offline time code related). But because we could only afford one day of online editorial every six months or so, we didn't finish until we had an advance from a distributor.
	

		 
	

		VF –
	

		I haven't seen a good HD master yet. Grading some of the footage is difficult, much harder than the contemporary formats are. The late night library scene with Julie shows the format at its best, and the post-Beth-date exterior shows its limitations. I like that what was so high-tech at the time now looks low tech, almost period.
	

		 
	

		Gary did you dive heavily into watching and knowing Annie Hall, did you look at any other Woody films for your prep? 
	

		GL –
	

		I didn't plunge into the Woody Allen canon all too much in preparation. I may have watched Annie Hall, but if I did it was only once and not with any sense of obligation. I felt that our film–and the character along with it–had to stand on its own; and there was a part of me that felt leaning too heavily into Annie Hall would have risked mimicry. I wanted to avoid that.
	

		Randy and Van can you talk about some of the fun nods to Annie Hall outside of the witty script?
	

		VF –
	

		I entertained some visual nods to AH but rejected most by shooting time. The walking/talking set-ups are not direct imitation, the direct address occurs in germain environments, and Julie's wardrobe is not AH derivative. But, there are some meta-cinematic stagings (flashbacks mostly) that follow AH's playfulness with time and space and self-awareness. 
	

		RM –
	

		The opening shot is a play on the famous "Jew eat?" oner with Tony Roberts (also the scene where they call each other Max). The radio monologues were where we played with all the cinema tricks ANNIE HALL deployed like direct address and revealing the scene to be a set. There was a rule that real life would be drab and the world in Max's head vibrant and full of AH techniques. Thus we shot those in high saturation and his real life in stark desaturation, set in-camera.
	

		Can y'all talk about the impact of the Sundance lab experience and then about having them now helping with distribution of the film?
	

		VF –
	

		The Lab time for me gave much needed encouragement. I saw "Sunday" there and talked with Sundance folks about the importance of a film's voice, and that really reminded me why we making such an independent (old meaning) film. The time there was too short and I had just weeks before lost my father, so it's a blur now.
	

		RM –
	

		For me it was instructive in understanding how many other filmmakers there are out there, and how everyone struggles for the attention of the gatekeepers. Back then the Producers retreat was a workshop not a proper lab, which I think means less prestigious, although it still required an application and acceptance. Meeting Barbara Boyle, producer of BOTTLE ROCKET, was a personal highlight.
	

		 
	

		Can you discuss the film festival experience?  From Hamptons on.
	

		RM –
	

		They were vital. First, as a chance to see the film with an audience, which helped me tremendously as a fledgling self-taught editor. Second, as a way to prove to our investors and ourselves that the film wasn't a lost cause. And finally as a way of collecting reviews and laurels to burnish the film in the eyes of the world.
	

		VF –
	

		After the Hamptons I missed most of the festivals. I guess I'll have to attend some retrospectives of Todd Duffey's films.
	

		GL –
	

		The Hamptons was a blast. It's hard to find a more appealing setting for a festival, and the sensibility of the crowd was a great match for our film. 
	

		 
	

	The film captures so many wonderful truths about college life, how much of your own college experience helped capture Zach's script.

	 

	GL –

	My college experience was very different than Max's. All the same, I found parallels between the friendships portrayed in the movie and the ones I had in college.

	 

	VF –

	I'm about Linklater's age, as a matter of fact I could have been the freshman kid in Dazed and Confused, so I had grassroots film heroes–Cassavettes, John Sayles, Charles Burnett, Fassbinder–before Kevin Smith came along. I think college must have been painful, embarrassing, and confusing because those were the touchstones of truth for me while making decisions on this film. One of my favorite autobiographical lines from college is in the film by some accident of universal consciousness. When Sam tries to reassure Max that the guy seen lately with Beth was, "Normal," Max replies, "How can I compete with that?" 

	 

	RM –

	A lot!

	
	 If made today how would the film be different?

	
	RM –

	 It would be a lot cheaper, for one thing. We got it in the can for $200grand, which in hindsight is outrageous, even at the time. Of course now HD is ubiquitous, so we would have luxuries like dailies and probably shoot like TANGERINE on phones.

	VF –

	I hate to think. Everybody involved then was working by some faith, or desperation. Now it seems like youtube Valkeries swoop down and obliterate the kind of innocence that made Burning Annie. I would like to have shot more connecting tissue and today we would have a more sophisticated preparation, but I adore most of the scenes to wish them different now. It's hard to imagine a thing different about my kids.

	GL –

		I think my wardrobe would be dramatically different if it were shot today. Beyond that, I think most of the content is timeless, so I doubt it would be altered.
	

		 
	

		Having the unique opportunity to experience the film with a new generation, how well do you think the film stands up for college aged kids?  
	

	GL –

	I hope it stands up well, but being a decade and a half out of college I have little way of gaging whether it will. At the end of the day, I don't see it as a college movie; it's a relationship film. It's about romance and friendship, and those subjects should be relevant to everyone irrespective of age.

	VF –

	I hope to see it now with a new college crowd, and a tour sounds like a great idea. I saw it with some high school seniors at a private school in Atlanta, and they were the best audience I have found for this film. I have never required it of my students, but some have watched it: I hear that some didn't sit through it, others were baffled, a handful "really liked it" and one or two in each crowd felt compelled to stalk Gary Lundy or Rini Bell. 

	RM –

	If anything it's even more relatable now. Max was described in our casting breakdown as "boy next door gone weird" but the things that made him weird in 2000 are the things that make him contemporary now. Also the whole approach to relationships is oddly au courant with so many recent young adult dramas. Ahead of its time.

	 

	Any College Tours planned?

		 
	

		RM –
	

		Yes, we have plans to show it in Nashville, Los Angeles, Worcester, New Orleans, Huntington, and the Anthology Film Archives this year. 
	

	 

	How can we keep track of the film and find out information about video on demand and different platform coverage?

	 

	RM –

	BurningAnnie.com is always the best bet. Get on the mailing list!

	 

#### BURY THE BRIDE – Interview with Actor/Producer Chaz Bono
Actor/Producer Chaz Bono talked with our Gadi Elkon about his latest work on BURY THE BRIDE.

Bride-to-be June’s bachelorette getaway turns deadly when her blood-thirsty fiancé and his backwoods friends show up to crash the party. What follows becomes a living nightmare of unholy proportions as June, her sister Sadie and their closest friends fight for their lives, and avenge the ones who don’t make it through the night. 
Chaz and Gadi talk about jumping into the producer role, loving working in the horror genre and all about Bury The Bride.
Interview with Actor/Producer Chaz Bono

For more info, BURY THE BRIDE.

#### BUTCHER’S STAIN Interview with Filmmaker Meyer Levinson-Blount
Filmmaker Meyer Levinson-Blount’s short film BUTCHER’S STAIN is one of the Best Live Action Short Film nominees for the upcoming 2026 Academy Awards.  Meyer spoke with our Gadi Elkon about the film, the Oscars and so much more.

Samir, a Palestinian butcher working at an Israeli supermarket, is accused of tearing down the Israeli hostage posters in the break room. Samir sets out to prove his innocence in order to keep his job he desperately needs.
Meyer and Gadi spoke about the reality behind the story, the way his casting choices impacted the entire short film experience and the importance of telling a story like BUTCHER’s STAIN.  Meyer was able to discuss the audience responses to the film and the impact the Academy has had on his journey.
Here is our Interview with Filmmaker Meyer Levinson-Blount

For more info about BUTCHER’S STAIN.
Follow Meyer Levinson-Blount.

#### BYE BYE TIBERIAS – Interview with Filmmaker Lina Soualem
Filmmaker Lina Soualem talked with our Gadi Elkon about her mother Hiam Abbass, grandmother, great-grandmother and aunts as she looks into her maternal side with her feature documentary, BYE BYE TIBERAS.

 30 years ago, Palestinian actress Hiam Abbass left her native village Deir Hanna in Galilee to follow her acting dream in France. Camera in hand, her daughter Lina questions her mother’s bold choices and the way the women in her family – who she has left behind – have influenced her life. How do those who live on the screen of our memories define who we are today ?
Our Gadi Elkon had an amazing chat with Filmmaker Lina Soualem about new documentary BYE BYE TIBERIAS, her previous feature documentary THEIR ALGERIA and so much more.
Interview with Filmmaker Lina Soualem:

The film is out in NYC and will open in LA this Friday January 19th.
For more info, BYE BYE TIBERIAS.

#### CAFE SOCIETY – A Review By Susan Kandell Wilkofsky
 

	Nostalgia and Laughter from Coast to Coast

	Open letter and film review by Susan Kandell Wilkofsky

	 

		Dear Woody,
	

		Welcome home Woody! We can’t exactly celebrate with a feast as if you were the prodigal son (even you would see the irony and humor of that suggestion), but we can acknowledge your return to our shores with a little champagne, just like in your movie, Café Society!
	

		We understood your previous wanderlust, with little excursions to Europe – Barcelona, Paris, London. But now you have returned to the good old USA. Instead of Brooklyn, you’ve substituted the Bronx – but as a gal from West 174th Street, you won’t hear me complaining!  And very clever how you throw in a little Hollywood for glamour. Hey, we’re fine with that! Who couldn’t use a little fancy-schmancy allure?
	

		And how proud we are! Shepping nachas! Café Society was the opening day film at the 2016 Cannes Film Festival. Sorry, you didn’t win any prizes there – but we’re still kvelling over that achievement. Next time, however, don’t be a putz. Spend a little more gelt and get a real narrator. Or invest in some lozenges.
	

		Again, nice to see you old friend. With all that’s going on in the world, maybe you’ll stick a little closer to home from now on.
	

		Best,
	

		Susan from the Bronx
	

	 

	Yes, Woody is back and while Café Society is not exactly Annie Hall, it is a lovely film; bathed in a beautiful nostalgic light and generously sprinkled with plenty of humor. You have all the usual Woody elements; a lively jazz score, pretty women wearing equally elegant costumes of the ’30’s and the obligatory Woody stand-in. In Café Society, that role went to Jesse Eisenberg (Bobby Dorfman), perfectly cast as Allen’s alter-ego – certainly the part he would have written for himself 50 years ago. The Diane Keaton role is played by Kristen Stewart (Vonnie) – but with a little less fluster. And New York stars as itself, in all its grandness of another era.

	Instead of comparing the “new” Woody Allen to the “old” Woody Allen, I think Café Society has more in common with a good Moliére dramedy – boy meets girl, boy loses girl, etc. But in- between the bittersweet tale of love and heartbreak, he weaves a story of family – albeit a dysfunctional Jewish family, where most of the humorous schtick resides. Just to see Jeannie Berlin – or rather “hear” Jeannie Berlin and see Parker Posey as a blonde, is worth the price of admission. Corey Stoll rounds out the cast as a Jewish gangster and Blake Lively is alluring as the other Veronica.

	Café Society is reminiscent of the old Stones tune; You Can’t Always Get What You Want. At 80 years of age, Woody Allen is all grown up and recognizes that he doesn’t have to pursue pat formulas or be concerned that his characters get what they need. He deftly captures the nature of desire and inevitable disappointments and then ditches the saccharin Hollywood ending.

	 

	This article was reprinted with permission of the Texas Jewish Post

#### CAKEALIKES Interview with HIVE BAKERY’S Haley Popp and Kat Grogan
Coming up on January 25th Discovery+ Cakealikes will air episode 6 of this season.  One of North Texas’ own bakeries will be showcased as HIVE BAKERY‘S Owner Haley Popp and Decorator Kat Grogan are one of the teams.  The episode has a fun theme of creating a Flavor Flav life like cake.  Haley and Kat were awesome enough to chat with Selig Film News about the bakery, the show, their previous tv show highlights and so much more!!

The Cakealikes episode is live on January 25th but feel free to catch up on the previous five episodes that kicked off on January 4th.
HIVE BAKERY Owner Haley Popp and Decorator Kat Grogan took part in a zoom chat last week to discuss their episode.  We also talk about the name behind the bakery, the TV history of the bakery, the local and international appeal of the bakery, and so much more.
Haley and Kat do discuss empowerment of all genders and people and the video highlights the vast treats that have made HIVE an international success in the baking world.  I thoroughly enjoyed chatting with the ladies about how their sweet creations impact our lives just as much as our hunger.   Enjoy the chat with Haley Popp and Kat Grogan.
*There is a bit of profane language

HIVE Bakery Interview with Haley Popp and Kat Grogan from Gadi Elkon on Vimeo.
FOR MORE INFORMATION:
CAKEALIKES 
HIVE BAKERY

#### CALIFORNIA TYPEWRITER – Interview with Doug Nichol and Review by Gadi Elkon
CALIFORNIA TYPEWRITER is a documentary portrait of artists, writers, and collectors who remain steadfastly loyal to the typewriter as a tool and muse, featuring Tom Hanks, John Mayer, David McCullough, Sam Shepard, and others.  From CALIFORNIA TYPEWRITER WEBSITE.

	Director, Cinematographer, and Editor Doug Nichol talked about his documentary with our Gadi Elkon.

	

	I don't own and have never used a typewriter.  Like me, Doug Nichol could have said this just a decade ago.  This changed when he read a fascinating article about the search for a particular model of typewriter.  Now Doug has more than 85 of them and has taken 5 years of his life to devout to a documentary showcasing the importance of the medium through the eyes of people impacted by this "ancient" technology.  California Typewriter is a documentary that will entertain, but will also inspire you to make a difference and most likely WANT to get a typewriter.  Along this unique journey you get to see and hear from some iconic figures but also grow to love a small typewriter repair store and it's family of workers.  Doug and I talked for nearly 20 minutes about his doc, but it's obvious that if there is one thing to take from the film it's the belief that this movie can help one particular place.  But the film doesn't start with this place.  Instead the documentary takes a unique mysterious opening and makes you wonder where it is going.  Before long we are introduced to some fasinating characters that share a love of the typewriter but for varying reasons and rationales.  As Doug takes us on an informative look into the people who love this machine we become more connected to them.  Whether its an artist using them for his sculpting material, a man searching for one famous series of typewriters, a young woman who uses them to write powerful poetry, or the before mentioned typewriter repair store these people love the machine that's changed their lives.  Tom Hanks, John Mayer, Sam Shepard (RIP!) and a few other familiar folks add their own connection to the machine.  The doc allows you to see the innards of this delicate machine while slowly unraveling the inner emotion connected to the people who use it. 

	And now enjoy my chat with Doug Nichol who directed, photographed, and edited California Typewriter.

https://seligfilmnews.com/wp-content/uploads/2017/09/California-Typerwriter-DOUG-NICHOL.mp3

	Director Doug Nichol:

	

	 

	 

	 

	 

#### California’s Official Outdoor Play RAMONA Returns to the Ramona Bowl for 99th Season
 
The Ramona Pageant Association is proud to announce the return of RAMONA after two years of absence due to the global pandemic. RAMONA, the longest, continuously-running drama in the country, will make its 99th appearance at The Ramona Bowl on April 23, 24, 30 and May 1, 2022. Tickets for the show are now available at www.ramonabowl.com.
“As the Bowl returns to full operation after more than a year of closure due to COVID and numerous construction projects, some of which are still underway, we look forward to a return to our traditions and many new opportunities, too,” said Dee Cozart, President, Ramona Bowl Amphitheatre Board of Directors.
Each spring, hundreds of actors, dancers, musicians, horses, cowboys, and of course, those who represent the rich heritage of Southern California’s Native Tribes, all come together to create the magical experience that is RAMONA, a classic love story based on actual events that took place in early California during the 1850’s. Much more than just a love story however, RAMONA is a representation of the tragic history of Southern California’s native people. It is a love story with a moral, a message that is as relevant and important today as it was when RAMONA was first written over a century ago.
RAMONA began as a novel, published in 1884 by Helen Hunt Jackson, one of America’s most popular women writers of her day. Though never one to get involved in social causes, in the year 1879 Jackson had suddenly emerged as one of America’s leading advocates of Indian rights. She called for changes in the government’s Indian policies and documented their past crimes in her 1881 book, “A Century of Dishonor”.
In her book, Jackson described in vivid detail the broken treaties, brutal murders and evictions the Indians had endured. Forced onto reservations, disease and death soon took their toll. America’s Indians were heading towards extinction.
Jackson had hoped her book would lift the American people to the same sort of outrage she felt over the treatment of the Indians. However, when Jackson realized that most Americans were not sympathetic toward Indians, she decided to write a novel that would move people’s hearts by disguising her reform message as a love story. She called her novel RAMONA.
And so, the story of RAMONA was born. And the idea that more hearts could be won with pure emotion than with detailed information proved correct. And the novel’s success not only transformed the way people viewed the issue of Indian rights in America, it created a romantic vision of California that still lives on today. The book has never been out of print. And many movies and television versions have been created over the years, but it’s the RAMONA that one experiences at The Ramona Bowl every spring since 1923, against the beautiful backdrop of the San Jacinto rolling hills and turquoise skies, that one truly feels the presence and spirit of RAMONA.
Tickets are now available at www.ramonabowl.com.

#### Call For Entries for 2024 Tallgrass Film Festival Opens
 
Tallgrass Film Association (TFA) announces the call for submissions on Film Freeway for the 22nd annual Tallgrass Film Festival, held in and around downtown Wichita from October 24-27, 2024.
New this year is a pushback to later in October as well as renaming the Emerging Filmmaker Program in honor of Thane Chastain, long-time Tallgrass employee, and Emerging Filmmaker Program leader that we lost in 2023.
“While we would much rather have Thane with us, we will be honoring his memory by renaming the program in his honor. We have been discussing this with his family all this year and are happy to make it official for the 2024 festival,” Executive Director Melanie Addington said. “Thank you to anyone who donated in his memory in 2023.”
Now in its fourth year, the Transgender Film Center was founded by Kansan Sav Rodgers to provide fee waivers for all transgender directors. Reach out to Melanie Addington at info@tallgrassfilm.org for a waiver.
The largest independent film festival in Kansas, the 2023 Tallgrass Film Festival received over 1,600 submissions and screened 186 films from 72 countries. In 2023, Tallgrass presented films to an audience of 9,000+ and hosted 162 visiting filmmakers from across the globe.
In addition to showcasing independent cinema from around the globe, including documentary, narrative, world cinema, animation, LGBTIA+, retrospective, and world premiering films, the 21st annual Tallgrass Film Festival is specifically seeking films to feature in the following special programs and spotlights:
Gordon Parks Award for Black Excellence in Filmmaking Presented by Cargill – Feature-length film with no traditional distribution deal at the time of the festival and may be submitted for free. Open to films of any production budget from any country or genre with a director who self-identifies as Black, African-American, or part of the African Diaspora.
Woman Filmmaker Spotlight – Domestic feature films directed by women.
Stubbornly Independent Films: domestic, narrative features made for under $750,000 USD with no traditional distribution.
Vortex Animation, Experimental, and VR short films – This is for all animation, experimental, hybrid, or virtual reality projects.
Murmurations – The Murmurations category, in collaboration with Ulrich Museum of Art, is open to short and feature films that meet the following requirements: fifty percent of production is based in Spain OR the writer, director, or producer is based in Spain; the original voice is in Spanish or one of the co-official languages of Spain (Basque, Catalan, Aranese, and Valencian); and subtitled in the English language.
Timothy Gruver Spotlight on Kansas Filmmakers  – Kansas filmmakers submit for free – see below for official rules)
NEW NAME: Thane Chastain Emerging Filmmakers Showcase – short films from filmmakers (19 and younger) may be submitted for free.
“Tallgrass Film Festival is excited to welcome another round of submissions for to 2024 edition of the Festival. Every year is a new mosaic of independent films from across the world. I look forward to seeing the array of high quality movies as well as the challenge of crafting a program from so many wonderful stories,” Head Programmer Andre Seward said.
SUBMISSION GUIDELINES
The final deadline is July 15. Full submission details are available on the same page—fees range based on deadlines. To submit a film or learn more, please visit our FilmFreeway page and follow the official submission instructions.

#### Call For Submissions Open for the 20th Annual Tallgrass Festival
Tallgrass Film Association (TFA) announces the call for submissions opens tomorrow for the 20th annual Tallgrass Film Festival, September 28th-October 2nd, 2022 in and around downtown Wichita, Kansas.
In addition to showcasing the best of independent cinema from around the globe, including documentary, narrative, world cinema, animation, LGBTIA+, retrospective and premiering films, the 20th annual Tallgrass Film Festival is specifically seeking films to feature in the following special programs and spotlights:
 

Gordon Parks Award for Black Excellence in Filmmaking – Feature-length film with no traditional distribution deal at the time of the festival. Open to films of any production budget from any country from any genre with a director that self-identifies as Black, African-American or part of the African-Diaspora.

Vortex Animation, Experimental, and VR short films – This is for all animation, experimental, hybrid or virtual reality projects.

Murmurations – The Murmurations category is open to short and feature films that meet the following requirements: fifty percent of production is based in Spain OR writer, director, or producer is based in Spain; the original voice is in Spanish or one of the co-official languages of Spain (Basque, Catalan, Aranese, and Valencian); and subtitled in English language.

Female Filmmaker Spotlight – Feature films directed by women (Changed from DOXX category to all features)

Stubbornly Independent Films: domestic, narrative features made for under $750,000 USD with no traditional distribution

Timothy Gruver Spotlight on Kansas Filmmakers  – Kansas filmmakers submit for free – see below for official rules)

Joel Fein Emerging Filmmakers Program – short films from filmmakers (19 and younger) may submit for free – see below for official rules

Tallgrass Film Festival will grant cash awards in the following categories:

Stubbornly Independent: $5,000 and one-of-a-kind Tallgrass tap handle

Female Filmmaker Spotlight: $5,000 and award

 Gordon Parks Award for Black Excellence in Filmmaking: $5,000, $15,000 value Panavision Camera Rental and an award.

Best Kansas Filmmaker Documentary Short Film: $500

Best Kansas Filmmaker Narrative Short Film: $500

Best Emerging Documentary and Narrative Short: $500

Best Narrative and Documentary Short: $500

Best Narrative and Documentary Feature: $500

Best Vortex Short: $250

Best Murmurations Film: $250

Audience Award Winning Documentary & Narrative Feature: $2,500

Audience Award-Winning Narrative and Documentary Short: $1000

 
Non-cash special recognition awards include:

Golden Strands Awards (awarded by Tallgrass Programming Directors) for Outstanding Documentary and Fiction Feature, Acting and more

Best Emerging Filmmaker Short Film

 
“The addition of the animation, experimental, or virtual reality category (Vortex) and the Spanish cinema (Murmurations) category will broaden the range of our film program and further enrich the festival experience. I’m looking forward to the first edition of these new categories along with the longstanding submission categories. I cannot wait to see the submissions and the final selection this fall,” Andre Seward, Programming Director, said.
 
SUBMISSION GUIDELINES
Films should be submitted through FilmFreeway. Full submission details are available on the same page.
 
Deadlines:
Early Bird: March 11, 2022
Regular: May 14, 2022
Late: June 11, 2022
Extended: July 2, 2022
 
Fees
(Gold Members on FilmFreeway have discounted rates, details available on submission page):
 
Features
Early Bird Deadline:  Standard – $45 | Student – $36
Regular Deadline:  Standard -$55 | Student – $44
Late Deadline: Standard –  $100 | Student – $80
Extended Deadline: Standard – $130 | Student – $104
 
Shorts
Early Bird Deadline:  Standard – $15 | Student – $12
Regular Deadline: Standard – $30 | Student – $24
Late Deadline: Standard – $50 | Student – $40
Extended Deadline: Standard – $80 | Student – $64
 
To submit a film, please visit FilmFreeway page and follow official submission instructions.
Submissions from Kansas filmmakers for the Kansas Filmmaker Category, Gordon Parks, and Emerging Filmmakers for the Emerging Filmmaker Program will not require a submission fee except for the extended deadline. However, filmmakers must submit a valid Kansas address or a copy of a school ID, respectively, in order to submit for free (No ID requirement for Gordon Parks Category). Students may submit feature films at a discounted rate with a valid copy of a school ID to qualify for reduced fee, failure to include a valid student ID will result in the submission being considered incomplete.

#### CALL ME DANCER – Interview with Filmmaker Leslie Shampaine
Co-Director Leslie Shampaine talked with our Gadi Elkon about her history with Ballet, her long friendship with Yehuda Ma’or and so much more!

A street dancer from Mumbai struggles against his parents’ insistence that he follow a traditional path. Then he meets a curmudgeonly Israeli ballet master, who inspires him to follow his dreams.
Leslie and I talked about Yehuda, Manish and the amazing students in Mumbai, the traveling involved and so much more!
Interview with Co-Director Leslie Shampaine about the moving feature documentary, Call Me Dancer.

For more info, CALL ME DANCER.

#### Can You Dig This – Interview w/ Director Delila Vallot
CAN YOU DIG THIS follows the inspirational journeys of four unlikely gardeners, discovering what happens when they put their hands in the soil.  This is not a story of science and economics. This is a story of the human spirit, inspiring people everywhere to pick up their shovels and “plant some shit.” 

	Click through for my interview with documentary filmmaker Delila Vallot.

	

	

	 

	 

	 

	 

	 

	 

	 

	 

	 

	Interview with filmmaker Delila Vallot:

	I started out our conversation about Delila's documentary feature debut by asking about what caused her to jump into this genre.

https://seligfilmnews.com/wp-content/uploads/2015/12/Delila-Vallot-Father-Dying-and-Scott-Lopez-article.wav

	The film does a great job of introducing the key figures in the urban farming community. 

	The film stars a cross-section of urban gardeners, including Ron Finley, the “Gangster Gardener” whose unexpected tactics have made him one of LA’s most widely known activists, 23-year-old former gang member, Mychael “Spicey” Evans and 21-year-old orphan Kenya Johnson who find hope at the Compton Community Garden, eight-year-old Quimonie Lewis who oversees a garden at her home in the projects, and former inmate Hosea Smith whose garden feeds his fellow residents at a halfway house.  From Can You Dig This website.

	During the filming process, Spicey was arrested and put in jail.  I asked Delila about that harrowing experience and the impact it had on the documentary.

https://seligfilmnews.com/wp-content/uploads/2015/12/Delila-Vallot-Spicey-arrested.wav

	I asked Delila about becoming fully connected to her subjects and what was going on in their lives today.

https://seligfilmnews.com/wp-content/uploads/2015/12/Delila-Vallot-Connecting-with-the-Subjects.wav

	It's one thing to be able to befriend people it's something entirely different to get those same people to go on camera.  Delila explained the lengthy process of befriending and filmmaking her subjects.

https://seligfilmnews.com/wp-content/uploads/2015/12/Delila-Vallot-opening-up-on-camera.wav

	I asked Delila about how much footage the team gathered and what it was like working with her editor Asako Ushio and supervising editor Billy McMillin.

https://seligfilmnews.com/wp-content/uploads/2015/12/Delila-Vallot-footage-and-editing.wav

	The documentary has one element that stands out pretty strongly, the music.  The doc is not only Executive Produced by John Legend, he also has a song on the soundtrack, but the really awesome thing is that TV On The Radio's David Sitek has composed an amazing score for the film.  I asked Delila about the incredible music in the film.

https://seligfilmnews.com/wp-content/uploads/2015/12/Delila-Vallot-Music-with-Dave-Sitek.wav

	I ended our wonderful chat by asking Delila if she has been bitten by the documentary bug.

https://seligfilmnews.com/wp-content/uploads/2015/12/Delila-Vallot-Documentary-Bug-Bite-Her.wav

	CAN YOU DIG THIS is available NOW on the following VOD platforms: Comcast, Time Warner Cable, Dish Network, DirectTV, Cox, Charter on Demand, Verizon, Suddenlink, Mediacom, Insight, Wow!, RCN, EastLinkTV, Rogers on Demand, Shaw, Telus, iTunes, Google Play, YouTube, Vudu, Amazon, Microsoft, Playstation and Hoopla.

#### CANARY – Interview with Filmmakers Danny O’Malley and Alex Rivest, PhD
One of the year’s most enlightening and important documentaries is CANARY.  Filmmakers Danny O’Malley and Alex Rivest, PhD talked with our Gadi Elkon about this fascinating look into Dr. Lonnie Thompson and his work.

Witness the extraordinary life of Dr. Lonnie Thompson, an explorer who went where no scientist had gone before and transformed our idea of what is possible. Daring to seek Earth’s history contained in glaciers atop the tallest mountains in the world, Lonnie found himself on the frontlines of climate change—his life’s work evolving into a salvage mission to recover these priceless historical records before they disappear forever.
Danny and Alex talked with Gadi about Lonnie, his family, his work and so much more!  Here is our chat with the filmmakers behind the amazing CANARY.

CANARY is now in theaters!
 
 

#### CANDY CANE LANE – A Review by John Strange
CANDY CANE LANE – A Review by John Strange
Eddie Murphy headlines Candy Cane Lane, a Christmas holiday film now playing on Netflix.  Chris Carver (Murphy) is a good father and husband, with a strong competitive streak that comes out in spades each Christmas as the houses on Candy Cane Lane compete for the home with the best seasonal decorations.
This year, the competition is more intense than ever.  Chris and his neighbors, like Bruce (Ken Marino), are informed that the competition is enhanced this year with $100,000 on the line for the winning family.
When Carver gets desperate to win, he encounters an elf while out shopping for new ideas.  Pepper (Jillian Bell) offers the man what he wishes for.  But it has a hidden price (ALWAYS read the fine print).  One he doesn’t discover until after the elf’s spell kicks in and animates the 12 Days of Christmas.
This film is like a Hallmark Christmas film crossed with a comedy horror film.  Or as Pepper says to Chris, “What’s Christmas without a little terror?”
This film, despite the mild horror overtones, is a fun movie to watch.  And a relief from the cookie-cutter films from that other channel.  Eddie Murphy, Tracee Ellis Ross as Chris’ wife Carol, Nick Offermann as Pip, and David Alan Grier as Santa Claus lead a great cast enhanced with the special effects used to bring the 12 Days of Christmas to life.  Jillian Bell as Pepper, the elf determined to punish all of the Naughty people in the world, one at a time, showed a strong talent for being a “bad guy”.
I had a nice time watching this film.  It’s good though I found myself wanting a bit more.  I give the effort 4.5 stars.
 
Director: Reginald Hudlin
Cast: Eddie Murphy, Tracee Ellis Ross, Jillian Bell, Genneya Walton, Thaddeus J. Mixson, Madison Thomas, Nick Offerman, Chris Redd, Robin Thede, Ken Marino, Anjelah Johnson-Reyes, Lombardo Boyar, Timothy Simons, Danielle Pinnock
MPAA Rating: PG (for language throughout and some suggestive references)
Selig Rating: 4.5 Stars
Runtime: 157 Min.
Release Date: 12/1/2023
Release Location: Netflix
Language: English
Trailer: CANDY CANE LANE Official Trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### CANDY MAN
CANDY MAN
By Gary "Butterfingers" Murray
Starring David Klein, Weird Al Yankovic and a bunch of candy
Directed by Costa Botes
Running time 76 min
MPAA Rating: Not Rated (PG at most)
Selig Film Rating: FULL PRICE
Jelly Belly candies seemed to appear on the planet, just there in a vacuum on the sweets isle. Everyone knew that they were Ronald Reagan's favorite treat and very hard to get in the early days. Now they are everywhere. The story of how the little beans came to be a world wide phenomenon is the story of the fascinating documentary Candy Man.
The movie Candy Man starts with a single man, David Klein, and a vision. He was a law student who still had a childlike passion for sweet treats. To pay his way through law school, he sold specialty popcorn out of the back of his car. He knew that someday he would be in the candy business, even though no one in his family was in the candy business. 
David Klein's biggest claim to fame is that he is the unknown inventor of Jelly Belly jellybeans. He also became the face of the product, appearing on television, promoting the treat. David does all the silly bits for the chat shows, pushing himself as much as pushing his candies. He is also the biggest victim of his own success. The story of Candy Man is also a story of greed and bad decisions
Many interviewed for the film see David as a genius, mostly with praises from family and friends. David does have a tilted view of the world. He makes all his notes on paper plates because regular scraps of paper will be thrown away, but a note on a paper plate won't. He is constantly working, trying to come up with more ideas and different candy. He basically is the real life Willy Wonka. We see his Jelly Belly product go from eight flavors sold in an ice cream shop to becoming part of the culture.
The story is also of lawyers and money, the downside of success. David and his partner are confronted by the contracted manufacturer of the product. The resolution is shocking and somber, where doing the right thing and doing the correct thing are not parallel.
In many ways, David Klein reminded me of Orson Welles, a genius who could never top his first time out of the box. Both men seem to live in the shadow of what they created early on in their life, always trying to best that first idea and never seeming to get over the hump. 
One has to commend Costa Botes on giving a full picture of both the man and the times. There is a true sense of all the elements in the life of the man, even when showing them with rose colored glasses. Costa Botes does have a one sided view of the events with a heavy hand behind David Klein. But, this is not journalism per se but and examination of how naive genius goes up against corporate survival. 
Candy Man has won some awards and been featured at festivals. It is a film that it part history and part impassioned plea to set the record straight. While we do not see the other side of the story, Candy Man does give the audience an emotional ride of a man with a vision. It is truly a sweet, enjoyable experience.

#### CANDYMAN – A Review by Hollywood Hernandez
CANDYMAN – A Review by Hollywood Hernandez
Since 1992 one word has struck fear in us like no other word, Candyman (said five times). Well, Candyman is back and he’s just as scary as ever. Candyman, played by Tony Todd, is supposedly an urban legend, but when people in the community start being brutally killed, we discover that Candyman is much more than just a made-up ghost.
The movie stars Yahya Abdul-Mateen II as Anthony, an artist who’s recently moved into the old Cabrini Green neighborhood with his female partner. When he meets an old man in the neighborhood (Coleman Domingo) he learns the story of Candyman and becomes obsessed with him. He researches the man and discovers that he was a real-life person who lived in the projects of Cabrini Green and was killed by police.
His obsession becomes capturing the spirit of the killer through his paintings. However, things take a horrible turn when he unwittingly brings the spirit to life. In the newly gentrified neighborhood, there are plenty of people who don’t believe the legend and also plenty of people who end up dead. 
The movie is produced by Oscar winner (for Get Out) Jordan Peele and directed by up-and-coming female director Nia DaCosta. They also co-wrote the movie. The two filmmakers do a brilliant job of mixing a horror/thriller film with a movie that makes a social statement. The issues of gentrification, buying up all of the property in a neighborhood and driving out the minority community who can no longer afford to live there, police brutality, and the injustice received by the black community are all addressed within this bloody horror film.  
Director Nia DaCosta does a very creative job of shooting the scenes of murder and violence. With only a few exceptions most of the killings take place in darkness with the grisly killings only showing the effects of the violence done in the scene.  
Peele and DaCosta have made a slasher film into a thought-provoking movie with a social conscience. I’ve never seen a movie like this. However, make no mistake, this is a scary movie. I had a hard time looking in a mirror after watching Candyman. 
The movie is rated R for grisly violence and runs right at 2 hours. On my “Hollywood Popcorn Scale” I rate Candyman a JUMBO. 

#### CANNES MARKET: Yellow Veil Pictures Acquires Mattie Do’s Laos Sci-Fi Thriller THE LONG WALK for North American Release
 
Yellow Veil Pictures has acquired North American distribution rights to Mattie Do’s celebrated Laos time travel feature THE LONG WALK and is planning an early 2022 release. The film world premiered at the 76th Venice International Film Festival in the Giornate degli Autori section and later went on to screen at the Toronto International Film Festival in the Contemporary World Cinema program, Fantastic Fest and Sitges International Fantastic Film Festival.
THE LONG WALK tells the story of an elderly man who has the power to travel back in time thanks to a mysterious spectral companion whose death he witnessed fifty years earlier. He decides to trespass into his own past and set in motion a plan to preempt his mother’s terminal suffering, and ultimately appease his soul.
Director Mattie Do says “I’m beyond excited that my film has finally found a legitimate home with a company that has experience, knowledge, and zeal for unique and daring new genre stories. I couldn’t be happier to see The Long Walk entrusted to a passionate and dedicated company like Yellow Veil.”
The film is the third feature from Mattie Do, a pioneering filmmaker who is currently Laos’ first and only female director, and the only director in the country to work specifically with the horror genre. Do’s second feature, DEAREST SISTER, was selected as the Laotian entry for Best Foreign Language Film at the 90th Academy Awards, notably the first time that Laos has submitted a film for consideration in the category. THE LONG WALK is written by Christopher Larsen, who also penned Do’s previous films, and produced by Do, Larsen, Annick Mahnert, Justin Deimen, Anousone Sirisackda, and Abhi Rastogi. Jeremy Sim and Terence Kong served as executive producers. The film was financed and produced by 108 Media and Aurora Media Holdings in Singapore, with global rights handled by 108 Media. It was picked up from the Southeast Asian Film Financing Project Market held in Singapore.
108 Media says, “Through our continued commitment to building up cross-cultural voices and stories, 108 Media’s is uniquely placed to take a special and daring film like The Long Walk out to the world, and partner with exciting folks like Yellow Veil and their team.”
Hugues Barbier, Co-Founder of Yellow Veil Pictures adds, “We have been following Mattie’s career closely since her breakthrough debut feature Chanthaly, and we are beyond excited to be able to bring to the North American audiences her latest film The Long Walk. Acclaimed by critics and audiences all over the world during its festival run, and we hope this release will bring even more attention to one of the most inspiring filmmakers in recent memory.”
The deal was negotiated by Yellow Veil Pictures Co-Founders Justin Timms, Joe Yanick, and Hugues Barbier with 108 Media Corp’s Jordan Nutson on behalf of the filmmakers.

#### Cannes Market: Yellow Veil Pictures Bolsters Pre-Cannes Slate With Folk Horror Feature HELLBENDER
 
Ahead of the virtual Cannes Pre-Screening market, arthouse genre outfit Yellow Veil Pictures have added worldwide sales rights to HELLBENDER from directors Toby Poser, Zelda Adams, and John Adams, which is set to world premiere at the upcoming Fantasia International Film Festival.
The film follows 16-year-old Izzy (Zelda Adams), who leads an isolated life on a lonely mountaintop due to a rare sickness. Questioning her illness and starving for companionship, Izzy sneaks down the mountain where she befriends the brazen older girl Amber (Lulu Adams). Just as Izzy finally begins to feel happiness, a drinking game involving a live worm unleashes a new kind of insatiable hunger within her. Confused and scared, Izzy appeals to her mother for answers but the family’s secrets are as old and dark as the bloodline from which they’re born.
Justin Timms, Yellow Veil Pictures Co-Founder, said, “Hellbender is unlike anything you’ve ever seen and we’re absolutely thrilled to team with the mad genius filmmaking family behind this one, and help find its audience around the world.”
HELLBENDER marks the sixth feature under the Adams Family’s Wonder Wheel Productions banner, following their 2019 hit THE DEEPER YOU DIG. For each film they’ve employed the same DIY ethic, and as a collective team write, direct, produce, shoot, edit, act, and compose.
In a joint statement the Adams family said “‘Yellow Veil embraces the creative energy and vision of our family and new film, Hellbender. We’ve admired the tone and boldness of YVP’s collection from the get-go, and the three of us are thrilled to be teaming up with them.”
The movie bolsters Yellow Veil Pictures’ market slate which includes the SXSW hit animated Midnighter THE SPINE OF NIGHT, George A. Romero’s “lost” film THE AMUSEMENT PARK, the Edgar Allan Poe inspired feature THE BLOODHOUND, backwoods slasher HONEYDEW, and Jordan Graham’s demonic chiller SATOR.

#### Cannes Market: Yellow Veil Pictures Launch Distribution Arm With Acquisition of Frida Kempff’s Sundance Sensation KNOCKING
 
Ahead of the Pre-Cannes Screenings, which run in advance of the 2021 Marché du Film, worldwide sales arthouse genre outfit Yellow Veil Pictures announces the launch of a new North American distribution arm. The company will continue to focus on boundary-pushing genre cinema and will inaugurate the new venture with Frida Kempff’s Sundance hit KNOCKING with a planned theatrical and digital release this fall.
KNOCKING marks the feature debut for Kempff who, in 2010, saw her short BATHING MICKEY take home the Prix du Jury at Cannes. The film stars Cecilia Milocco (INVOLUNTARY) as Molly, who after suffering a traumatic incident moves into a new apartment to begin her path to recovery. It’s not long after her arrival that a series of persistent knocks and screams begin to wake her up at night. Molly’s new life begins to unravel as the screams intensify and no one else in the building believes or is willing to help her.
Founded in 2018 and launched out of the Frontières Market at the Fantasia International Film Festival, Yellow Veil Pictures as a boutique sales company has facilitated the releases of Tilman Singer’s celebrated feature debut LUZ by Screen Media, horror maverick Larry Fessenden’s return to directing DEPRAVED by IFC Midnight, and most recently repped Philip Gelatt and Morgan Galen King’s SXSW adult fantasy animation THE SPINE OF NIGHT, which will see release from RLJE and Shudder, along with the lost George Romero film THE AMUSEMENT PARK, which premiered theatrically in the US last month and on the genre streaming platform Shudder on June 8th.
Director Frida Kempff said “I’m so happy that we are partnering with Yellow Veil Pictures to get Knocking in front of the audience in North America. The team at Yellow Veil has been so supportive and enthusiastic about Knocking and to be the first film out of their distribution arm is really something special.”
Knocking is written by Emma Broström and produced by Erik Andersson for Läsk in collaboration with SVT and the Swedish Film Institute through the initiative Moving Sweden with support from Norrköpings Filmfond. Federico Ambrosini served as executive producer on the film adapted from a novel written by Johan Theorin.
Hugues Barbier, Co-Founder of Yellow Veil Pictures says “Distribution felt like the natural extension of Yellow Veil Pictures, as our long time goal has been to be part of the success and visibility of the movies and creators we love. Having the chance to kick off this endeavor with Frida’s dazzling and timely debut is the perfect way to convey the company’s aspirations, as well as bringing to the North American audience an audacious and necessary experience.”
The deal was negotiated by Yellow Veil Pictures Co-Founders Justin Timms, Joe Yanick, and Hugues Barbier with Bankside’s Yana Georgieva on behalf of the filmmakers.
 

#### CAP – Interview with Writer Director Marshall Tyler
Writer/Director Marshall Tyler’s short film is a jarring and heartbreaking look at the sudden impact of gun violence.  The story follows young teen Manny Bennett who decides to highlight his wardrobe with an expensive new cap.  A school bully forever changes Manny’s world by stealing the slick headgear.  Powerful performances from Dusan Brown as our lead Manny, Tunde Adebimpe and Medina Senghore as Manny’s parents help showcase why HBO loved this short film.
Marshall and his team made bold choices to distinguish this short.  It is one of the most gripping works I’ve seen this year.
Here is my interview with Writer/Director Marshall Tyler:
 
https://seligfilmnews.com/wp-content/uploads/2020/04/CAP-Director.mp3
 
For more information on the film please go to, CAP.

#### Capitol Records Year Long Celebration of 75 Years
(PRNewsFoto/Capitol Records)

	 

	Capitol Records, one of the world's preeminent music companies and the first record label established on the West Coast, will launch its 75th Anniversary Celebration in November with an extensive slate of music, film and literary projects that will pay tribute to Capitol artists spanning the past eight decades and shine a spotlight on their historic contributions to music and popular culture.  

	Capitol Music Group (CMG) Chairman & CEO Steve Barnett today announced three of the company's planned  endeavors:  A year-long major vinyl reissue campaign – The Capitol Records 75th Anniversary Collection, 75 albums that illustrate the unparalleled artistry of Capitol Records throughout its history – launched in partnership with leading home furnishings destination Crate and Barrel; the publication of a deluxe photograph and essay book from TASCHEN, 75 Years Of Capitol Records, on December 15, and the development of a Capitol Records docuseries being produced by Nigel Sinclair/Whitehorse Pictures (The Beatles: Eight Days A Week – The Touring Years, No Direction Home: Bob Dylan), with individual episodes to be directed by music luminaries and Capitol artists, past and present.

	The year-long celebration will commence on Tuesday, November 15 when Capitol becomes the first record company to receive a star of recognition from the Hollywood Chamber of Commerce, which will be installed in front of the landmark Capitol Tower and adjacent to the internationally-renowned Hollywood Walk of Fame.  At the star's unveiling, the State the Los Angeles City Council will present Capitol with a resolution declaring November 15 Capitol Records Day in the city.  Beginning that evening, the spire on top of the Capitol Tower that has always emitted "Hollywood" in Morse code will change to "Capitol 75," and will continue to flash in that manner for the next 12 months.

	The Capitol Records 75th Anniversary Collection – Vinyl Reissue Program

	To select 75 albums that represent the best of Capitol Records from among literally thousands of works the company has released over the past 75 years, the label convened an advisory board of noted music journalists, authors and renowned creative figures to decide on the final list of albums that comprise The Capitol Records 75th Anniversary Collection.  The result spans myriad Capitol eras and musical genres, and includes best sellers, influential works and lesser-known gems (see below).  The reissue program begins this month, and titles will be available through music retailers throughout 2017.

	Crate and Barrel & American Airlines Partnerships

	Leading home furnishings retailer Crate and Barrel has partnered with Capitol for its 75th Anniversary celebration to feature The Capitol Records 75th Anniversary Collection in stores nationwide.  The collection can be found within The Listening Room, where consumers can find an exclusive collection of furniture, accessories and cutting edge audio equipment.  American Airlines continues their partnership with Capitol Records and Universal Music Group to celebrate a Hollywood Icon and its contribution to music around the world.  In 2017, American Airlines will continue their commitment to the industry by launching, "Fly to the Beat" – a Global Music platform, connecting consumers to their favorite musicians – including Capitol artists — and moments across five continents.

	75 Years of Capitol Records – TASCHEN Release in December

	To commemorate Capitol's extraordinary history of recorded music, TASCHEN is publishing the official account of Capitol Records from its founding year of 1942 through to today. To be released December 15, 75 Years of Capitol Records follows the label's evolution and the making of some of the greatest music of the 20th and 21st centuries.  The book includes hundreds of images from Capitol's extensive archives, as well as a foreword by Beck and essays by cultural historians and music and architecture critics.  This photographic and musical history includes the label's most commercially successful, creative and important artists whose work has defined Capitol Records, music and popular culture for the past eight decades.  75 Years of Capitol Records is also available at Capitol's online store.

	Capitol Records Docuseries – Produced by Nigel Sinclair / Whitehorse Pictures

	This series – planned for release in the autumn of 2017 – will tap into the creative passions of Capitol's artists, the hidden glories of the company's extensive archives and the many stories that have taken place within the Capitol Tower throughout its 75-year as one of the world's premiere music companies.  But it will be more than just the illustrious history of such a storied label; it will also tell the story of America's love affair with popular music and an exploration of how Capitol's artists and their music have helped shaped social movements, transform our popular culture and helped define our lives.  This docuseries will be produced by Nigel Sinclair's Whitehorse Pictures, the creative team involved  in numerous music-centered documentaries, including the award-winning No Direction Home: Bob Dylan and the just-released The Beatles: Eight Days A Week – The Touring Years.  Each episode in this docuseries will be directed by a past or present-day Capitol artist or other cultural luminary who will bring a unique and knowledgeable perspective to the stories being conveyed.

#### CAPTAIN AMERICA: BRAVE NEW WORLD – A Review by Cynthia Flores
As you know, whenever I review a new Marvel film, I have to run it by the Agents of S.H.I.E.L.D. for their approval. Heaven forbid I give away a plot twist in my review. I was hoping Elon Musk’s DOGE would have perhaps cut into their budget enough that they wouldn’t have the people available to redact anything from my article… I guess Elon must fear Melinda May, The Cavalry, enough to back off. Pity.
Well, here is the plot for this newest film in the Marvel Universe. Or what I can share about it.
Captain America: Brave New World hits IMAX movie screens and brings the next chapter in the adventure of the Star-Spangled Man. The film continues the story of Sam Wilson (Anthony Mackie) as he battles enemies like XXXXXXXXXXX (Tim Blake Nelson) at home and XXXXXXXXXX military abroad. 
Sam Wilson (Anthony Mackie) is the new high-flying Captain America with wings made from vibranium gifted to him by the Wakandan people. He has to deal with the newly-elected President Thaddeus “Thunderbolt” Ross (Harrison Ford), whose alter ego is XXXXXXXXXXXXXXXX. Can you believe that guy got elected to the highest office in the land?
Anyway, after Sam and Joaquin Torres (Danny Ramirez) thwart Sidewinder’s (Giancarlo Esposito) sale of the stolen adamantium from XXXXXXXXXXXX, they are hailed as heroes.
So, along with big burley Isaiah Bradley (Carl Lumbly), they are invited to an event at the white house. After being wrongfully imprisoned for so long, Isaiah was hesitant about accepting the invitation, but Sam convinced him to go.
At the event, the president is brokering a peace accord with all the nations that want to mine the powerful alloy of adamantium only found on Celestial Island.
Just as the presentation gets started, a sudden attack on the President by XXXXXXXX and several XXXXXXXXX throws the event into chaos. President Ross narrowly escapes with the help of Secret Service Agent Leila Taylor (Xosha Roquemore) and Ruth Bat-Seraph (Shira Haas), the diminutive but deadly head of his security team. XXXXXXXX is arrested and imprisoned, but Sam vows to get him out and find out who was behind the attack.
As Sam and Joaquin follow the clues to the mastermind behind all the trouble, they’re shocked to discover that President Ross has used XXXXXXXXX (Tim Blake Nelson) to win the White House. Denied his freedom as he worked behind the scenes to keep Ross alive… or at least that is what XXXXXXX, the most intelligent man alive, wants everyone to believe. His real motive is revenge for the life that Ross took away from him. And he has poisoned him with XXXXXXXXXXXXXXX to get the job done. Will he succeed? Who is the real villain and hero in this story?
Captain America: Brave New World has all the right elements for this cinema genre. The kickass soundtrack. The well-choreographed and spectacular aerial battle scenes with XXXXXXXXXXXXXXXXX. What this new film lacks is an epic feeling to the film. It has so much emotional ground to cover that it feels slow despite the fun fighting scenes. Instead, Captain America: Brave New World is a solid stepping-stone to what could be a new epic storyline in this ever-evolving world of the Marvel Universe we get to enjoy.
I give Captain America: Brave New World 3.5 stars. It’s worth the price to see it on an IMAX screen to enjoy that extra punch that the fighting scenes deserve. And, of course, the coda at the end of the credits will whet the appetite for perhaps a multi-verse curve to this storyline. One can only hope.
 
Directed by: Julius Onah
Written by: Rob Edwards, Malcolm Spellman, Dalan Musson
Rated: PG-13
Selig Rating: 3.5 Stars
Running Time: 1 hr 58 min
Sci-Fi, Superhero, Action, Adventure
Wide Release: Only in theaters February 14th
Starring: Anthony Mackie, Harrison Ford, Danny Ramirez, Shira Haas, Carl Lumbly, Tim Blake Nelson, Giancarlo Esposito
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### CAPTAIN AMERICA: THE FIRST AVENGER
CAPTAIN AMERICA: THE FIRST AVENGER
 
By Gary Murray 
 
Starring Chris Evans, Hugo Weaving, Sebastian Stan, Hayley Atwell and Tommy Lee Jones
 
Written by Christopher Markus and Stephen McFeely 
 
Directed by Joe Johnston
 
Running time 2 hrs 5 min 
 
MPAA Rating PG-13
 
Selig Film Rating FULL PRICE
 
Even though I have no recollection of reading a Captain America comic book, I knew of the character.  He is another Marvel creation that has always been on the back-bench to Spiderman and the Hulk.  With all the movie successes of these and other Marvel characters (Iron Man I & II and Thor), it was only a matter of time before we would see yet another of the Avengers hit the big screen.   This one rivals the best of not only Marvel comics, but of DC as well.
 
The story starts in Medius Rea, with a team of researchers finding something big under the ice in the coldest reaches of the planet.   They cut open the deserted machine and find the shield of Captain America.
 
Then we go back seventy years and WWII.  Steve Rogers (Chris Evans) is a young man with lion heart and a 4F body.   Over and over, he attempts to join in the war against Hitler and over and over he is turned down.  His dream is to serve his country and stop bullies.  Then a scientist (Stanley Tucci) intervenes.
 
On the other side of the plot, Red Skull (Hugo Weaving) is trying to find a secret hidden by ancient peoples.  Though he is a Nazi, he also has his own plans that run afoul of Hitler’s   He heads an organization with ideas for world dominations.  He is aided by his own scientist (Toby Jones).
 
When Rogers is turned into Captain America (in a coffin-like device that looked like ‘The Acid Queen’ chamber from Tommy), a tragedy happens. The powers that be have no idea what to do with this scientist-made man.  Some want to use him as a lab rat and others want him for the propaganda effort.  The latter win and our super hero becomes a super seller of War Bonds.  He accepts his fate but yearns to get into battle.
 
Eventually Rogers gets his chance to fight. To tell more of the plot would spoil it for those going out on opening night.  Let’s just say that the bad guys get to see the American fighting spirit more than once.  And Stark Industries has a helping hand in the making of this super hero.
 
Red Skull should go down as one of the best bad guys in cinema.  Not just evil, he is also vindictive and cruel.  This is a scene chewing role and Hugo Weaving does it with a gleeful relish.  It is almost worth the admission price to watch him emote all over the screen.  This is a mastery of make-up and performance that few in Hollywood equal.
 
The minor roles are filled with such great characters performers such as Tommy Lee Jones, Stanley Tucci and Toby Jones.  Each finds a moment to shine in the giant summer blockbuster.  Hayley Atwell takes on the ‘girlfriend’ role and turns it into a strong, subtle acting turn.  She is a find who deserves more roles. 
 
While the 3D effects were better than most of the 2011 entries, it still seems to be a bit of ‘so what?’  Even though they are getting better with each outing, the entire exercise is more of a way to upgrade the ticket price than a storytelling mechanism.  If the producers do not get their act together, this version of 3D will eventually fade out like the last two major attempts.
 
During the spooling out of Captain America, I kept feeling like I was watching an update of Raiders of the Lost Arc.  There are so many similar elements to both works but with some very different heroes and outcomes.  I would bet that director Joe Johnston studied the Spielberg film before he crafted this tale.
 
Captain America is the best comic book movie of the year.  Yes, it is silly and over the top, yet there is a solid emotional core.  A good good-guy and a better bad-guy, amazing special effects and loads of explosions, what more can one ask for in a summertime check-your-brain-at-the-door action flick?  This is another massive action-adventure that will fill the coffers of Hollywood.  Onward to The Avengers mega-movie!  
 
One last thing—there was no need for the fans to wait around for an ending credits tag.  At the press screening there was nothing, much to the chagrin of the audience waiting until the last image flickered.  However, according to my Comic-Con source, there was a tag for The Avengers film at the San Diego Captain America showing.  So, one may or may not get a little Easter Egg at the end of the flick.

#### CAPTAIN AMERICA: THE WINTER SOLDIER – A Review by John Strange
CAPTAIN AMERICA: THE WINTER SOLDIER

	By: John ’Doc’ Strange

	Directed by: Joe Russo

	Cast: Chris Evans, Sebastian Stan, Samuel L. Jackson, Scarlett Johansson, Robert Redford, Anthony Mackie

	MPAA Rating: PG-13 (for intense sequences of violence, gunplay and action throughout)

	Selig Rating: FULL PRICE

	Runtime: 136 Min.

	
	Steve Rogers aka Captain America (Chris Evans) is getting a bit tired of cleaning up S.H.I.E.L.D.’s messes.  When the captain is dropped with Natasha Romanoff aka Black Widow (Scarlett Johansson) and a strike team to retake a covert S.H.I.E.L.D. ship, he discovers Natasha has secondary orders that he didn’t know about.  Angry isn’t the word for it.  He is furious with (yeah, here it comes) Nick Fury!

	Shortly after the team returns from the mission, Fury is attacked and nearly killed before escaping the trap in a great combat sequence.  He shows up at Steve’s apartment where he is mortally wounded setting off a series of events that will forever alter S.H.I.E.L.D.

	One of the things I love about these films is the way they introduce new characters.  The introduction and back story of Falcon aka Sam Wilson (Anthony Mackie) is as compelling.  Then there is Steve’s neighbor, Kate (Emily VanCamp).  I look forward to seeing both of these folks I future films!  Additionally there is Robert Redford’s character, Alexander Pierce.  This is a man whose allegiance to his beliefs is as rock solid and Mr.’ Redford’s performance.

	The story of The Winter Soldier in the Captain America comics is one of the best story-arcs in the plethora of Marvel storylines.  The action in this film, the caliber of the actors and their performances, and the special effects combine to give us the most compelling of any film in the series to date.   This is a “must see” film!

	
	Movie Site: http://marvel.com/captainamerica#/home

	
	The Selig Rating Scale:

	FULL PRICE – Excellent movie, well worth the price
	MATINEE – Good movie
	DOLLAR – OK movie
	CABLE – No need to rush. Save it for a rainy day.
	FREEBIE – Good that I saw it on the big screen but wish I hadn't paid for it.
	COMMERCIAL TV – Commercials and cutting to the allotted time will not hurt this one.
	FORGET IT! – Bad. If you see this one, do yourself a favor and keep it to yourself.
	GET YOUR TORCHES – BAD! – Burn the script, the writer, the director and maybe even the actors!

#### CAPTAIN FANTASTIC – A REVIEW BY HAYDEN PITTMAN
Recently, there's been a string of unique, above average, out of the ordinary films that have intrigued audiences, such as "The Lobster", "Swiss Army Man", and another new release in "Hunt for the Wilderpeople", and this week, one of those films is "Captain Fantastic". Starring Viggo Mortensen in probably his best role ever ("Lord of the Rings" was always a favorite of mine), along with Kathryn Hahn, Steve Zahn, Frank Langella, and a handful of younger, lesser known actors who are quite impressive, this film is a thought-provoking, heartfelt, very enjoyable experience that is great for all audiences.

	Mortensen plays Ben Cash, an extremely idealistic father who together with his wife, has decided to raise their six children in the forest away from traditional society. He teaches them to hunt, climb, survive, fight, and other life skills that he believes are important. They're not allowed to use words like "interesting" and have never once had a taste of the real world. When their somewhat troubled mother passes away, her father blames Ben for her mental state and warns him to stay away from the funeral, but the kids convince their dad that they have to say goodbye to their mother. The family ventures into the real world on an adventure that ultimately tests not only the kids, but Ben's ability and authority to take care of them.

	Once at the funeral, Ben is given a hard time about the way he is raising his kids. More than a few people believe he's unfit to be a parent and that the kids deserve a stable, safe environment where they can go to school and be normal. While arguing with his in-laws about the kids not ever being able to adapt into society because of the way Ben teaches them, he proves that even his youngest is smarter than her high school aged cousins, but this means little to the extended family, who go as far as to request custody for the kids come to live with them.

	While watching the family interact in society after many years in isolation is very amusing at times, it can also be sad and emotional. There are more than a few instances where as a viewer you feel for the kids safety and well-being, as they play with weapons, climb all over the place and attempt certain missions such as rescuing their brother from their grandparent's house, where one of the girls is hurt in the process. It's also sentimental that the kids and Ben have lost their mom and wife, respectively, and it becomes clear that despite the grandparent's wishes for normalcy, their daughter was just as much a freethinker as her husband and kids.

	This film reminded me of the other idiosyncratic titles listed above, as well as Zach Braff's "I Wish I Was Here" (2014), which involves another father who is homeschooling his kids and appears to teach them in a slightly different way than normal. Both fathers clearly care deeply about their children but may be a bit misguided at times.

	In "Captain Fantastic", Cash is tough, but adored, he's arrogant and pushy, but also loving and caring, and while to someone that doesn't know them, the kids look to be hurting because of their dad, in reality the family is very happy with their way of life, even if Cash eventually sees that there may be a better way of raising them. As mentioned, in addition to the sentimental moments, there is a great deal of humor and fun to be had throughout the film.

	If you're looking for a change from the average Hollywood blockbuster, something for the whole family or just a film that is a bit out of the ordinary, than "Captain Fantastic" is for you. It's a comical, eccentric, mostly feel-good family drama that should not be missed.

	Written and directed by actor/director Matt Ross, "Captain Fantastic" premiered at the 2016 Sundance Film Festival with great feedback and was screened in a section of the 2016 Cannes Film Festival that is used for originality and different kind of films. The film was released in the U.S. in select theaters on July 8th, 2016 and in additional locations July 15th.

	4 out of 5 stars.

	"Captain Fantastic" is rated R for language and brief nudity. Running time is 1 hour and 58 minutes.

	Directed by Matt Ross

	Selig Rating: FULL PRICE

	 

	The Selig Rating Scale:

	FULL PRICE – Excellent movie, well worth the price

	MATINEE – Good movie

	DOLLAR – OK movie

	CABLE – No need to rush. Save it for a rainy day.

	FREEBIE – Good that I saw it on the big screen but wish I hadn't paid for it.

	COMMERCIAL TV – Commercials and cutting to the allotted time will not hurt this one.

	FORGET IT! – Bad. If you see this one, do yourself a favor and keep it to yourself.

	GET YOUR TORCHES – BAD! – Burn the script, the writer, the director and maybe even the actors!

#### CAPTAIN JAKE AND THE NEVERLAND PIRATES: THE GREAT NEVER SEA CONQUEST – DVD Review by John Strange
https://www.youtube.com/watch?v=4W3-vsjOBgw

	 

	CAPTAIN JAKE AND THE NEVERLAND PIRATES: THE GREAT NEVER SEA CONQUEST – DVD Review

	 

	John Strange

	 

	Captain Jake and the Neverland Pirates is an animated series that revolves around three siblings Jake, Izzy, and Cubby (two boys and a girl).  In the show the kid’s are pirates in Nerverland.  They are always dealing with their opposition, Captain Hook, Mr. Smee, and Tick-Tock the Crocodile from Disney’s Peter Pan Franchise.

	 

	This DVD is a movie (45 minutes) and then a series of episodes taken from the show that runs on Disney Junior.  In the movie, The Great Never Sea Conquest, the trio of kid pirates and their ship are searching for the fabled pirate ship, the Colossus (the greatest battleship ever to sail the Neverland Sea) using a magic compass that Peter Pan gave them.  Captain Hook and his team of pirates are following the kids with the intention of stealing the ship (and, of course, the treasure).

	 

	Arriving in the Tortuga Triangle, the kids use a periscope to look at the sea bottom.  Spying something on the bottom, Jake has a net dropped down to retrieve it.  It turns out to be a tankard from the mighty Colossus.  While they are examining it, a suction cup flashes in and the cup is pulled from Jake’s hands.  Yep, Captain Hook has arrived!

	 

	After he drives the kids away he looks for the ship and its fabled treasure. What he finds in his periscope is nothing but rocks and seaweed.  He orders the crew to pull up the anchor so they can go “anywhere but here”.  The crew reports that the anchor is stuck on the rocks.  When they manage to pull it free, they set free the evil Mer-wizard Lord Fathom.

	 

	Lord Fathom and his henchman (or is it hench-squid?) head for Neptune City to recover the gem that gives him his power, The Dark Light Emerald.  He tricks the queen into proving to all that it is still safe in her vault.  When she opens the vault to display the gem, he seizes it and regains the powers it bestows when he returns it to its slot on his trident!

	 

	Once King Neptune’s trusted advisor, Fathom tried to usurp his ruler and become king of the Never Sea.  King Neptune defeated him and banished him to the undersea cave that Hook and his crew accidentally released him from.  Now, with his powers restored, Lord Fathom takes the crown and uses the fish of the sea to seal imprison the queen and her attendants in the very vault that had held the emerald!  (But not before the queen sends her star fish attendant to find Jake to save them.)

	 

	His first task after taking the crown is to he heads off to Dreadnaught Cove.  While this is going on Jake and the kids have returned to their island base.  Cubby is sad because he lost the compass when Hook sent their ship away with his dirty trick.  Then Sandy, the queen’s starfish attendant arrives at the island and tells the crew about the disaster that has occurred!

	 

	Jake sends Sandy back to Neptune City to let Queen Coralee know that they will help.  Pledging by the power of his Destiny Sword he and the group return to their ship and head out to save the day.  By this point you wil have noticed that every important moment in the show is celebrated with a song.  I can see that the younger kids will love this because they can sing along this the cast.

	 

	The scene changes and we are transported to Captain Hook’s ship.  He is lamenting the fact that he can’t find the treasure of the Colossus.  Mr. Smee tells his captain to not be so sad.  There are other treasures in the sea other than that of the Colossus.  But this doesn’t help as the Colossus’ treasure is the one he wants NOW!

	 

	The crew cast net after net to try and locate the treasure ship.  While this is going on a waterspout erupts from the water carrying King Lord Fathom,  He orders the “air breathers to get these nets out of his way!  Hook says he doesn’t take orders from fish and Fathom replies the he doesn’t listen to the babble of bumbling buccaneers!  Then Capt. Hook spies the emerald in the trident and falls in lust with it!

	 

	Hook won’t leave so Fathom starts inundating his ship with water spouts.  Capt. Hook has to admit that for once he might actually need help from Jake!  And wow!  Here he comes!  They try to capture King Fathom.  They tell him he can’t get away with this.  He replies that he will after he awakens his secret weapon, the Strake!

	 

	He can control the unstoppable beast once that Strake looks upon the Dark Light Emerald!  The kids and Hook’s ships are driven away by waves formed by Fathom’s magic.  He then proceeds on the Dreadnaught Cove to awake the dreaded beast!

	 

	Jake and his crew know that to defeat this evil wizard and his beast they will need help.  They send out word for the best captains to meet them on Neverland Beach!  The captains gather and they set sail to stop Lord Fathom.

	 

	The pirate fleet soon finds the evil Lord Fathom.  The wizard orders the fish of the sea to attack the ships.  The fish force the fleet to retreat!  Jake tells the assembled captains and crew  that they need to Colossus to defeat the wizard and the fish.  The captains ask him how he plans to find the ship. He says he doesn’t know but (raising his Destiny Sword), “I never give up and when someone threatens our home we stand as one!”  Suddenly the Destiny Sword begins to glow and a beam flashes from it into the sea!

	 

	He next moment, up from the sea arises the mighty Colossus herself!  The ship looks brand new (even though sea water IS pouring from all of the cannon mouths)!  Rushing on board, the pirates exclaim their joy over the ship.  All except hook who is upset at the lack of treasure!  Izzy tells him that the ship itself is the treasure!

	 

	The pirates acclaim Jake the captain of the Colossus because of his actions so far.  Only Hook disagrees (no surprise really).  With the acclamation, the Destiny Sword lifts Jake into the air and upgrades his wardrobe to that of a captain complete with hat and coat!  And the Destiny Sword transforms into a mighty Captain’s Sword!

	 

	Jake proclaims that lord Fathom better watch out because here comes the Neverland League of Captains!  Of course this calls for a song!  Once the song is finished they head out tosave the day.  It’s not long before they spot Fathom’s water spout!

	 

	Lord Fathom is surprised to see the ship.  Captain Colossus had trapped Fathom below deck prior to the Strake taking the ship to the bottom of the sea!  Lord Fathom calls up the creatures of the sea to sink the ship once and for all. 

	 

	Jake and the pirates fight off the creatures and then begin shooting cannonballs at the mer-wizard.  Fathom conjures up old shipwrecks to attack the Colossus.  The three old ships begin ramming the mighty vessel which gives Lord Fathom a chance to go off and release the Strake!

	 

	Using his trident and the Dark Light Emerald, Fathom opens the doors which have imprisoned the Strake all of these years.  The strake turns out to be a three-headed sea dragon which Fathom quickly puts under the control of the emerald!  He then sends the Strake out to destroy the Colossus!

	 

	Before the Colossus can fight the Strake they have to beat the derelict ships.  Jake pilots the ship in circles, swerving periodically.  Eventually all three of the derelict ships collide with each other and sink! Just in time for the Strake to attack!

	 

	Three of the captains figure they can whip the monster.  They quickly learn otherwise!  Then Jake swoops in and cuts one the sails which covers the beast and it disappears below the waves.  Sadly, this is not defeat for the monster, only a momentary setback.

	 

	Captain Jake calls to Izzy to engage the classic emergency plan!  But when the young girl goes to use the pixie dust, the monster strikes the ship and the dust goes overboard!  Oh no!  Jake has no clue what to do now!  The other captains tell him to do what his hero Captain Colossus would do.  He climbs to the bow of the ship and tells Fathom they will NEVER surrender!

	 

	Surprisingly, Lord Fathom calls the Strake off.  Why?  So he can destroy the pests himself!  Knocked to the deck while deflecting the emald bolts thrown by the wizard, Captain Jake picks up his mighty sword but he isn’t sure he can do it alone!  Suddenly a beam flashes out of the tip of the sword and strikes the sea!  King Neptune rises up from the sea!

	 

	King Neptune tells Jake that he can defeat Lord Fathom and the Strake using the Captain’s Sword.  But to do so he must believe in himself more than ever before!  Jake asks how he can defeat them because they are unstoppable.  King Neptune tells him that so is he.  And what’s more, if Jake fails, Fathom and the Strake have the power to destroy everything in the sea AND on the land!

	 

	Jake discovers that with the sword he can fly!  He flashes around the Strake and leads it away from the ship.  He drives it back under the ocean and then turns to Lord Fathom.  After trading bolts, Jakes swoops in and cuts the emerald off the trident removing Lord Fathom’s power source!

	 

	King Neptune tells Jake how to use the emerald to force the Strake to return to its cave a slumber forever!  Following the defeat of the Strake, Lord Fathom attempts basically the same trick he used on the queen to try to get the gem back from Jake.  Instead, Jake shatters the emerald into tiny shards!

	 

	With the destruction of the emerald, all of the magic drains away and the ensorcelled animals are freed!  The queen and her attendants are released and her crown is returned to her!  Sadly for Fathom the release allows the creatures to turn on him.  When we last see him, he and his minion are swimming for their lives from the enraged sea creatures!

	 

	This calls for an epic song, everyone singing the praises of Captain Jake!  Then the other captains sail off in their own ships and Queen Coralee thanks Jake for saving all of them!  Meanwhile, deep under the sea outside the lair of the Strake, Lord Fathom lurks in the dark.  He is NOT happy but he has a sliver of the emerald and vows to regain his power.  Next time he vows to rule not just the Never Sea but to rule Neverland and the lands beyond the Never Sea!

	 

	(Note here:  If you think you recognize Lord Fathom’s voice, you are probably correct!  It is Malcolm McDowell’s distinct voice!)

	 

	The show episodes on this disk are listed below.  They showed two episodes per show.

	 

	In the Heart of Coldness has a group of penguins that are shanghaied by Shiver Jack, the evil Ice Wizard.  Percy the penguin finds Captain Jake and his siblings to go to the rescue.  Shiver Jack has them looking for an crystal filled with great magic called the Heart of Coldness.  The good guys  have to have to break into the evil wizard’s castle, Frozengard to free the penguins before the wizard gets possession of the magical device.  He will use it to freeze the Never World! 

	 

	After the rescue the pirates earn 10 gold doubloons for the tem treasure chest! 

	 

	In The Remarkable Beardini the team must deal with the Great Beardini, a magician.  When Hook and Smee are caught by the Great Beardini going through his home looking for a magic wand, Hook tells of the ring of invisibility held by a pirate.  A pirate named… Jake!

	 

	The point of this episode is how Beardini deals with protecting his magic tricks.  Jake is happy to return the ring.  He was only holding on to it to protect it from Hook.  Hook and Smee, who have snuck back to Beardini’s lair are not so lucky. 

	 

	The crew earns 9 gold doubloons for returning The Great Beardini’s magical secrets!

	 

	Escape from Ghost Island pits the kids against the ghost pirate, Captain Wraith!  If you touch his treasure you become a ghost, too!  If you are still a ghost at dawn when the island disappears you will be trapped and forced to be crew on his ship, the Sea Ghoul!  Hook, Smee and Jake are turned to ghosts and the crews have to save them!

	 

	For escaping Ghost Island the crew earns thirteen gold doubloons!

	 

	The Island of Doctor Undergear has the kids looking for a replacement gear to repair their friend, Captain Gizmo!  He is injured protecting them from a volcano.  His golden gear is damaged.  Inside his case is a map showing an island shaped like a gear.  They go to Gear Island to search for the replacement gear.  On Gear Island the trio encounter Doctor Undergear, an evil mad pirate inventor.  He replaces the broken golden gear in Captain Gizmo with the one originally intended for the mechanical man.  One that turns him evil, too!

	 

	The kids have to defeat the evil doctor and find the replacement golden gear to get their friend back on the side of good!

	 

	The team earns nine gold doubloons for saving Captain Gizmo!

	 

	Rise of the Pirate Pharaoh sees the young pirates touring Pharaoh’s Valley with the pirate mummy!  Just as the tour is about to end the ship (on wheels) runs over a stone block and a new buried tomb is uncovered!

	 

	Cubby finds to ancient devices, a hook and a flail that when struct together make great magic.  When he strikes them a beam flashes out and awakens the two mummies (one human, one a cat). 

	 

	The mummy is Pirate Pharaoh!  The kids run in fear.  But should they?  Is the man evil?  No, he isn’t!  The kids start off trying to stop him until they realize he is a good man!  They help him return the desert valley to its previous green state!

	 

	For helping the Pirate Pharaoh restore the waters of the Never Nile they earn 10 gold doubloons!

	 

	The Golden Hook is a magical device that turns everything touched by its owner to gold.  Hook replaces he current hook for the golden device and as expected things go awry!  Lucky for Captain Hook, Jake and the kids come at Mr. Smee’s request to save everyone turned to gold back to their original state!

	 

	For helping Capt. Hook get rid of his gold fever they earn nine gold doubloons!

	 

	And the bonus episodes:

	 

	The Mystery of the Mighty Colossus brings the team back to the Mighty Colossus to help Hook find his ship.  While deep in a dense fog bank they see a shadow swinging in the rigging and a maniacal laugh!  The Grim Buccaneer is on the Mighty Colossus!

	 

	The Grim Buccaneer was first mate to Captain Colossus on that very ship until he turned bad and betrayed his captain and was cast away!  The League of Pirate Captains must be on the lookout for the Grim Buccaneer.  Captain Hook disagrees until Sharkey and Bones both disappear.

	 

	The Grim Buccaneer captures all of the pirates and plans to maroon them on Pirate Doom Island.  Jake and the team escape and plan to maroon the Buccaneer instead!  However the devious pirate escapes into the fog!

	 

	For helping to defeat the Grim Buccaneer and save the Mighty Colossus they earn 12 gold doubloons!

	 

	The Doubloon Monsoon brings together Captain Hook and his Mother to harvest berries.  Other pirates including Bones and his grandfather and Jake and Skully.  Conditions are right for finding the doubloon monsoon!  The pirates team up by family to see who can find the doubloon monsoon first.

	 

	Not surprising Captain Hook cheats and his mother has to correct him that this is not right and he is NOT to do it again.  Arriving in Hidden Valley they soon see the doubloon monsoon firsthand!  Hook and Bones both grab a doubloon but get pulled into the wind driven coin tornado!  Working together they save the two pirates.

	 

	Hook wants to gather each and every coin but everyone else, including his mother decide to leave them there.  Everyone leaves Hook to gather the coins alone.

	 

	For helping to find the doubloon monsoon the team earns 9 gold doubloons for the team treasure chest!

	 

	Shark Attack!  Doctor Gearhead is back!  The trio are on the Mighty Colossus when they see a shark fin.  Using the periscope they see a large number of sunken ships with odd looking marine life stripping the ships of all their usable gear.  Jake uses a mini-sub from the Colossus called a splash diver!

	 

	Diving down, Jake finds Doctor Gearhead leading his machines in the salvage of the ships.  Why does he want the parts?  To build more evil machines!  Then the evil doctor spies the Colossus and decides he MUST have it!  He orders his creations to sink the Mighty Colossus!

	 

	The team defeats the evil doctor and save the ship!  For stopping the devious Doctor Undergear from sing the Mighty Colossus the team earns twelve gold doubloons!

	 

	Captain Hook’s Colossal Collision finds the team tring out the various types of cannon balls to see what each color does!  They are trying a green ball when Captain Hook’s ship sails under it and gets slimed!  As upset as the captain might be, he too, is curious as to what each ball does.  Hook fires a purple stiped ball that ricochets everywhere knocking everyone overboard.  Hook is knock into to ship’s wheel that reveals a hidden control panel.  His fall breaks off a lever.  The lever controls jet engines that deploy and rocket the ship away from everyone!

	 

	How can they catch the ship (and save Captain Hook)?  They don’t have long to save the ship.  It is headed directly for Pirate Island!  The collision will destroy the kid’s hideout!  Thanks to pixie dust, the kids are able to get over to the Colossus and stop the ship at the last moment!

	 

	For rescuing the Mighty Colossus, Captain Hook and the hideout, the team earns nine gold doubloons!

	 

	These shows are fun for kids to watch and teach them about things like team work while giving them the opportunity to sing along with the good guys.  I had a great time watching these episodes and I am looking forward to putting the 3D Might Colossus puzzle ship together!

	 

	You can get this on DVD.

	 

	 

	Producer/Writer:          

	 

			Mark Seidenberg
		

	 

	Cast:

	 

			Sean Ryan Fox and Riley Thomas Stewart as Jake
		

			Megan Richie as Izzy
		

			Jadon Sand as Cubby
		

			David Arquette as Skully
		

			Corey Burton as Captain Hook
		

	 

	Episodes:

	                           

			The Great Never Sea Conquest
		

			Into the Heart of Coldness/The Remarkable Beardini!
		

			Escape from Ghost Island/The Island of Doctor Undergear
		

			Rise of the Pirate Pharaoh/The Golden Hook
		

	 

	Bonus:      

	                           

			The Mystery of the Mighty Colossus/The Doubloon Monsoon
		

			Shark Attack!/Captain Hook’s Colossal Collision
		

	:

	Extra:

	 

			Exclusive 3D Colossus puzzle ship
		

	 

	Specifications:

	 

	Runtime:

	 

			117 Minutes
		

	 

	Studio:

	 

			Walt Disney Studios Home Entertainment
		

	 

	Release Date:

	 

			01/12/2016
		

	 

	Languages/Subtitles:    

	 

			English, French & Spanish
		

	 

	Region:

	 

			1 (U.S. and Canada only)
		

	 

	Website:

	 

			http://disneyjunior.disney.com/
		

			http://movies.disney.com/jake-and-the-never-land-pirates
		

	 

	 

	MPAA Rating:

	 

			TV-Y7
		

	 

	Selig Rating:

	 

			Brand New
		

	 

	Selig Rating Scale:

	 

	BRAND NEW: Should add to your DVD collection at any cost

	SALE ITEM: Worth owning, but try to catch it a sale

	SECOND HAND: Plan to get it, but wait to buy it used

	RENTAL: Worth taking a look at, but not owning

	COASTER: Pick it up at a garage sale and use it for drinks

	PULL!: Makes a great Trap Shooting target

#### CAPTAIN MARVEL – A Review by Cynthia Flores
 
CAPTAIN MARVEL – A Review by Cynthia Flores
Captain Marvel is loud, fast, and full of “girl power” set in the 90s.  This is the origin film for the character of Carol Danvers (Brie Larson) who becomes one of the universe’s most powerful heroes, Captain Marvel.  She is also the superhero that first let the S.H.I.E.L.D. agency know that threats to Earth would even come from the stars above and not just countries we were at war with.
S.H.I.E.L.D. Agent Nick Fury (Samuel L. Jackson) first meets Vers (this is what the Kree aliens who she is working with at the time call her) when a mission by Starforce to extract an undercover agent goes wrong, and her team barely escape an attack by the dreaded Skrull.  They are a race of shapeshifters that are in a galactic war with the Kree.  The Skrull group is lead by Talos (Ben Mendelsohn), and he is the one who is using a device to extract information from the newly captured Vers.  It is this extraction that flips a switch in Vers’ mind to a time before she was a Kree, a time she forgot when Yon-Rogg (Jude Law) gave her a transfusion of his own blood to save her after an accident, imbued her with superhuman strength, energy projection, and ultimately flight.  She was told that her powers were given to her by the Kree and could be taken back by them as well.
Back to Nick Fury meeting Vers who has escaped from the Skrull and has crash landed on Earth.  She disobeys orders from Yon-Rogg to stay put until they can retrieve her and with Nicks help goes after information that the Skrulls want as well.  In the process, she finds out about her human origins and the friends she left behind that fateful day she crashed with Mar-vell AKA Dr. Wendy Lawson (Annette Bening) as they were trying to get to her secret lab where her invention that could end all wars was hidden.
That is as much of the storyline as I dare give you under penalty of being eaten by Goose, the orange Tabby cat in the film.  You will understand what I mean once you go see this film.  And trust me you will go see this movie because you want to be ready for the Avengers: Infinity War Part 2 that comes out next month.  Is this the best origin film ever?  No, not even close.  Is this the worst origin film to come out?  No, origin films by nature have to pack in so much back story and sell us on the hero in a short amount of time, so they tend to be clunky anyway.  This is just a so-so middle of the road origin story film.  Captain Marvel does its job telling us how Danvers became a superhero, a believer in truth and justice and a bridge between Earth and space.  Oh yeah, and that she can kick some serious villainous ass!  I give Captain Marvel a B- rating.
 
Directed by Anna Boden, Ryan Fleck
Written By Anna Boden, Ryan Fleck, Geneva Robertson-Dworet, Nicole Perlman, Meg LeFauve
Rated PG-13
Selig Rating B-
Running Time 2hr 4min
Drama / Comedy
Wide Release March 8th
Starring: Brie Larson, Samuel L. Jackson, Ben Mendelsohn, Jude Law, Annette Bening
 
The Selig Rating Scale:
A – Excellent movie, well worth the price.
B – Good movie
C – OK movie
D – No need to rush. Save it for a rainy day.
F – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### CAPTAIN MARVEL – A Review by Hollywood Hernandez
 
CAPTAIN MARVEL – A Review by Hollywood Hernandez
Brie Larson is Carol Danvers aka Captain Marvel, in the Marvel Comics version of the DC Comics movie Wonder Woman.  Both characters are amazingly similar.  They both come from a far away world and they both possess incredible superpowers.  In the case of Carol Danvers, she gets her superpowers from an implant placed in her body and it gives her blue blood to go along with her superhero abilities.
While Captain Marvel gets her superpowers she loses her memory and while traveling back in time to save the world from an alien race she teams with a young Nick Fury (Samuel L. Jackson).  She begins to find clues that give her back her memory.  She remembers that she had a best friend, Maria Rambeau, played by Lashana Lynch, who like herself was an Air Force fighter pilot.
Also, a character named Supreme Intelligence played by Annette Bening, uses the ladies to test pilot a secret plane she invented that travels at the speed of light.  She also gave Captain Marvel her superpowers.
Captain Marvel is the funniest one in the Avengers series yet.  We find out how Fury got the scars on his eye and he plays a younger, less serious version of his usually stoic character in all of the previous Avenger movies.  The remaining actors that round out the cast, Jude Law, Djimon Hounsou and space aliens Lee Pace and Ben Mendelsohn are amazingly good bad guys.
The movie is your standard science fiction fare.  But the action and the special effects are stellar.  The movie is also an homage to Marvel creator Stan Lee.  His small cameo roles in many of the previous Marvel movies are included in a collage during the opening credits and the audience was already cheering before the movie started.
Captain Marvel is rated PG-13 and lasts a little over 2 hours long.  Don’t forget the bonus scenes during the closing credits.  Actually, there are two bonus scenes in Captain Marvel.  The movie makes a great statement for “girl power” everywhere.  I’d suggest taking your young daughters to see it.
On my “Hollywood Popcorn Scale” I rate Captain Marvel a JUMBO.

#### CARDBOARD BOXER – A Review By Nick Askam
 

	I’ve never been homeless and have had few experiences with homeless people in my life. In fact, most of my experiences with homeless people are me ignoring them. I think that’s why I was so surprised by this film. It made homelessness become real and the people were actual people not just objects. Knate Lee, the director, tells a human story about struggle without feeling over the top. I was every more surprised when I saw that Lee’s previous projects were producing films like Bad Grandpa and Jackass 3D. This film is almost the complete opposite in storytelling and tone.

	The Cardboard Boxer is a story of a homeless man (Thomas Haden Church) and his struggles with being homeless. He interacts with other homeless people and a taxi driver (Terrence Howard) comes in occasionally to check on him. Church is digging through a dumpster and finds a journal from a girl who he doesn’t know. The journal is burned and he reads the journal constantly and even learns how to read cursive to continue. The girl’s words humanize the man and convince him to “write” back to her. The homeless man’s life changes when a rich kid (Rhys Wakefield) comes into the area and gives the homeless man cash if he fights people. The taxi driver obviously doesn’t like this and is forced to take action.

	I liked this film because you can see the change in the man’s character as he reads this journal. He’s not well-spoken or eloquent, but it’s obvious to see his down to Earth perspective. I think Church has a fantastic performance because you can empathize with him so easily. He’s not a thug or scary like most people would stereotype him to be. He’s just a normal guy in an unfortunate position. His responses to the journal show his position on the hard to discuss topics and I think provide great insight into what people in unfortunate circumstances go through. I think it’s easy to see his flaws (fighting people), but I was almost willing to forget that to help this guy out. Lee forces you to make a decision on who you’re going to support. It would be pretty easy to write him off, and I think at the beginning of the film, you’re very much inclined to do so. As the film carries on, you’re shown this character in a new way and it’s almost magical as your perspective changes on the situation.

	I thought the performances were pretty great. I didn’t think anyone acted different than you’d expect minus one scene with the taxi drivers and the rich kids at the end. I thought Wakefield was especially believable. He just wanted entertainment and getting homeless people to fight was the only real thing that he could do. He’s almost a tragic character in his own way, but in a different way because it’s apparent that normal life doesn’t entertain him. His quest for “realness” is built on false logic that these homeless people aren’t people. He never realizes it until the last scene that had more suspense than most horror movies I’ve seen recently. I also liked the performances from the people trying to convert the homeless men so they’d be saved. Johanna Braddy was the highlight of the last few minutes of the film.

	I actually really enjoyed the ending of the film. This whole time, you realize that something is wrong with the girl in the journal, but you can’t figure it out. Then, when it’s revealed, I think it has a perfect payoff. It’s not unbelievable and it makes sense in the grand scheme of things. I won’t say much more than the fact that I really enjoyed it.

	Overall, I was very pleased with this film. I didn’t have too many problems other than one of the last scenes and sometimes the film dragged in weird places. Other than that, I enjoyed it and was glad that I was surprised. I wouldn’t go in with the highest expectations, but I also wouldn’t assume this is the worst movie that you’ll see.

	 

	Score: 8 out of 10

#### CARMEN – A Review by Cynthia Flores
CARMEN – A Review by Cynthia Flores
In the film, we are told that the name Carmen means poem. And that this young woman is her mother’s poem to the world. Suppose you don’t like films about female sexuality and the power of dance used as the language of dreams. In that case, this brilliant feature film debut from Director Benjamin Millepied is not for you.
The French director, who is world-renowned as a choreographer, has said in interviews that he has loved the opera of Carmen since childhood. As an adult, he wanted to reinvent Carmen and breathe new life into her story with a fresh and contemporary perspective. Millepied is quoted as saying-
“This movie is not a re-telling or adaptation of Carmen, but an entirely new and unique artistic endeavor. On stage, dance, music, lights, and costumes all come together as a single experience, where none of the elements should conflict with one another but rather coexist as a coherent work of art. I approached this complete re-imagining of Carmen in the same way as I approach dance.” He said, “I wanted to make a movie that is an immersive experience, one that demanded I experiment with movement, music, and dance in a way that I had never known.” 
The new story of Carmen the film follows a young, fiercely independent woman who, after the brutal murder of her mother, Zilah (Marina Tamayo), outside their home in the Mexican desert by the Cartels, must choose to flee her homeland. Carmen (Melissa Barrera) survives a terrifying and dangerous illegal border crossing trek into the US, only to cross paths at the finish line with Mike (Benedict Hardie). He is a lawless volunteer border guard who cold-bloodedly murders two other immigrants in her group. When his patrol partner, a Marine with PTSD, Aidan (Paul Mescal), objects, they end up in a deadly standoff.
Carmen and Aidan are forced to escape together. They go north towards Los Angeles in search of Zilah’s best friend. Masilda (Rossy da Palma). She is the flamboyant owner of La Sombra nightclub. It’s a sanctuary of music and dance for Carmen and Aidan. Both find solace in their unwavering love for each other in the safety of Masilda’s magical refuge.
Here, Carmen comes into her own, learning how to channel her female power through her talent for singing and dancing. But time is running out as the police hunt for Aidan closes in.
Carmen, the film is a fever dream of stunning visuals and haunting music. The instrumental score has a choir integrated into it, singing in French. The lyrics they are singing are from the libretto for Carmen, the opera written in 1875 by Henri Meilhac and Ludovic Halévy. The film’s composer and songwriter, Oscar nominated Nicholas Britell, considered it a sort of mystical counterpoint between the opera and the movie.
The leads of the film, Mexican actress Melissa Barrera and Irish actor Paul Mescal are both experienced singers, but neither are classically trained dancers. You would never know it because they both trained with Millepied for weeks to prepare for their roles. These two actors have a chemistry that sizzles on the screen.
Also, the cinematography of Jörg Widmer is fantastic in this film. He uses a Steadicam instead of a handheld camera during the dance sequences. Giving the audience a chance to be immersed in the scene and feel like they’re dancing with the dancers. Visually, from the first few moments of the opening, where Marina Tamayo as Zilah, who is an actual famed flamenco dance artist, opens the film with a powerful performance in the desert outside their home to the last moments of the lovers embraced in dance, the film is a visual feast for the senses.                      
I give Carmen 5 stars. It’s a haunting journey of passion that feels like a fevered dream.​​ I hope the film will be remembered come awards season.
 
Directed by: Benjamin Millepied
Written by: Loïc Barrere, Alexander Dinelaris, Lisa Loomer, Prosper Mérimée
Rated: R
Selig Rating: 5 Stars
Running Time: 1h 56 min
Drama / Musical
Limited Release: May 5th Exclusively at Angelika Film Center & Café Dallas
Starring: Melissa Barrera, Paul Mescal, Elsa Pataky
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### Carol – Review by Liz Casanova
Carol

	By Liz Casanova

	Starring Cate Blanchett, Rooney Mara, Sarah Paulson and Kyle Chandler

	Written by Phyllis Nagy (screenplay), Patricia Highsmith (novel)

	Directed by Todd Haynes

	Runtime 118 min

	MPAA rating R

	Selig Film Rating Full Price

	https://youtu.be/H4z7Px68ywk

	The 1950s in America is considered a time of high propriety and reservation when it came to discussions about sexuality. Carol exposes a tender, but forbidden, love story between two women, played stunningly by Cate Blanchett and Rooney Mara. The film is based on the 1953 Patricia Highsmith novel "The Price of Salt"; the title was later changed to "Carol." For its time, this was a scandalous work of fiction, and director Todd Haynes (I'm Not There) does a masterful job of containing the characters in an environment where they constantly have to mask their true feelings.

	Carol (Blanchett) is a classically beautiful woman in a troubled marriage who meets the young quiet Therese (Mara) in a department store just before the holidays. Therese is drawn to Carol and soon they are meeting and developing a friendship. However, Therese begins to realize that her feelings for Carol are more than just curiosity and friendship. She rejects any attachment with the opposite sex. Carol's situation is dire. Her love for her young daughter, and the potential consequences of the scandalous relationship, keep Carol from following her heart. But the heart wants what it wants, and Carol and Therese explore the possibility of that "something more." 

	Carol is an extraordinary film and piece of art. The cinematography (Edward Lachman) with Haynes' direction has such a tender focus on detail. Every shot, every movement, is a clue to the magnitude of their love. And it's also a love story to that era. There are wonderful shots of activity, like people congregating on the streets in the winter, or a toy train, where the audience is allowed to enjoy being thrown into that moment. The costumes, makeup and every little detail that is introduced into the film is a genuine window into the past, thanks to the art direction of Jesse Rosenthal. Rosenthal had an extraordinary year with other noteworthy films like Trumbo and Creed. He was also the art directing genius behind American Hustle and Silver Linings Playbook. 

	The performances are solid as well, of course, and the side players are not to be ignored. Kyle Chandler (Friday Night Lights) plays Carol's husband Harge. And he could have played it wooden and default to the "bad guy," but his role also requires a complexity of genuine emotions. He's in love with his wife and is scared that he's losing her. Another notable character is Carol's best friend Abby (Sarah Paulson). 

	Much like the classic tragic romantic love stories, such as Romeo and Juliet, Carol and Therese have a love story that should be considered one of the greats. 

#### CARRIE
CARRIE

	By Gary Murray

	Starring Chloe Grace Moretz, Julianne Moore and Gabriella Wilde

	Written by Lawrence D. Cohen and Roberto Aguirre-Sacasa

	Based on the book by Stephen King

	Directed by Kimberly Peirce

	Running time 100 min

	MPAA Rating R

	Selig Film Rating Cable

	 

	Carrie was a 1976 flick that starred Sissy Spacek.  It was also Stephen King’s first home run from a writing aspect, making the author a household name.   It was also the film that vaulted Brian De Palma onto the A-list of directors.  Believe it or not, it scored some Academy Award nominations.  Well, since no good ideas in Hollywood go untarnished, the cinema gods have seen it fit to give Carrie a 21st century make-over.

	The film basically follows the plot of the novel.  Carrie (Chloe Grace Moretz) is a girl who was recently home schooled but is now thrown into the cut-throat world of high school.  All the cool kids think she is a freak.

	Home life is not healthy.  Her mother Margaret (Julianne Moore) is a religious zealot, believing her daughter is a spawn of sin.  Working as a seamstress, she has little contact with the outside world.  Mom’s main focus is her daughter whom she loves and fears.  Mom spouts verses that are not actually in the Holy Bible.

	The downward spiral starts when Carrie gets her first period during gym class.  She has no idea what it happening and begins to freak out.  The other girls in the locker room start chanting ‘Plug it up” and throwing feminine hygiene products at Carrie.  One girl records the incident on her cell phone. The coach (Judy Greer) helps Carrie.

	Her becoming a woman also triggers her powers of telekinesis.  She finds that she can move objects around the room.  As she researches her gift, Carrie finds that she is not the only person who has this talent.  Her powers grow the more she practices.

	One of the girls posts the video of Carrie on the internet.  It causes a girl to get expelled from prom.  That girl plots her revenge with a bucket of blood on prom night.  Even if one has only seen the movie poster, they would know how this film is going to end—in an orgy of bloody violence.  This is not a film of subtlety.

	Carrie is filled with blood almost from the first frame.  It becomes unsettling on more than one occasion when the hemoglobin flows.  Director Kimberly Peirce does not shy away from the more basal aspects of the work.  She revels in the carnage.   She delivers a solid ending punch that needed a solid wind-up.

	The most interesting aspect of the entire work becomes the love/hate relationship between the mother and daughter.  It is an age-old conflict that is given a supernatural twist.  The dynamic belays the variance of the two women, one who is fearful and one who becomes in-touch with how to control the world.

	Chloe Grace Moretz is the coolest girl working in Hollywood.  She was Hit Girl in Kick Ass and a vampire in Let Me In.  She was easily the best part of Dark Shadows. Here she plays a conflicted young woman, someone who wants to be accepted but has severe trust issues.  She plays it more as a tragic wounded warrior than a milquetoast victim.  It is yet another fine reading from the young actress.

	Julianne Moore is one of the best actresses on the planet and can play crazed religious zealot with her eyes closed.   This is the kind of role she has done a dozen times before but still revels in the little touches that make the role just that much creepier.

	The problem with this reboot is that it takes too long to get to the good stuff.  Director Kimberly Peirce is no Brian De Palma.  She never finds the right beats at the beginning of the work, never builds on the tension.   While the last of the film is a CGI wonder, the power of the film is lost in remaking it. 

	Carrie is a re-make and like 99% of all other re-makes, it pales in comparison with the original.  Yes, the effects update is the main selling point of the film, one still has to ask not ‘what is the selling point’ but ‘what is the point of even doing it?

	 

#### CARS 2
CARS 2
 
By: John ’Doc’ Strange
 
Directed by: John Lasseter, Brad Lewis
 
Starring: (The voice talents of): Owen Wilson, Larry the Cable Guy, Tony Shalhoub, Cheech Marin, Michael Caine, Eddie Izzard, Emily Mortimer, Brent Musburger, Joe Mantegna, Peter Jacobson, Thomas Kretschmann, John Turturro, Bonnie Hunt, Patrick Walker (II), Jeff Garlin
 
MPAA Rating: G
 
Selig Rating: MATINEE
 
Runtime: 1 hr. 53 min.
 
    Miles Axelrod (Eddie Izzard), once an oil magnate, has created t a new alternative fuel source called Allinol. To promote it, he decides to fund a special race where all of the best cars in the world run on his new fuel. This World Gran Prix will be run on three different course around the world to give each of the different cars a chance to prove their mettle.
    Secret agent Finn McMissile (Michael Caine) is investigating the disappearance of his colleague Leland Turbo (Jason Isaacs). He uncovers a sinister plot that involves a TV camera with the World Gran Prix logo on it and the crushed body of Turbo.
    Lightning McQueen (Owen Wilson) and his best friend, tow truck Mater (Larry the Cable Guy) find their friendship stretched to the limits as Lightning races his heart out to win and Mater, pulled into the world the secret agents, bumbles from one problem to the next. Get this; evil agents are trying to kill him for what they believe he knows. We watch Mater working with some of the world’s best spies and having the time of his life. Lightning finds a new friend in Formula One racer and rival for the World Gran Prix victor, Francesco Bernoulli (John Turturro), and learns that friendship is not always easy.
    This is a fun movie to watch. The voice talent is first rate and the action is exciting. The adults will enjoy the story as much as the kids (who will learn a good lesson from Lightning and Mater about friendship and understanding).
 
Movie Site: http://disney.go.com/cars/?cmp=dmov_dpic_car_url_dcomcars
 
Facebook Page: http://www.facebook.com/PixarCars
 
The Selig Rating Scale:
 
FULL PRICE – Excellent movie, well worth the price
MATINEE – Good movie
DOLLAR – OK movie
CABLE – No need to rush. Save it for a rainy day.
FREEBIE – Good that I saw it on the big screen but wish I hadn’t paid for it.
COMMERCIAL TV – Commercials and cutting to the allotted time will not hurt this one.
FORGET IT! – Bad. If you see this one, do yourself a favor and keep it to yourself.
GET YOUR TORCHES – BAD! – Burn the script, the writer, the director and maybe even the actors!

#### CARS 3 – a Blu-ray/DVD Review by John Strange
 

	CARS 3 – a Blu-ray/DVD Review by John Strange

	 

	 

	The Cars franchise grabbed our hearts almost from the first frame of Cars.  Lightning McQueen (Owen Wilson) embodied everything we wanted to see in our favorite Nascar drivers.  In Cars 3 we have the additional feelings as we deal with how we feel as we watch McQueen slowly realize that as a racer, his career has a finite number of years.

	 

	The journey to this realization leads McQueen and his trainer, Cruz Ramirez (Cristela Alonzo) from the high tech halls of his sponsor at the Rust-eze Racing Center to the beach (reminiscent of Daytona's beaches) to the backwoods tracks of Georgia and South Carolina.  From working the simulators with the new up-and-coming racers to a demolition derby filled with some awesome backwoods characters that the Pixar folks based on people they knew and, of all things, the faces of hockey players. 

	 

	Lightning  is faced at every turn with his age.  It's slowly becomes apparent to him that things change and working with the change is better than fighting the certainty that change will come anyway.  His path is really defined when he finds the track where his mentor Doc Hudson got his start. 

	 

	This movie is a great story of someone who comes to terms with his limitations and finds a way to continue to be the best he can.  The ending of this story is very satisfying.

	 

	The reason I love reviewing films like this is only partly for the film itself.  The blu-ray release of this film is absolutely crammed with bonus features(see the full list below).  I spent a half day just watching these features followed by the feature with the commentary turned on.  I was entertained by the filmmakers as they discussed the hows and whys behind the storyline. 

	 

	I learned that they were determined to have Doc Hudson in the film.  They refused to even consider doing this with anyone but the man who created the role, Paul Newman.  They reached out to his family and got permission to use lines they recorded during Mr. Newman's original recording sessions as he talked about his racing days.

	 

	Another voice they used posthumously was Tom Magliozzi (Rusty) who we lost in 2014.  He and his brother Ray Magliozzi (Dusty) played the original owners of Rust-eze.  In this film, they have sold the business to Sterling (Nathan Fillion).  Their hope is that his greater wealth will help Lightning get even better at racing.

	 

	Getting back to the bonus features, I have to point out a couple up front that should be on your "must see" list when you get the disks.  The first is the Pixar short that ran before the film during its theatrical run, Lou.  This is a great short that teaches a little without being pushy about it.  The playground at the school has a bully.  He learns his lesson when the items from the "lost and found" box come to life and fight to prevent him from stealing them.  It could have been a harsh story but like so many of Pixar's shorts, you get to the punchline and suddenly realize that the kid became a bully after being bullied.  Lou connects with him and helps to heals him.

	 

	The second is also a short, this one only on the disks.  In Miss Fritter's Racing Skool, they took the wild characters from the demolition derby in the film and made a "commercial" about Miss Fritter's traing program for derby drivers.  It is a riot! 

	 

	Other features cover such things as the three main characters (Cars 3 Car Reveals), stories about some of the fillmakers and voice talent's first cars (My First Car), and the use of signage and other graphics that have been "car-ified" (their word, not mine) in World’s Fastest Billboard. 

	 

	The answers to why did they do this or that in the film are discussed in several of the bonuses.  My favorites were Let’s. Get. Crazy, Legendary, and Generations: The Story of “Cars 3”.  These behind the scenes looks at the film were fun to watch.  I learned a lot from them.

	 

	But there were other educational pieces in the bonuses.  These really satisfied my love of history as thet talked about the history of some of the racers who inspired the film's stand-out secondary characters (such as Miss Fritter).  The best of these were Let’s. Get. Crazy. about demolition derby's and Legendary about racing legends Wendell Scott and Loise Smith.   

	 

	This series has been something of a surprise to me.  It is not often that I can say that each member of a film series is a good movie.  Cars and sequels is one of the best series I have seen.  Cars 3 is enjoyable for the whole family.  The kids will love the characters like our perenial favorite, Mater (Larry the Cable Guy) and of course Lightning McQueen.  The adults will enjoy the story and if they watch and listen closely, they will see all sorts of visual "easter eggs" and references to Nascar in the story.  In fact, there are two easter eggs for the upcoming film, Coco!

	 

	Buy this one and enjoy!  I did!

	 

	 

	Directed By:

	 

			Brian Fee
		

	 

	Cast:

	 

			Owen Wilson, Cristela Alonzo,  Chris Cooper, Nathan Fillion, Larry the Cable Guy, Armie Hammer, Ray Magliozzi, Tony Shalhoub, Bonnie Hunt, Lea DeLaria, Kerry Washington, Bob Costas, Margo Martindale, Darrell Waltrip, Isiah Whitlock Jr.
		

	 

	Extras:

	 

	Blu-ray & Digital:

			 Miss Fritter’s Racing Skoool (Exclusive new mini-movie) – Enjoy blindsided testimonials from the Crazy 8’s, touting the transformative impact Miss Fritter’s Racing School has had in reshaping the direction of their lives
		

			Theatrical Short: “Lou” – When a toy-stealing bully ruins recess for a playground full of kids, only one thing stands in his way: the “Lost and Found” box.
		

			Let’s. Get. Crazy. – Get schooled in the world of demolition derby, the “rules” of figure 8 racing, and how Pixar puts the crazy in the Thunder Hollow Crazy 8 race. This piece is hosted by Lea DeLaria.
		

			Legendary – a close, historical look at the racing legends Wendell Scott and Louise Smith, whose tenacity and perseverance got them into the race even when they weren’t invited.
		

			 Ready for the Race – Disney Channel’s Olivia Rodrigo and NASCAR Racer William Byron check out the Hendrick Motorsports campus to showcase how real-world race training influenced the filmmakers.
		

			World’s Fastest Billboard – Blink and you will miss all of the graphics and “car-ified” advertisements created by Pixar’s Art team to make the ”Cars 3” world as believable as possible.
		

			Cruz Ramirez: The Yellow Car That Could – Join Cristela Alonzo and the filmmakers on their journey to create a race-car trainer turned champion racer.
		

			Generations: The Story of “Cars 3” – For the story team, creating Lightning McQueen’s next chapter didn’t involve just a tune-up, but a complete overhaul. 
		

			My First Car – A collection of illustrated first-car stories as narrated by members of the “Cars 3” cast and crew. “A Green Car on the Red Carpet with Kerry Washington,” “Old Blue,” and “Still in the Family.”
		

			5 Deleted Scenes – Each deleted scene is set up with an introduction as to why it was removed from the film. Deleted scenes include “The Boogie Woogie,” “The Jars of Dirt,” “Lugnut,” “The Bolt,” and “More Than New Paint.”
		

			Cars To Die(cast) For – Take a look at the phenomenon of die-cast toy collecting and the more than 1,000 unique designs that exist in the Cars universe.
		

			Commentary – Brian Fee (Director), Kevin Reher (Producer), Andrea Warren (Co-Producer) and Jay Ward (Creative Director)
		

			Cars D’oeuvres
		

			Cars 3 Trailers
		

			Cars 3 Car Reveals
		

			Cars 3 Set Fly-Throughs
		

	 

	DVD:

			Theatrical Short: “Lou” & “Commentary”
		

	 

	 

	Specifications:

	 

	Runtime:

	 

			102 Minutes
		

	 

	Studio:

	 

			Walt Disney Studios Home Entertainment
		

	 

	Release Date:

	 

			11/07/2017
		

	 

	Region:

	 

			1 (U.S. and Canada only)
		

	 

	Website:

	 

			http://movies.disney.com/cars-3
		

	 

	MPAA Rating:

	 

			G
		

	 

	Selig Rating:

	 

			BRAND NEW
		

	 

	Selig Rating Scale:

	 

	BRAND NEW: Should add to your DVD collection at any cost

	SALE ITEM: Worth owning, but try to catch it a sale

	SECOND HAND: Plan to get it, but wait to buy it used

	RENTAL: Worth taking a look at, but not owning

	COASTER: Pick it up at a garage sale and use it for drinks

	PULL!: Makes a great Trap Shooting target

#### CARS 3 – A Review by John Strange
MEET THE LEGENDS — Lightning McQueen comes hood to hood with a group of characters who represent the roots of stock car racing—and provide a link to Lightning’s late coach and mentor, Doc Hudson. From left: River Scott (voice of Isiah Whitlock Jr.), Junior “Midnight” Moon (voice of Robert Glenn “Junior” Johnson), Smokey (voice of Chris Cooper), Louise “Barnstormer” Nash (voice of Margo Martindale), and Lightning himself (voice of Owen Wilson). “Cars 3” opens in U.S. theaters  on June 16, 2017. ©2017 Disney•Pixar. All Rights Reserved.

	 

	CARS 3 – A Review by John Strange

	 

	 

	One of the things you don't expect to see in an animated series is a serious approach to ending a career in an honest and intelligent manner where the subject maintains their dignity.  In Cars 3 we are presented with how someone with Lighting McQueen's talent handles the prospect of a career ending injury.

	 

	Lightning (voiced by Owen Wilson) has so much talent, but as in NASCAR, each year brings new rookies to challenge him.  They are younger, smarter, and faster.  They use new technologies in ways that the team at Rust-eze have never seen before.  They watch as friend after friend loses their place on the racing teams to the new crop of cars.

	 

	The newest big shot on the track, Jackson Storm (voiced by Armie Hammer), begins to win race after race.  This makes Lightning's place on the team under new owner Sterling (voiced by Nathan Fillion) very shaky.  When Lightning crashes during a late season push to take over the lead, it looks like his career is over.

	 

	In the spirit of Top Gun and Days of Thunder, this is a film about how the hero recovers from his terrible injuries and makes a comeback to regain his honor and pride.  Cruz Ramirez (voiced by Cristela Alonzo) is brought in to help Lightning train to re-enter the circuit.  The training takes them across country as they head for Florida to the first race of the new season, the Florida 500.

	 

	Our hero slowly regains his love of racing but he also has to learn how to race against the younger breed like Storm.  This would give any of us pause.  How do you get your mind around the need change how you run races?  Races you used to win with ease?  It's not easy and Lightning struggles to wrap his head around the concept.

	 

	The story of Lightning McQueen takes a turn that I didn't expect but I loved to watch unfold.  The film has a lesson for all of us about how and when to grow up.  Cars 3 is filled with the voices of the greats of racing and the voices of some of the best voice actors in the business.  Some of those characters voiced by NASCAR greats are  Jeff Gordon (Jeff Gorvette), Richard Petty (The King), Darrell Waltrip (Darrell Cartrip), and Kyle Petty (Cal Weathers).  Others by folks like Kerry Washington (Natalie Certain), Margo Martindale (Louise Nash), Cheech Marin (Ramone), and Bob Costas (Bob Cutlass).

	 

	Those voices are a strong part of why this series has worked for me.  The stories and the animation are excellent but as I see each new character come on the screen my ears strain to figure out whose voice is involved.  This is a good film for the family, well worth the cost.   

	 

	 

	Directed by: Brian Fee

	 

	Cast: Owen Wilson, Cristela Alonzo, Chris Cooper, Nathan Fillion, Larry the Cable Guy, Armie Hammer, Ray Magliozzi, Tony Shalhoub, Bonnie Hunt, Kerry Washington, Bob Costas, Margo Martindale, Darrell Waltrip, Isiah Whitlock Jr., John Ratzenberger, Kyle Petty, Lloyd Sherr, Junior Johnson, Ray Evernham, Paul Newman, Cheech Marin, Katherine Helmond, Paul Dooley, Jenifer Lewis, Madeleine McGraw, Jeff Gordon, Daniel Suarez, Ryan Blaney, Bubba Wallace, Chase Elliott, Richard Petty, Andra Day

	 

	 

	MPAA Rating: G

	 

	Selig Rating: A+

	 

	Runtime: 109 Min.

	 

	Movie Site: http://cars.disney.com/

	 

	 

	The Selig Rating Scale:

	 

	A – Excellent movie, well worth the price.

	B – Good movie

	C – OK movie

	D – No need to rush. Save it for a rainy day.

	F – Good that I saw it on the big screen but wish I hadn't paid for it.

#### Cartel Land Interview with Director Matthew Heineman & Editor Bradley J. Ross
Cartel Land is a documentary from Emmy-nominated filmmaker Matthew Heineman that looks at the Mexican drug cartels from both sides of the border.  The bold filmmaker put himself in harms way to showcase the unique point of view of two vigilante groups aiming to end the drug cartels reign of power over the people and country of Mexico.  Click through for my interview with Matthew Heineman.

	

	Photo from Cartel Land Facebook Page.

	Filmmaker Matthew Heineman's documentary tackles the drug cartel world by looking at two leaders of two different vigilante groups.  One is an American looking to secure the Arizona border and the other is a Doctor in the heart of Mexico trying to secure the towns of Mexico from the cartels.

	In the Mexican state of Michoacán, Dr. Jose Mireles, a small-town physician known as "El Doctor," leads the Autodefensas, a citizen uprising against the violent Knights Templar drug cartel that has wreaked havoc on the region for years. Meanwhile, in Arizona's Altar Valley – a narrow, 52-mile-long desert corridor known as Cocaine Alley – Tim "Nailer" Foley, an American veteran, heads a small paramilitary group called Arizona Border Recon, whose goal is to stop Mexico’s drug wars from seeping across our border.  

	From CARTEL LAND Website.

	Here is my interview with Matthew Heineman about his gripping documentary:

	

	We started out talking about how Matthew began by covering the Arizona border conflict and it's leader Tim "Nailer" Foley.  But it was Matthew's father who told him about the Autodefensas movement in Michoacan, Mexico.

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	Matthew and his team were given an amazing amount of access to the Autodefensas movement and it's charismatic leader, "El Doctor".

	

	I asked Matthew how he got connected to Dr. Jose Mireles in the first place.

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	The documentary showcases the amazing way in which the towns and communities throughout Michoacan have started to embrace the Autodefensas movement.  Matthew explained to me that it was that unique quality that really caught his eye, the townspeople's yearning for legitimate change and justice in their communities.

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	I asked Matthew about how he shot a majority of the Mexico sequences while his DP Matt Porwoll handled the interviews.  And the film itself opens and ends with Matthew out in the middle of nowhere with actual Meth dealers making the drug.  Matthew explained that harrowing night spent with the drug dealers in the middle of nowhere!

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	We talked about having the film not only released in America, but in Mexico.

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	Cartel Land is out today in the DFW area and specifically at Angelika Plano.  I got to talk with the documentary's editor Bradley J. Ross at DIFF 2015 as well.  

	For more information about the film please go, here.

#### Carter BloodCare & Dallas Summer Musicals Host Three-Day Blood Drive | May 26-28, 2020
 
Carter BloodCare and Dallas Summer Musicals open the theater for a second run of a three-day blood drive from 10 a.m. to 5 p.m., Tuesday, May 26 to Thursday, May 28, 2020, at the Music Hall at Fair Park.
After receiving a generous response to their first, social distanced blood drive in March, Carter BloodCare and Dallas Summer Musicals will host another series of blood drives to address a dwindling community blood supply as hospitals resume surgery schedules and their historical ordering patterns for patients. Blood donated in March had a 42-day shelf life. As Dallas-Fort Worth slowly reopens, Carter BloodCare reminds community members to continue to #bravethemoment and make time for blood donation when eligible. Blood products are essential to securing the healthcare industry as the country continues to strive for better health. Giving blood now will help sustain the increased demand, as well as build the blood supply for summer. The blood program and musical company aim to see 300 people present to give blood over three days.
“We couldn’t be more thrilled to partner with Carter BloodCare again for a three-day blood drive,” says Ken Novice, president of Dallas Summer Musicals. “We are humbled to contribute to this critical cause in the small way of opening the doors to the Music Hall. We invite all who are able to donate, as we know blood is a necessity that can’t be manufactured.”
Carter BloodCare and Dallas Summer Musicals have set the standard on internal social distance blood drive set-ups. They will still comply with Food and Drug Administration (FDA) social distancing, sanitation and prescreening procedures to provide a safe donation experience for donors and staff, and all donors and staff will be required to wear masks inside the Music Hall at all times.
In addition to these procedures, Carter BloodCare’s routine health screening includes asking if a donor is feeling well and healthy. If you have any symptoms of illness, including cold or flu, you should not give blood. Blood donors are also routinely screened for temperature, pulse rate, blood pressure, and hemoglobin.
Blood donors should enter the Fair Park through GATE 5 located at the intersection of Robert B Cullum Boulevard and Grand Avenue. Free parking is available outside of the Music Hall. The Music Hall at Fair Park allows for the recommended social distancing between donor beds and in waiting areas.
Appointments are strongly encouraged to help manage the flow and avoid crowding. Walk-in appointments will be accepted but extra precautions will be put in place. Donors without a scheduled appointment will check-in upon arrival and be directed to a designated waiting area until space is available.
 
Here’s how you can #bravethemoment: 
Donors should make an appointment by texting 800-366-2834.
Complete your questionnaire before arriving the same day of your appointment using Carter BloodCare’s QuickScreen qs.carterbloodcare.org
Carter BloodCare staff will greet you at the Music Hall at Fair Park campus and escort you thoroughly and promptly through the donation process.
This is a county and state-approved medical appointment allowing participants to leave their shelter-in-place location to donate blood at community blood drives.
For more information on donor eligibility and to make an appointment, call or text 800-366-2834, or visit carterbloodcare.org.

#### CAST AND CREATIVE TEAM ANNOUNCED FOR BAY AREA MUSICALS’ FINAL 2018-2019 PRODUCTION WINNER OF 8 TONY AWARDS (INCLUDING BEST MUSICAL) HAIRSPRAY
 
Bay Area Musicals (Matthew McCoy, Founder & Artistic Director, and AeJay Mitchell, Managing Director) is thrilled to announce the full cast and creative team for the final production of the Company’s 2018-2019 season, the international smash hit HAIRSPRAY (Winner of 8 Tony Awards including “Best Musical”). Based on the 1988 John Waters film, HAIRSPRAY features music by Mark Shaiman, lyrics by Scott Wittman & Mark Shaiman and a book by Mark O’Donnell & Thomas Meehan.
Bay Area Musicals’ production of HAIRSPRAY runs from July 6 – August 11, 2019 and will perform at San Francisco’s Victoria Theatre (2961 16th St, San Francisco, CA 94103). The press opening will take place on Saturday, July 6, 2019 at 8:00 p.m. Regular tickets range from $35 – $65 and can be purchase online at www.bamsf.org/hairspray. Opening Night Fundraiser Tickets (available only for the Saturday, July 6 performance at 8:00 p.m.) range from $50 – $100 and includes dessert and a champagne toast with the cast (and can also be purchased online at www.bamsf.org/hairspray).
Bay Area Musicals’ production of HAIRSPRAY will be directed and choreographed by Matthew McCoy, with music direction by Jon Gallo.
“I have been wanting to stage HAIRSPRAY ever since I first saw the show on Broadway,” said Matthew McCoy. “I had never before seen a musical packed with so much heart, joy, laughter, exciting choreography and electrifying music. It signified a bright new era for the book musical comedy, and it was clear that the entire audience was having a ball. Now, almost twenty years later, the show has become a beloved classic. And with the specters of prejudice and intolerance increasingly front and center in our politics and news media, the message of HAIRSPRAY is more timely than ever: that all of us can walk together, hand in hand, no matter our size or the color of our skin. The big wigs, bright lights, and flashy dances will all be front and center in our production, with heart (and a few tears) sprinkle throughout as we look at where we’ve been, how far we’ve come, and how far we still must go.”
“If life were everything it should be, it would be more like HAIRSPRAY. It’s irresistible!” – The New York Times
The 1950s are out, and change is in the air! HAIRSPRAY, winner of eight Tony Awards, including Best Musical, is a family-friendly musical, piled bouffant-high with laughter, romance and deliriously tuneful songs. The perfect closer to Bay Area Musicals’ fourth season!
It’s 1962 in Baltimore, and the lovable plus-size teen, Tracy Turnblad, has only one desire – to dance on the popular “Corny Collins Show.” When her dream comes true, Tracy is transformed from social outcast to sudden star. She must use her newfound power to dethrone the reigning Teen Queen, win the affections of heartthrob, Link Larkin, and integrate a TV network… all without denting her ‘do!
The cast of HAIRSPRAY will feature Cassie Grilley as “Tracy Turnblad,” Melissa Momboisse as “Penny Pingleton,” Scott Di Lorenzo as “Edna Turnblad,” Kamren Mahaney as “Link Larkin,” Elizabeth Jones as “Motormouth Maybelle,” David Abrams as “Seaweed J. Stubbs,” Kennedy Williams as “Little Inez,” Paul Plain as “Wilbur Turnblad,” Lauren Meyer as “Amber Von Tussle,” Sarah Sloan as “Velma Von Tussle,” Scott Taylor-Cole as “Corny Collins,” Bonnie Lafer as “Prudy Pingleton/Others,” Kim Larsen as “Principal/Male Authority,” Stephen Kanaski as “Brad, NC,” Ronald James as “Fender, NC,” Emma Sutherland as “Brenda, NC,” Brendan Looney as “Sketch, NC,” Claire Pearson as “Tammy, NC,” Steven McCloud as “I.Q., NC,” Peli Naomi Woods as “Detention Kid/Dynamite,” Smita Patibanda as “Detention Kid/Dynamite,” Chanel Tilghman as “Detention Kid/Dynamite,” April Deutschle as “Detention Kid,” Carlos Carrillo as “Detention Kid,” Zoe Hodge as “Detention Kid” and Ajay Prater as “Detention Kid.”
In addition to Mr. McCoy and Mr. Gallo, the creative team will include Cat Knight as Stage Manager, Andie Fanelli as Assistant Stage Manager, Lynn Grand as Set Designer, Brooke Jennings as Costume Designer, Eric Johnson as Lighting Designer, Anton Hedman as Sound Engineer, Clay David as Prop Designer, Jackie Dennis as Wig Designer, Richard Guiterez as Wardrobe Master and Stewart Lyle as Technical Director.
HAIRSPRAY runs approximately 2 hours and 30 minutes, including one intermission.
Bay Area Musicals’ upcoming 2019-2020 season will include the powerful 6-time Tony Award-winning GYPSY (November 9 – December 8, 2019), the hysterical 10-time Tony Award-nominated THE FULL MONTY (February 15 – March 15, 2020), the game-changing Tony Award-winning Best Musical A CHORUS LINE (April 11 – May 10, 2020) and one more exciting production to be announced (July 11 – August 9, 2020). GYPSY and A CHORUS LINE will perform at San Francisco’s Alcazar Theatre (650 Geary Street, San Francisco, CA 94103) and THE FULL MONTY (as well as the mystery season finale) will perform at San Francisco’s Victoria Theatre (2961 16th Street, San Francisco, CA 94103). Subscriptions to the 2019-2020 season are available now at www.bamsf.org.
Bay Area Musicals (BAM!) is a professional, non-profit theatre organization dedicated to presenting the highest-caliber of musical theatre in San Francisco. Founded in 2014, the Company strives to stimulate and inspire the San Francisco Bay Area community through high-caliber musical theater ranging from familiar classics to challenging new works; to produce professional musical theater at accessible ticket rates; and to engage the community through performance, outreach, and educational opportunities. For more information, visit www.bamsf.org.
 

#### Cast and crew of the film Tasher Desh made their first public appearance
Marking the important day of Tagore’s death anniversary on Thursday, August 08, 2013, Q announced that his upcoming film, Tasher Desh, based on the legendry’s contemporary play of the same name, will be released on 23rd August, in Kolkata across 10 screens. The event saw Q accompanied by the select cast and crew of the film having made their first public appearance together as a team at the esteemed and well-known art gallery, Akar Prakar, Kolkata, this afternoon.

	An international co-production, Tasher Desh is produced by NFDC (National Film Development Corporation Ltd), Overdose Joint, AKFPL (Anurag Kashyap Films Pvt Ltd), Dream Digital Inc. and Entre Chien et Loup (Belgium).

	The afternoon witnessed an interactive meet with Q and the select cast and crew of the film narrating the memorable journey during the 25 days of the making of Tasher Desh. Q highlighted the strong connect with Tagore’s original play and the staunch desire to make this film since his childhood days. He further explained that the unique yet unusual concept of the story coming from a rather predictable representation of Tagore was what intrigued and inspired him the most. Joyraj Bhattacharjee (Storyteller), Rii (Horotoni), Neel Adhikari (Music Producer), Dipankar Jojo Chaki (Sound), and Arijit Dutta (King and Priya Cinemas Founder), Celine Loop (Co-producer), each one of them eagerly cited their experiences as distinctive characters and role-play in the film. “This is a film about Ideas. About New Ideas. About Revolution. About Liberating Oneself”, added Q.

	‘Tasher Desh’, a definitive quirky adaptation of Tagore’s edgy fantasy, brings together an eclectic mix of international music artists to collaborate on Tagore’s celebrated soundtrack, including Susheela Raman, Sam Mills, Anusheh, Asian Dub Foundation, Erik Truffaz, Moog Conspiracy and Tanmoy Bose produced by Miti and Neel Adhikari and Q. The film stars Joyraj Bhattacharjee, Rii, Soumyak Kanti De Biswas, Anubrata Basu, Tillotama Shome, Tinu Verghis, Imaad Shah and Maya Tideman amongst others.

	Having made its World Premiere in competition at the Rome Film Festival 2012, and its North American Premiere at the Scarborough Film Festival, Toronto, 2013, the film made it to official selections at the Imagine: Amsterdam Fantastic Film Festival and most recently at the London Indian Film Festival in 2013.

#### Cast and Crew of the National Award winner THE GOOD ROAD visits Ahmedabad
The 60th National Award Winner The Good Road, cast and crew made a special appearance at a press conference in Ahmedabad this afternoon. Produced by National Film Development Corporation Ltd (NFDC), and directed by debut feature filmmaker Gyan Correa, The Good Road, is scheduled to release on July 19, in Ahmedabad, Surat, Rajkot, Baroda, and Gandhinagar, across PVR Cinemas, under the Director’s Rare banner. 

	The afternoon event saw the cast and crew, interact with the media, about interesting facts, incidents, and the experiences with many first timers having contributed to a National Award winning feature film. Producer of the film, Vikramjit Roy- General Manager, NFDC (National Film Development Corporation) talked about the journey of the film which started at NFDC’s Film Bazaar (an annual film market that alongside IFFI, in Goa, in November), and why NFDC decided to come on board to produce this film. He went on to add that NFDC, as part of its endeavor and mandate encourages talented and aspiring first time feature filmmakers, apart from supporting and promoting Indian Cinema in the domestic as well as the international markets. 
	Adding to this, the director of the film, Gyan Correa shared interesting facts about his idea of making the film in Gujarati, choosing Kutch landscapes as the location, unique experiences with the locals and tribes, and the joy of winning a National Award. Hridaynath Gharekhan, a well know personality, and a National Award winning documentary filmmaker himself, was seen at the event with the cast and crew of the film addressing the audience. He is known to have played a key role as the connecting link for the making of the film in Gujarat throughout the entire duration of the schedule. Also present at the event, music director, Rajat Dholakia, who contributed to many well known films in the past, narrated his intense month long search for the music, that would beautifully blend with the contemporary storyline and mystique landscapes of Kutch, which rightfully has been justified so. Shamjibhai (Pappu- truck driver), the protagonist in the film, and Priyank Upadhyay (Shaukat- helper) were the stars of the day, where both shared memorable experiences and the immense pride of being a National award Winning film. The highlight of the event was a surprising one indeed with, Mura Lala, the folk singer having sung a few lines for the audience, on request by the director, and the rest on the dais.

	 

#### Casting Announced for Disney’s FROZEN | Presented by Broadway Dallas July 20 – Aug 7
 
Disney Theatrical Productions, under the direction of Thomas Schumacher, Broadway Dallas, and Broadway Across America (BAA) are pleased to announce casting for the Dallas engagement of Disney’s Frozen. From the producer of The Lion King and Aladdin, Frozen, the Tony®-nominated Best Musical, will play a 3-week premiere engagement at the Music Hall at Fair Park beginning Wednesday, July 20, 2022, with performances playing through Sunday, August 7, 2022, as part of the Germania Insurance Broadway Series presented by Broadway Dallas. Opening night is set for Thursday, July 21, 2022 at 7:30 p.m.
Frozen stars Caroline Bowman as “Elsa” and Lauren Nicole Chapman as “Anna,” the sisters at the heart of the joy-filled musical. Joining them are principal cast members Ryan McCartan as “Hans,” F. Michael Haynie as “Olaf,” Mason Reeves as “Kristoff,” Jeremy Morse as “Weselton,” Collin Baja and Evan Strand alternating as “Sven,” as well as Aria Kane (“Young Anna”), Arwen Monzon-Sanders (“Young Elsa”) and real-life sisters Natalie Grace Chan (“Young Elsa”) and Victoria Hope Chan (“Young Anna”).
Frozen also features Belinda Allyn, Caelan Creaser, Jeremy Davis, Kristen Smith Davis, Colby Dezelick, Michael Everett, Berklea Going, Natalie Goodin, Michael Allan Haggerty, Tyler Jimenez, Dustin Layton, Tatyana Lubov, Adrianna Rose Lyons, Robin Masella, Michael Milkanin, Kyle Lamar Mitchell, Tony Neidenbach, Travis Patton, Jessie Peltier, Brian Steven Shaw, Daniel Switzer, Zach Trimmer, Brit West, Natalie Wisdom and Peli Naomi Woods
In Dallas, Frozen will play Tuesdays through Fridays at 7:30 p.m., Saturdays at 1:30 p.m. & 7:30 p.m., and Sundays at 1:00 p.m. & 6:30 p.m. VIP Ticket Packages, which include prime seat locations and a VIP Fan Pack, are also available. Tickets are available online at BroadwayDallas.org and by phone at 800-982-2787. Orders for groups of ten (10) or more may be placed by calling 214-426-4768 or emailing Groups@BroadwayDallas.org.

#### Castle: Season 4 (DVD)
I may like a lot of TV shows (as the landscape has been getting better), but there are a handful that I love. “Castle” is amongst my favorites of late, and it should be yours, too. I was quickly enticed when it originally aired by the simple fact that it starred Nathan Fillion. As one of the better, yet originally less known actors of our time… I’d watch him doing a commercial.

	Fillion stars as Rick Castle, multi-millionaire novelist who decided to finally kill off his money-making character and create a new series of crime novels. Much to the dismay of his manager and publisher, he moves forward with this plan. After being called in by the NYPD to aid in the solving of a murder, he decides that the best way to create a new character is to continue to work closely with them.

	Thanks to his influential friends, he is ‘partnered’ with Detective Kate Beckett (Stana Katic), and right from the start, their relationship is rocky at best. He decides to base his new character, Nikki Heat, on her and she is less than thrilled.

	I hate comparing it to “Moonlighting”, because everyone has, but it is a good comparison. The love/hate relationship carries through the series, and it is pulled off by the lead actors better than I have ever seen it done.

	I’m glad to finally see Fillion in a series that lasted more than one season… heck… even lasted a full season. He has been though the soap opera gig, made a couple of movies and even ended up as a ‘big bad’ in a season of “Buffy, the Vampire Slayer.” But his big shot into fandom came when Joss Whedon cast him as Malcolm Reynolds in the ill-fated “Firefly” (still the BEST TV series ever…period). Lasting only 14 episodes, but spawning a big screen film (“Serenity”), Fillion moved on to “Drive” which lasted 6 episodes. But with “Castle”, Fillion has hit his stride and finally caught the attention of the masses outside of “Firefly” fans.

	Stan Katic I knew less about, but she is perfect in the role of Detective Beckett. Paired up with Fillion, they make the perfect imperfect couple. As I mentioned, they have that love/hate thing going which almost came to a head at the end of the second season… but has managed to be held off… for a while anyway.

	We also get to see a bit of Castle’s home life, with Molly Quinn as his daughter Alexis, and the great Susan Sullivan as his mom. The relationship between this trio is every bit as entertaining as that of Castle and Beckett. There are moments where Fillion plays the father, and these are always subtly powerful and poignant or downright hysterical.

	“Castle”, even in its fourth season is a very light and somewhat overly breezy comedy-mystery-drama, but no less entertaining than just about anything else out on TV right now. I’m thankful that it beginning a fifth season and I hope there are more to come. I think it has a good chance of lasting since it has spawned a real series of “Richard Castle” books and graphic novels.

	The DVD for the fourth season delivers a clean transfer as well as a host of extra features. There are three commentaries (listed below), all of which are quite funny to listen to. There is also an unusual feature showing Fillion and cast members doing a show broadcast in the form of an old time radio show in front of a live audience (what I wouldn’t have given to be there!). You’ll also find a great featurettes on an underwater stunt scene, plus a behind the scenes look at the episode “The Blue Bunny.” Of course, no set would be complete without some deleted scenes (of which there are many) and a great Gag Reel.

	“Castle” is a wonderfully fun show, one that deserves a long run. And I should mention that for “Firefly” fans, there are little Easter Eggs that show up in the series just for you. Some are easy to spot, while others offer a little bit more of a challenge to find, but they are there. Happy Hunting!!

	Episodes:

	Rise (commentary by Executive Producer Rob Bowman and cast members Jon Huertas, Tamala Jones, and Seamus Dever)

	Heroes and Villains

	Head Case

	Kick the Ballistics

	Eye of the Beholder

	Demons

	Cops & Robbers

	Heartbreak Hotel

	Kill Shot

	Cuffed (Commentary by Executive Producer & Writer Andrew Marlowe & Writer Terri Miller, Cast members Nathan FIllion and Stana Katic)

	Til Death Do Us Part

	Dial M for Mayor

	An Embarrassment of Bitches

	The Blue Butterfly (commentary by Writer Terence Paul Winter, Costume Designer Luke Reichle, Actors Susan Sullivan, Tamala Jones and Molly Quinn)

	Pandora

	Linchpin

	Once Upon a Crime

	A Dance with Death

	47 Seconds

	The Limey

	Headhunters

	Undead Again

	Always

	 

	Starring: Nathan Fillion, Stana Katic, Molly C. Quinn, John Huertas, Susan Sullivan, Seamus Deaver

	Extras: Fillion & Friends – Castle Goes Radio; Submerged – An In Depth Look at Stunts; Bowman, Bowman, and Castle; Audio Commentaries; Deleted Scenes; Bloopers

	Specification: Widescreen (1.78:1); Dolby Surround 5.1

	Studio: ABC Studios

	Release Date: 9/18/2012

	MPAA Rating: NR

	http://www.castleondvd.com

	 

	 

#### CATCH ME IF YOU CAN–THE MUSICAL
CATCH ME IF YOU CAN

	By Gary Murray

	Starring Stephen Anthony, Merritt David Janes and Aubrey Mae Davis

	Book by Terrence McNally

	Music by Marc Shaiman

	Lyrics by Scott Whittman and Mark Shaiman

	Based on the film by Steven Spielberg

	Choreographed by Jerry Mitchell

	Directed by Jack O’Brien

	 

	Broadway has always used whatever was in popular culture and turned it into a musical experience.  We’ve seen everything from comic books and works of fiction turned into something for the stage.  Lately these have either been jukebox musicals or animated films.  Mama Mia, Jersey Boys, Shrek—the Musical and just about everything Disney has in the vault have been a recent part of Broadway. 

	Now, we are also getting films that have been turned into something more.  Sister Act, The Wedding Singer and High School Musical were all films before they were plays.  The latest one to grace the Fair Park Musical Hall as a part of the Dallas Summer Musical season is Catch Me if You Can.

	The true story is based on the Steven Spielberg film of the same name.  Set in the 1960s the tale begins at the end where Frank Abagnale Jr, (Stephen Anthony) is being arrested in the Miami airport.   As he pleads with Agent Hanratty (Merritt David Janes) Frank turns to the audience and wants to tell his story ‘Live in Living Color’.

	The front of the stage pulls back to show the large band on stage with the drummer tucked under the bleachers.  This simple set-up is more reminiscent of the staging of Chicago.  A large cast of dancer/singers perform with Frank Sr. and Jr. and give the audience the dynamic of their relationship.  The ensemble almost becomes a Greek-style chorus, but with more dance steps and high kicks. 

	The idea of a con is planted very young with the teen boy.  Very soon, Frank is on his own and scamming.  This high school drop out just can not stop lying.  This eventually leads him on a giant check forging scheme.

	On the other side of the story is Hanratty and his almost Keystone Cop men of the FBI.  In what is one of the biggest number of the entire work they perform “Don’t Break the Rules” a big-stepping number of dancing agents.  Agent Hanratty is convinced that his human prey is a very sophisticated seasoned criminal mind. As the FBI get closer, Frank changes his tactics and becomes a Pam Am co-pilot. 

	Easily the biggest moment of Act I is ‘Butter Outta Cream” a father and son duet.  Not only do Stephen Anthony and Dominic Fortuna blend together with smoothing voices, they seem to be enjoying the old-school style of the number that harks to the best of Broadway.  The song feels like it could be a modern standard. 

	The second Act is of Frank realizing that he is tired of running and wanting to settle down with Brenda, a nurse and the love of his life.  He has gone from faking checks to faking being a doctor and eventually faking a lawyer.  Frank’s growing up makes him realize the folly of his ways.  Besides, a good woman can change a bad man.  Since we know at the beginning Frank is arrested, the ending comes as no surprise.

	Stephen Anthony has that likeable everyman quality that the role of Frank needs.  Frank has to be the kind of guy that everyone just wants to befriend and Stephen gives it that turn.  His voice is pleasant and strong.  The role requires him to be on the stage for almost the entire work, an exhausting experience.  He handles it with an elegant grace.

	Aubrey Mae Davis gets a moment to deliver a knock-out punch of acting and singing with the number “Fly, Fly Away” in Act II.  She shows a strong vocal range while pulling tears from the audience.  Her moment of young heartbreak is almost worth the price of admission.  This is a strong performer who should generate some major notice from this small role.   

	There are some problems with Catch.  The costumes that the female chorus members of the cast wear are very unflattering.  The women of the cast are of various body types and the garb is less than appealing on some of the dancers.  The other problem is the lack of humor in the book.  The 1960s is ripe for parody and the writers of the book miss opportunity after opportunity to deliver some knock-out punches of comedy.  The entire work with intermission runs almost a solid three hours, a bit too long even for theater.  A few snips here and there could pick-up the pace and keep the flow better.

	Catch Me if You Can is a nice night out at the theater but not a breathtaking production.  It would help to be re-imagined with more laughs and a shorter length.  This true tale is interesting but interesting does not always make a great musical experience.

	 

#### CATCH THE BULLET – Interview with Director Michael Feifer
Selig Film News chatted with Director Michael Feifer about his latest film, CATCH THE BULLET.

This powerful western starring Peter Facinelli (Twilight franchise) shows what happens when you push a good man too far. Britt MacMasters (Jay Pickett), a U.S. Marshal, returns from a mission to find his father (Tom Skerritt) wounded and his son, Chad, kidnapped by the outlaw Jed Blake. Hot on their trail, Britt forms a posse with a gunslinging deputy and a stoic Pawnee tracker. But both Jed and Britt tread dangerously close to the Red Desert’s Sioux territory, which poses a menace far greater than either can imagine.
Director Michael Feifer and I talked about his latest film, the tremendous cast, filming in Wyoming and much more!
Interview with Director Michael Feifer:

CATCH THE BULLET is available in select theaters, on Apple TV, and everywhere you rent movies on September 10th.
It’ll be available on Blu-Ray and DVD on September 14th.

#### CATCH THE BULLET – Interview with GATTLIN GRIFFITH
Actor Gattlin Griffith talked with Selig Film News about his work on the upcoming Lionsgate film, CATCH THE BULLET.

This powerful western starring Peter Facinelli (Twilight franchise) shows what happens when you push a good man too far. Britt MacMasters (Jay Pickett), a U.S. Marshal, returns from a mission to find his father (Tom Skerritt) wounded and his son, Chad, kidnapped by the outlaw Jed Blake. Hot on their trail, Britt forms a posse with a gunslinging deputy and a stoic Pawnee tracker. But both Jed and Britt tread dangerously close to the Red Desert’s Sioux territory, which poses a menace far greater than either can imagine.
Gattlin Griffith Interview:

CATCH THE BULLET is available in select theaters, on Apple TV, and everywhere you rent movies on September 10th.
It’ll be available on Blu-Ray and DVD on September 14th.

#### CATCHING SPIRITS – Interview with Vanessa Beletic
Filmmaker Vanessa Beletic talked with our Gadi Elkon about her passionate live-action short CATCHING SPIRITS.

Since childhood, Destiny has been told she has seizures when she dances. An unexplained phenomena that’s resulted in deep fear and her refusal to dance- despite being drawn to it. What she doesn’t know, is that she has an ancient ability – a birthright of the Haitian women in her lineage going back for ages. Today, in LA, Destiny is still in the dark about her ancestral power but strange things are happening. Destiny is tormented by voices in her head, calling her to “test the waters” and compelling her to stalk someone. 
Here is our Interview with Filmmaker Vanessa Beletic

For more info, CATCHING SPIRITS.

#### CATS Will Play Dallas Music Hall at Fair Park in November 2019
 
One of the biggest hits in theatrical history, CATS will come to Dallas November 5-17, 2019 presented by Dallas Summer Musicals (DSM) and Broadway Across America (BAA), as part of a multi-season North American tour. Tickets will go on sale to the general public on Friday, August 23, 2019.
Single tickets for CATS start at $25 (pricing subject to change) and are available at DallasSummerMusicals.org or by phone at 800-982-2787. They can also be purchased in person at the Music Hall at Fair Park Box Office Monday through Friday from 10 a.m. to 6 p.m. and Saturday from 10 a.m. to 4 p.m. Orders for groups of ten (10) or more may be placed by calling (214) 426-4768 or emailing Groups@DallasSummerMusicals.org.
Composed by Andrew Lloyd Webber and based on T.S. Eliot’s Old Possum’s Book of Practical Cats, the record-breaking musical spectacular has captivated audiences in over 30 countries and 15 languages, is now on tour across North America! Featuring new sound design, direction and choreography for a new generation — experience CATS for the first time as it begins a new life, or let it thrill you all over again!
The original Broadway production opened in 1982 at Broadway’s Winter Garden Theatre, where it ran for 7,485 performances and 18 years. CATS was originally produced on Broadway by Cameron Mackintosh, The Really Useful Company Limited, David Geffen, and The Shubert Organization.
CATS returned to Broadway in 2016 in a stunning revival at the Neil Simon Theatre. Preview performances began Thursday, July 14, 2016, and officially opened on Sunday, July 31, 2016. CATS played its final performance on Saturday, December 30, 2017 after 16 previews and 593 regular performances.
The creative team for the new production of CATS includes John Napier (Scenic & Costume Design), Natasha Katz (Lighting Design), Mick Potter (Sound Design), choreography by Andy Blankenbuehler, based on the original choreography by Gillian Lynne, and direction by Trevor Nunn.
Since its world premiere, CATS has been presented in over 30 countries, has been translated into 15 languages, and has been seen by more than 73 million people worldwide. Originally directed by Trevor Nunn with choreography and associate direction by Gillian Lynne, scenic and costume design by John Napier, lighting design by David Hersey, and sound design by Abe Jacob, CATS opened in the West End in 1981. The musical debuted on Broadway in 1982 where it won seven Tony Awards, including Best Musical. Both the original London and Broadway cast recordings won Grammy Awards for Best Cast Album. CATS hit song “Memory” has been recorded by over 150 artists from Barbra Streisand and Johnny Mathis to Liberace and Barry Manilow. The Tony Award-winning Best Musical held the title of longest-running musical in Broadway history until it was surpassed in 2006 by Lloyd Webber’s The Phantom of the Opera. The original Broadway production closed on September 10, 2000 and is currently the fourth longest-running show in Broadway history. This marks the first tour of the first-ever Broadway revival of the iconic musical.
The first-ever, live-action film adaptation of CATS, produced by Universal Pictures and Working Title, will open on Dec. 20, 2019.
The revival of CATS is produced by The Shubert Organization, James L. Nederlander, The Really Useful Group and Cameron Mackintosh.
For more information, please visit CatsTheMusical.com

#### CAUGHT STEALING – A Review by Jenn Rohm
I only knew a few things about the movie Caught Stealing when I went to see it.  1. Hank was a High School Baseball star who is no longer able to play.  2. He is a bartender in New York.  3. His neighbor is an old school Punk and played by Matt Smith.  4. Hank gets asked to watch his neighbor’s cat and gets mixed up in something. That was enough for me to want to see it, and I hope the same is true for you.
If that isn’t enough to pique your interest, allow me to give you more reasons to check out this movie.  Adapted from the book of the same name by Charlie Huston, we are given a story set in the late 1990s on the Lower East Side of New York City, New York where the city is almost a character in the story itself.  You can see the love and the memories Director Darren Aronofsky has for New York.
Hank, Austin Butler, is obviously a transplant from California, with blonde hair a casual approach to life, and a friendly greeting by name to everyone he knows.  He is content with his life, his girlfriend Yvonne, Zoë Kravitz, is a confident woman who accepts Hank and is beginning to push for the two of them to move the relationship and themselves forward in adulthood.  After long day of work for them both they head to Hank’s and find his neighbor Russ, Matt Smith, leaving a note to ask Hank to watch his cat.  Russ’s Dad is not well, and he is rushing off to the UK to be with him.  Hank isn’t so keen as Buddy is a biter, Yvonne loves the idea and brings the cat and litter box into Hank’s apartment.  The next morning Hank and another neighbor, Duane, hear people outside Russ’s door.  When Hank tells them Russ has left the country Pavel, Nikita Kukushkin, and Aleksei, Yuri Kolokolnikov, take their frustration out on him, until Duan threatens to call the cops.  Things kick off from this point of what is Russ involved in, who can be trusted, is anything anyone says the truth?
The visuals in the film are raw and gritty, such as when Hank has overindulged to the point of being sick and the multiple dead bodies that are part of the story.  It offers a comparable glimpse into the darker, more unvarnished aspects of life, like Trainspotting does.  There is also a bit of ‘adult time’ between Hank and Yvonne, so be aware of who you are sitting near in the theater if that can trigger you.
The characters are expected and unexpected versions of people you would find in New York City at the time.  The unexpected being more about not 100% in following their culture without pushing the boundary past being believable.  While the expected are not characters from other stories, yet what other movies, shows, and books have taught us exist.  The cast embraces their characters and made it look like they had a lot of fun while filming.  With two other stories about the main character, I hope there will be more movies coming.
 
Director: Darren Aronofsky
Cast: Austin Butler, Regina King, Zoë Kravitz
MPAA Rating: Rated R for strong violent content, pervasive language, some sexuality/nudity, and brief drug use.
Selig Rating: 5 stars
Runtime: 1h 47m
Release Date: August 29, 2025
Genre(s): Comedy, Crime, Thriller
Movie Site: Caught Stealing website
Trailer: Caught Stealing trailer
 
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### CAUGHT STEALING – A Review by John Strange
There have been many films in which the nice guy gets swept up in a friend or a neighbor’s criminal life, by joining them or being used as a patsy.  Caught Stealing doesn’t break the mold, but this is a great variation on the theme.
Hank Thompson (Austin Butler) was a high school phenom at baseball.  Coached to greatness by his mother, he was days away from being picked in the MLB draft, hopefully by their beloved San Francisco Giants.  That dream ended in a car wreck that killed his friend and badly damaged his knee.
A few years later, the story finds him working as a bartender in a dive bar in New York City.  The best thing in his life is his EMT girlfriend, Yvonne (Zoë Kravitz).  They may be getting serious.
Then comes the night when his wild next-door neighbor, Russ (Matt Smith), races home to Great Britain to be with his sick Dad, leaving Hank to watch his cat, Bud.
From here on out, you need to pay close attention to the screen because everything happens at a nearly breakneck speed as first the Russian mobsters, then a NY Police detective, and then the Hasidic mobsters, all make Hank’s life one huge bloody mess as people die one after the other.
I think that Austin Butler does director Aronofsky proud as Hank.  My favorite characters in this film are the two Hasidic brothers Lipa (Liev Schreiber) and Shmully Drucker (Vincent D’Onofrio), and their Bubbe (Carol Kane).  Schreiber and Kane were obvious choices for their characters, but D’Onofrio surprised me!
Caught Stealing is a wild ride, if you can keep up with the subplots and Bud the cat!
 
Director: Darren Aronofsky
Cast: Austin Butler, Regina King, Zoë Kravitz, Matt Smith, Liev Schreiber, Vincent D’Onofrio, Benito Martínez Ocasio, Griffin Dunne, and Carol Kane
MPA Rating: R (for strong violent content, pervasive language, some sexuality/nudity, and brief drug use)
Selig Rating: 4.5 Stars
Runtime: 107 Min.
Release Date: 08/29/2025
Language: English
Genre(s): Comedy, Crime, Thriller
Trailer: CAUGHT STEALING Official Trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush.  Save it for a rainy day.
1 Star – Good that I saw it on the big screen, but wish I hadn’t paid for it.

#### CAUSEWAY – A Review by Cynthia Flores
CAUSEWAY – A Review by Cynthia Flores
This film is director Lila Neugebauer’s feature film debut. She has shown her talents on episodes of The Sex Lives of College Girls, Maid, and Room 104. With Causeway, she has a chance to tell a longer story. She picked the complicated and often messy issue of PTSD and loss but dealt with it gently and quietly. 
We first meet Lynsey (Jennifer Lawrence), a US soldier sitting in a wheelchair like a china doll that might break at any moment. She is dealing with her recovery after a traumatic injury she sustained while deployed in Afghanistan. We see her slow recovery and therapy in a halfway house with a kind nurse named Sharon (Jayne Houdyshell). As she prepares to be released, she lets Sharon know her plans to be redeployed. Once home, Lynsey struggles to adjust back in New Orleans to her mother’s house. While dealing with the frustrating process of living with PTSD and the lingering side effects of her brain injuries, she meets a local mechanic, James (Brian Tyree Henry). Unfortunately, he also has a kind of PTSD that has bogged him down into sorrow. Nevertheless, the pair begin to forge an unexpected bond based on their heartaches. 
Causeway will show in a few theaters nationwide to qualify for the coming awards season. It deserves consideration, especially for its leads. Jennifer Lawrence and Brian Tyree Henry. They have great chemistry, and their friendship is believable and moving. 
I give Causeway 4-stars. It’s a slow-paced film about pain and regret that leaves you hopeful. It’s another good movie from the people at Apple TV+. 
 
Directed by: Lila Neugebauer
Written by: Ottessa Moshfegh, Luke Goebel, Elizabeth Sanders
Rated: R
Selig Rating: 4 Stars
Running Time: 1h 32min
Drama
Release: In limited theatrical release and exclusively on Apple TV+ November 4th
Starring: Jennifer Lawrence, Brian Tyree Henry, Linda Emond
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### Cave of Forgotten Dreams
CAVE OF FORGOTTEN DREAMS
 
By Gary Murray
 
Directed, written by and starring Werner Herzog
 
Running time 90 
 
MPAA Rating Not Rated
 
Selig Film Rating Cable
 
Werner Herzog has been making documentaries for a number of years with great success.  His Grizzly Man was a much praised film that won a bunch of awards.  His latest documentary is Cave of Forgotten Dreams.
 
The story of Cave of Forgotten Dreams is about the Chauvet Caves in southern France.  Discovered in 1994, this cave was instantly recognized as one of the most important finds of both ancient civilizations and works of art. 
 
Narrated by Werner Herzog, the film shows both the beauty of the cave, with some of the most pristine paintings of animals and fertile women.     The paintings are no stick figures, but fully rendered drawings, depicting movement. They are some of the earliest images that show the talent of early man.  Scattered around the cave are ancient bones (some for altars) that are preserved in the slow drip from stalactites.  
 
The cave is sealed with a giant door to preserve not only the internal temperature but to keep the outsiders out.  It is guarded and the crew was only allowed to be in the cave for a few hours at a time.  They traveled on a narrow gantry, making sure that no modern feet transverse over the find.  
 
We get interviews with both the explorers and the scientists who have mapped out every millimeter of the cave.  They are all dedicated to preserving this relic of our ancient past.  One researcher tells his tale of being a former circus performer and now does computer research on the cave.  One man is a perfumer who uses his nose to find stale air that could lead to another discovery of cave systems.
The film is shot in 3D, so we get a better understanding of both the space and the spacing of objects in the cave.  There is this real feeling of place captured by the camera, a much more accurate depth of image than one gets with pictures.
 
While the cave itself is fascinating, the film is not.  At 90 minutes it overstays its welcome by a good half hour.  We get the same pictures of horses again.  While they are amazing to look at, it becomes redundant after awhile.  
 
Another problem is that the music just doesn’t fit the mood of the piece.  When one notices the strange, thick chords coming from the speakers—one knows that it isn’t working.  The other major weakness of Cave of Forgotten Dreams is Werner Herzog as the narrator.  His accent distracts from the enjoyment of the work.  The makers would have been better off by hiring a veteran Hollywood actor to give the film a majestic feel.
 
The film is made in conjunction with The History Channel, one of the best networks on cable.  While this is not the best opening steps to breaking into the field, it does point into the right direction for future outings.  Cave of Forgotten Dreams while a fascinating work of art and archeology is not a fascinating final film.

#### CAVE RESCUE – Interview with Filmmaker Tom Waller
Filmmaker Tom Waller’s Docu Drama, CAVE RESCUE, looks at the Thailand soccer team rescue from the volunteers, rescue teams and Irish cave diver Jim Warny.  Tom talked with our Gadi Elkon about his connection to Thailand, the focus of the film, and much more!

What’s it like to be trapped in a cave for 18 days? How does it feel to be part of one of the biggest rescue missions in history? When rising floodwaters trap a boys soccer team in a cave system in Thailand, an Irish cave diver (Jim Warny, as himself) joins the massive effort to save them. Shot at the original locations – and featuring real heroes involved in the rescue – this incredible saga based on true events is as close as you can get to experiencing for yourself the intensity of this inspiring adventure.
Gadi and Tom talked about the heightened time frame and circumstances of filming, the specific point of view of the movie, Tom’s team and much more!
Interview with Filmmaker Tom Waller:

For more info on the film, CAVE RESCUE.
In Select Theaters, On Digital, and On Demand Friday, August 5th!

#### Cecilia Miniucchi’s NO PLACE LIKE ROME honored at Venice Film Festival with two Kineo Awards
The renowned Kinéo Awards presented two special prizes to writer/director Cecilia Miniucchi’s latest film, No Place Like Rome on August 30 at the 82nd Venice Film Festival (August 27-September 6). Italian actress Cristiana Capotondi received the Kinéo Award for Best Italian Actress in an International Film, while Miniuccchi received a special Kinéo Award for being the first and only female Italian director to begin and continue her career in the U.S. The awards highlight the anticipation for the love story, which is set to make it’s festival debut later this Fall.
Capotondi received the honor for her first international role in English for No Place Like Rome in which she stars with Stephen Dorff, Radha Mitchell, and Sebastiano Pigazzi. Miniucchi’s previous work includes Life Upside Down, which starred Bob Odenkirk, Mitchell and Danny Huston, which launched from the 2022 Venice Film Festival, and was released by IFC in the U.S. Miniucchi’s first feature film, Expired, starred Samantha Morton, Jason Patric and Teri Garr, and debuted at the Sundance Film Festival, and earned her a Cannes Camera d’Or nomination.
Filmed in Rome, No Place Like Rome is a tribute to the city’s magical beauty especially around the Christmas holidays. The film follows a well-known photographer (Stephen Dorff), working for a New York based high-end magazine on an assignment in Rome, Italy. As the Christmas holidays approach, Connor, still broken from a nasty divorce from his ex-wife, prepares for his teenage son to join him. However, when he learns that his son will no longer come to Rome, he decides to stay through the holidays, alone, and accepts a new assignment that requires for him to photograph the parts and events of the city that are not commonly thought of during the festivities. With the help of his local assistant (Cristiana Capotondi) an attractive, extroverted museum curator, and a psychic’s unsolicited predictions, Connor starts his venture discovering many hidden gems of the Eternal City, while learning, with Scintilla, that maybe love can be found again.
A Euphoria Productions’ film, No Place Like Rome was produced by Jeffrey Coulter, Carl F Berg, and Antoni Stutz.

#### Cedar Rapids
CEDAR RAPIDS
By Gary Murray
Starring Ed Helms, John C. Reilly and Anne Heche
Written by Phil Johnson
Directed by Miguel Arteta
Running time 95 min
MPAA Rating R
Selig Film Rating Cable
Ed Helms was not a part of the beginning of The Office but he has put his stamp on the epic TV show. This former 'reporter' on The Daily Show has been landing some solid roles in the last few years with his biggest accomplishment being The Hangover. His first major starring role is in the independent comedy Cedar Rapids.
The story is of Tim Lippe (Ed Helms) an insurance agent in a small town where everybody knows everybody. He is the kind of guy who has never been out of his little hamlet, never wanting to venture from his nest. Though he's a good guy, there are some little glimpses that his world is not sweet. Tim is having a love affair with his former teacher Macy (Sigourney Weaver) new on the singles scene.
The agency he works for has won a prestigious Two Diamond Award from the ASMI, a group that promotes family values as their code of conduct. The owner wants another win and wants it badly. His top salesman is to go to Cedar Rapids to the ASMI convention and convince the board that they deserve another award. When the salesman dies unexpectedly, Tim is drafted to go to the big city and win that prize.
It is Tim's first time in an airplane and his first time in Cedar Rapids. When he gets to the hotel, he is roomed with Dean Ziegler (John C, Reilly). He is your basic stereotype of an insurance salesman, brash and loud. Tim has been told to stay away from Ziegler at all costs because he is a poacher, stealing other clients. Soon Tim also befriends Joan (Anne Heche) a woman who uses the convention as a means to have fun away from home. As the meetings goes on, they have silly convention fun like an Amazing Race game and a talent competition. Tim is so clueless that he doesn't realize that Bree, the kid just hanging outside, is actually a working girl.
The film Cedar Rapids is of Tim's falling down the rabbit hole, getting involved with the darker side of life. By the time we get to the end, Tim has crossed over from good times to scary behavior. He also discovers that the people he thought he knew are not exactly the way they appear to be.
Ed Helms is just brilliant with the character of Tim Lippe. Though it is just a degree off from his character from The Office, he does the wide-eyed innocent as if he has been doing this role his entire life. While the downward spiral does make narrative sense, it is emotionally disturbing. He does things that seem so out of character from the beginning persona. The ending is almost a Pandora's Box where one is never going to get Tim back to his innocent ways.
John C. Reilly is basically playing a version of the character he's done in countless movies for the last few years. He is brash and loud, without an edit button in his brain. Though he is set-up to be our villain, he is just a brutish lout, loveable to a fault.
Surprisingly Anne Heche does the most with her character. She finds a sweet sadness with her Joan, a woman who finds that life is a marathon and that there are actually people who believe in what they are doing. More of the anchor in the mayhem, she brings a spirit to the table–a reason more than a reaction.
The problem with the Cedar Rapids falls upon the script. It is a wildly chaotic mess but not in a good way. Writer Phil Johnson is never really sure what kind of film he's going for. At times it is a Superbad style gross-fest and at times is has the sad melancholy of a static independent feature. It is never as funny as one expects it to be and bad behavior without character doesn't hold together for very long.
The other problem with Cedar Rapids is the overall look of the feature. It swims in a sea of mucky brown and greens without finding any brightness. Director Miguel Arteta is going for the basic look of an early 1970's film, but not in a good way. His grainy choice of film stock gives the entire production the look of a low-budget art house from decades hence. While trying to make it feel classic, it comes across as dated.
Cedar Rapids is less than the sum of its parts. It is not as funny nor as cleaver as one expects. More than being a comic gem, it is more of a comic stone. While it does generate some good performances, it never sustains some hard-core laughs. Cedar Rapids is, simply put, not a great comic ride.

#### Celebrate V-Day The Kingsman Way
Over the last decade producer turned director Matthew Vaughn has made a group of films that test the boundaries of the genres he's chosen to tackle.  Kingsman: The Secret Service is Vaughn's foray back into the comic book world mixed in with an aura of old school spy thrillers.  Click through for my take on Vaughn's directing chops as well as the review for this violent valentine's day release.

	

	Matthew Vaughn departed the world of producing and directed his first film in 2004.  Layer Cake is a main catalyst for Daniel Craig becoming James Bond (and Ben Whishaw becoming Q).  It's one of the best gangster films of the 2000s and maybe ever.  Vaughn took his training producing Guy Ritchie's films to put out a really amazing directorial debut.  It was also Vaughn's first foray into taking another's work, JJ Connolly's novel, to the next level.  He'd establish his ability to mix in quality acting, over-the-top violent action sequences and a wonderful soundtrack to create a new vibrant form to an old genre.  The gangster world needed a swift and cool film to bring back the genre. 

	Vaughn's tenacity to tackle different genres was totally showcased with his films Stardust (2007) and Kick-Ass (2010).  Two films that go beyond the regular elements of their respective genre's to create a more visceral experience.  The films also allowed Vaughn to continue to work with A-list stars like Robert DeNiro and upcoming ones like Aaron Taylor-Johnson and Chloe Grace Moretz.  The films weren't shy about using flashy action and fantasy sequences to amp up the movies' appeal.  Neither lived up to the screwed presence of Layer Cake, but they did showcase a director who now had name recognition.

	Vaughn then conquered the comic book world by bringing back to life the beloved X-Men franchise.  He utilized a slew of talented young actors, over-the-top violent action sequences and a wonderful soundtrack to capture the fun of the X-Men series.  Overall Matthew Vaughn had taken his wild ass British ways to the main stream world.  This lead to the massive reload of the X-Men world and the bringing back of Bryan Singer to bridge the old and new arcs.  Vaughn would keep a close eye on the X-Men: Days of Future Past as he continued to write and produce at a good pace. 

	

	Vaughn would then step back into the comfort of his British world to bring us this most recent directorial showcase.  Along the way he'd bring in his old writing partner Jane Goldman (working off the comic series created by Mark Miller/Dave Gibbons team), get quality DP George Richmond behind the camera, bring in quality actors like Colin Firth, Michael Caine, Samuel L. Jackson, and the underrated Mark Strong, and he'd also introduce us to Taron Egerton

	But Kingsman's quality is in the full tilt of humor.  Even back to Guy Ritchie's films (Lock, Stock and Two Smoking Barrels and Snatch) the wild world of the characters was always broken up with the witty sense of humor.  Kingsman is the full extension of Vaughn's cheeky sense of humor.  What I'm getting at is Vaughn has always touched on the classics that inspire him but in subtle ways.  Kingsman is a bit different, he's openly tackling his perception of the films he loved as a kid.  This particular scene I think is the director speaking to the audience about just what movies Matthew Vaughn grew up loving.

	It's no wonder that the film's dedication is a rather sweet one.  He thanks his mother.  Vaughn's created the most over-the-top and violent homage to the films' his mother allowed him to see as a young boy.  I mean he tackles all the elements of spy and comic book world in the film, but takes it to another level.  Sum it all up in one phrase, Manners Maketh Man.

	This valentine's day take the chance to witness a director fully realizing his skill set.  Kingsman: The Secret Service is a wonderfully acted, non-stop paced, and is totally enjoyable all the way through.  You'll laugh, you'll cringe and you'll even gasp but in the end you'll leave wanting MORE.  Grabbed your loved one and listen to Mr. Samuel L. Jackson!

#### Celebs laud Pratik Sharma’s Breathtaking Carscapes
“Cars are not just machines. They are people with a mind of their own, they rev up to your touch, love attention and the more you love them, the more is their lifespan. There is nothing like curling inside the car, within its embrace and no longer feeling alone. It always lets you take total control once you are in the driving seat, never mind its size!”

	This in short, sums up artist Pratik Sharma’s journey of growing up with cars. Followed by graduation from Raffles Designing Institute in Singapore, Pratik Sharma translated his childhood fantasies of steering the mean machines into breathtaking Carscapes!

	Pratik Sharma’s Carscapes exhibition opening at Reflections, JW Marriott, saw the likes of Om Puri, Dino Morea, Rohit Roy, Sujata Mehta, Brijesh Shandilya, Mudasir Ali, Jasvinder Singh, artists Vinod Sharma, Samir Mondal, Ravindra Mardia, Meenu De, proud parents and veteran artists Charan and Nimisha Sharma, director Ajay Tuli, Bina Aziz among many others graced the opening.

	 “I am coming back tomorrow with my son,” said and elated Om Puri. “My son loves cars.” Rohit Roy talked about how Pratik’s works brought back to him childhood memories of cars,” while Dino Morea loved the minute detailing and admired Pratik's taking his passion of cars to a different level.”

	Pratik Sharma’s Carscapes exhibition is on from Jan 10-27 at Reflections, JW Marriott, Juhu Tara Road. For years now BBC (Bombay Baking Company), the popular deli  at JW Marriott, Mumbai has displayed Pratik Sharma’s art that have added various hues to the walls bringing out the characteristics of the décor. The 5-star hotel has now taken this opportunity to bring to light the talent of Pratik Sharma by showcasing the best of his work at Reflections, JW Marriott, Mumbai.

	
			
				
			
			
				
			
			
				
			
			
				
			
			
				
			
			
				
			
			
				
			
			
				
			
			
				
			
			
				
			
		

	 

	 

#### CELESTE AND JESSE FOREVER
 

	CELESTE & JESSE FOREVER

	 

	By Gary Murray

	 

	Starring Rashida Jones, Andy Samberg and Will McCormack

	 

	Written by Rashida Jones and Will McCormack

	 

	Directed by Lee Toland Krieger

	 

	Running time 91 min

	 

	MPAA Rating R

	 

	Selig Film Rating Matinee

	 

	Rashida Jones is a young actress who has been making some inroads in Hollywood.  She has a co-starring role in Parks and Recreation on NBC, played small roles in I Love You, Man and the latest Muppet movie.  In her newest film Celeste and Jesse Forever, she takes on both the lead role and the writing duties.

	 

	The story of Celeste and Jesse Forever is what happens when it is not ‘happily ever after’.  Celeste (Rashida Jones) and Jesse (Andy Samberg) are life-long friends who got married are now divorced but have yet to move on with their lives.  Celeste in a trend forecaster, a person who is to know that is hot before anyone else.  Jesse is an artist who is more interested in surfing than making a living.  Jesse lives in the back of Celeste’s house. 

	 

	All of the friends of Celeste and Jesse think that something is seriously wrong with two divorced people who spend every day with each other.  It is just that these two are best friends and have a long and involved history.  They have all of these inside jokes that they think are funny and everyone else finds irritating.    

	 

	The crisis of the film happens when Jesse finds that a complication is happening from a one night stand.  As he confronts this new phase of his existence, Celeste finds that she has to deal with the very real possibilities of life without her lifelong best friend.  This is compounded by her latest client, a pop diva (Emma Roberts) that Celeste has no respect for at all.  Celeste has to build a campaign around everything she thinks is wrong with pop culture.  She also has to confront the idea of dating again and finding out what a land mind infused area that can be. 

	 

	Rashida Jones gives a winning performance as Celeste.  She gets to show some real emotions in a role that is part comic and part tragic.  Since she wrote the part for herself, she does know the ins and outs of the character.  Her character is not the regular foil for the rom-com–the damsel in distress or the fodder for the male—but a well thought out character with some serious issues in her life.  It is a refreshing and different pace in the stiff genre.   

	 

	Andy Samberg is trying to make the cross over from comedic performer to leading man and this is a timid first step.  Though he gives it a valiant try it is still a weaker reading.  While I commend him for taking a chance in the leading man role, he just doesn’t sell the part.  He is the kind of actor who is best in smaller roles, like a Jack Black or a Jon Lovitz, and not the leading man type.  It is a miscast that hurts the final product.

	 

	The problem with the film is that it drags.  Even at 90 minutes, there was this overwhelming desire to check the watch.  That is never a good sign.  The film is directed by Lee Toland Krieger who does a workman job but not much more.  There is little sense of style in his framing and execution.  The final product feels more like a made for television motion picture than a feature film. 

	 

	Celeste and Jesse Forever is one of these films that will never set the box office on fire but will make a nice calling card for all those involved.  It will show a different side to the principle actors and generate positive spin for future projects.  It is more of a showcase for getting the next job than a satisfying cinema experience. 

	 

	 

	 

	 

	 

#### Celine Dion To Preform New Original Song For Disney’s Live-Action BEAUTY AND THE BEAST.
 

	Five-time GRAMMY® winning and best-selling recording artist Celine Dion will perform an all-new original song, “How Does A Moment Last Forever,” for Disney’s live-action “Beauty and the Beast.” The song will also be included on the film’s soundtrack.

	Written by eight-time Oscar®-winning composer Alan Menken (“The Little Mermaid,” “Aladdin”) and veteran lyricist and three-time Oscar winner Tim Rice (“The Lion King,” “Evita”), “How Does A Moment Last Forever” is an emotional ballad about holding onto life’s precious moments. Portions of the song are performed throughout the film and interpolated into the underscore before Dion’s full-length version debuts in the film’s custom main-on-end title design.

	Says Dion, “Being a part of the original ‘Beauty and the Beast’ was such a magical experience in my life, and I'm truly honored to be a part of this film again.”  

	President of Music for Walt Disney Studios Motion Pictures Production, Mitchell Leib, approached the artist on behalf of the project with the idea of recording one of the three new songs written for the film. “Celine was the unanimous choice of the filmmakers and studio to perform this song,” says Leib, “And everyone involved with the film is thrilled she agreed to be part of this new live-action adaptation.”

	Dion originally performed the duet “Beauty and the Beast” – featuring Menken’s haunting melody and two-time Oscar-winner Howard Ashman’s unforgettable lyrics – with Peabo Bryson for the animated film. The song became an instant classic and went on to receive anAcademy Award®, Golden Globe® and three GRAMMY Awards.

	Menken also provides the film score along with new recordings of the classic songs from the animated film written by himself and Ashman. The original motion picture soundtrack will be released by Walt Disney Records on March 10, 2017. The pre-order is available now at http://disneymusic.co/BeautySndtrkP.

#### Cents – Interview with Writer Director Christopher Boone
Writer/Director Christopher Boone's feature film debut, CENTS, is a heartfelt and moving look at a young girl's journey.  I chatted with Christopher about the film's influence, talented cast, and much more.  Click through for our interview with Christopher Boone and a special exclusive clip from the film.

	

	

	 

	 

	 

	 

	 

	 

	 

	 

	 

	 

	 

	 

	 

	 

	 

	 

	 

	 

	Interview with CENTS Writer/Director Christopher Boone:

	Chris and I first talked about the impact of his wonderful mom on his life but not necessarily this film.

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	The film is much more a look into the life of young Sammy, played brilliantly by newcomer Julia Flores.  I asked Chris about what type of character he wanted out of Sammy and the connection back to his own daughter.

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	Christopher's daughter's real school was one of the test screenings for the film and he talked about the impact those screenings had.

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	I asked Chris about shooting and living in New Mexico and the film/tv scene that has become one of the country's real hotbeds for shooting.

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	Not only was the film shot in New Mexico, but the majority of the cast is from the area.  Chris talked about the casting process for the film.

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	Chris expanded on the incredible location scouting that went on for the film and the fun connection to Breaking Bad through these locations.

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	The music in the film was really moving and fit the scenes so well.  I asked Chris about working with his composer Kathryn Bostic.

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	Lastly Christopher and I are both huge fans of the Austin Film Festival.  Christopher has been a panel moderator for the past 4 years and he shared some of his favorite moments from AFF.

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	And here is an exclusive clip of Sammy (Julia Flores) with her mother in the film Angela (Monique Candelaria).

	https://www.youtube.com/watch?v=1B9lCxVcRiY

	The film is out now on VOD and for more information please go to CENTS.

#### ChaIFlicks Extends “The Prime Ministers” Series with “King Bibi”
 
ChaiFlicks, the leading streaming platform that specializes in Jewish and Israeli content in North America, Australia, and New Zealand has added “King Bibi”, the documentary about controversial former Israeli Prime Minister Benjamin Netanyahu to its critically acclaimed limited series “The Prime Ministers” which highlights the stories of six of Israel’s most influential and iconic Prime Ministers.
“King Bibi” will debut on ChaiFlicks July 27.
From filmmaker Dan Shadur, “King Bibi” explores Benjamin Netanyahu’s rise to power, from popular TV guest to controversial world leader. The Washington Post Jerusalem bureau chief Loveday Morris called the film “Fascinating… Netanyahu became a master at galvanizing his right-wing base… It’s hard to watch without drawing comparisons to the Trump presidency.”
Also added is “Rabin, The Last Day”, a gripping docudrama from lauded director Amos Gitai (Kippur) premieres on ChaiFlicks July 20. This film delves into the prelude and aftermath of the 1995 assassination of Israeli Prime Minister Yitzhak Rabin. Indiewire’s Jessica Kiang calls the film “Deeply absorbing, intelligent…bold and declarative. Coming from an informed, engaged, insider perspective [it is] meticulously detailed, richly shot, engrossing. Vital.”
The Forward’s Simi Horwitz calls “The Prime Ministers” series “Compelling… this series couldn’t be timelier. These films screening on ChaiFlicks are well worth the effort. The leaders represented are a product of their eras, yet the battles they faced resonate today.”
The other films of the series are:
Ben Gurion, Epilogue – Directed by Yariv Mozer
The film brings to life a lost interview with one of modern history’s greatest leaders, David Ben-Gurion. It is 1968, he is 82 and lives in the desert. Ben-Gurion’s introspective soul-searching provides a surprising vision for crucial decisions Israel needs to make today. At this time of the global leadership crisis, the film also brings thought-provoking insights about the role of leaders in today’s complex world.
Golda – Directed by Sagi Bornstein, Udi Nir, Shani Rozanes
Shortly before her passing, Golda Meir was interviewed for Israeli television. After shooting ended, the cameras kept rolling, recording an intimate talk with the first and only woman to ever rule Israel. As she lit one cigarette after the other, Golda spoke freely, pleading her case for her term as Prime Minister – five turbulent years that secured her place in history, albeit at a high personal cost.
Menachem Begin: Peace and War – Directed by Levi Zini
This powerful film was produced in commemoration of the 40th anniversary of the historic peace treaty between Israel and Egypt and presents a surprising and unfamiliar portrait of Israel’s sixth prime minister. Menachem Begin led Israel for six dramatic and tumultuous years, which produced waves that are still felt deeply within the fabric of Israel’s social and political landscape. The film merges rare archival footage shown for the first time, as well as current interviews held with key figures during Begin’s term.
Rabin In His Own Words – Directed by Erez Laufer
Rabin In His Own Words is an “autobiography” of sorts, the story is told entirely in Rabin’s own voice. Through a combination of rare archival footage, home movies and private letters, his personal and professional dramas unfold before the viewer’s eyes – from his childhood as the son of a labor leader before the founding of the State of Israel, through a change of viewpoint that turned him from a farmer into an army man who stood at some of the most critical junctures in Israeli history, through his later years during which he served as Prime Minister and made moves that enraged a large portion of the public, until the horrific moment when his political career and life were suddenly brought to an end.
Sharon – Directed by Dror Moreh
In January 2006, Israeli Prime Minister Ariel Sharon suffered a stroke, leaving him unconscious for the rest of his life. Only six months earlier, he executed the Disengagement Plan, uprooting thousands of Jewish settlers from the Gaza Strip. Sharon was the last person from whom one expected such measures. He never explained why he acted in total contradiction to his convictions, his entire life’s project. Through exclusive and intimate footage, award-winning filmmaker Dror Moreh (“The Gatekeepers”) solves this mystery for the first time through interviews with the people closest to Sharon and reveals the real Sharon, from his commando past, through accusations of war crimes, all the way to the role he crafted for himself as leader of the Jewish people.
Rabin, The Last Day – Directed by Amos Gitai
For many Israelis, the assassination of Prime Minister Yitzhak Rabin in 1995 marked a grim turning point for their country. In the words of the commission set up to investigate the murder, “Israeli society [would] never be the same again. As a democracy, political assassination was not part of our culture.” In the eyes of even more people, the murder ended all hope for the Israeli-Palestinian peace process through the Oslo Accords and altered the course of history. But, as Amos Gitai sets out to prove in his brave and provocative new film, Rabin’s assassination was not just the act of one fanatic; it was the culmination of a hate campaign that emanated from the rabbis and public figures of Israel’s far right.
King Bibi – Directed by Dan Shadur
Twenty years before the spectacle of Donald Trump, Benjamin Netanyahu already understood the political benefits of a toxic relationship with the media, and direct communication with the public. King Bibi explores Netanyahu’s rise to power, relying solely on archival footage of his media performances over the years: from his days as a popular guest expert on American TV, through his public confession of adultery, and his mastery of the art of social media. From one studio to another, “Bibi” evolved from Israel’s great political hope, to a controversial figure whom some perceive as Israel’s savior, and others – as a cynical politician who will stop at nothing to retain his power.

#### CHAIFLICKS SETS MARCH 17 PREMIERE DATE FOR HIGHLY ACCLAIMED AWARD-WINNING ISRAELI SERIES “ON THE SPECTRUM”
ChaiFlicks, the world’s largest streaming platform dedicated to Jewish content from around the globe, will debut the first episode of the multi-award-winning series “On the Spectrum,” Tuesday March 17. Streaming exclusively on ChaiFlicks now, after a short stint on HBO, the series gently invites viewers into the daily lives of three 20-something roommates, each on the autism spectrum, capturing their vulnerabilities, triumphs, friendships, and quiet moments as they learn to live more independently together in an assisted-living apartment. The 10-episode series runs through May 12, aligning perfectly with National Autism Acceptance Month in April.
“On The Spectrum” won the 2018 Grand Jury Prize in the French Series Mania festival, making it the second Israeli series to claim the award. It is the first Israeli show that was accepted into the Tribeca Film Festival and the ONLY non-English show at the festival in 2018. Critics rave about the series, including “‘On The Spectrum’ has solidified itself as the most beautiful series on TV…” by Walla! News and Ha’aretz says “…a series in which a cry leads to laughter, and laughter to a cry. A rollercoaster between light and shadow, high and low.”
Meet Amit, Zohar, and Ron (“Ron-Ron”) Shulman—three individuals finding their way toward independence and connection.
Amit, a young man on the autism spectrum, is learning to navigate daily life while holding close his friendship with Erez and quietly longing for Lior, a waitress he admires. A misunderstanding born from social challenges underscores how easily intentions can be misread.
Zohar is a gentle, hopeful woman searching for love and a sense of belonging. After the loss of their parents, she is cared for by her devoted older brother, Asher, as she builds a life of her own through work and routine.
Ron, 33, is a brilliant computer expert on the autism spectrum who finds comfort in structure and honesty. Living with agoraphobia, he prefers the safety of home, where his blunt sincerity offers a uniquely honest view of the world.
“On The Spectrum” offers glimpses into the intricate lives of young autistic adults and offers their unique view and interpretation of day-to-day life. Each of the 10 episodes runs 25 minutes.
 
Below is a brief synopsis of each episode:
 
Episode 1
She Sells Seashells
Ron reluctantly goes to an awkward job interview; Zohar, looking for love, goes against her protective brother; and Amit falls for a waitress he tries to befriend in his own unique way.
 
Episode 2 
Come Here, Roomba
Zohar’s long-awaited blind date ends in quiet heartbreak when she’s abandoned, leaving Asher to take her home. Ron pushes past his anxiety to retrieve a misdelivered Roomba, sparking an unexpected connection. At the café, Amit’s hopeful gesture toward Lior ends in disappointment when he learns she has a boyfriend.
 
Episode 3
Looking for a Welcoming Home
Ron flees a frightening maintenance visit and bonds with his housebound neighbor over product reviews. At her first bachelorette party, Zohar’s excitement turns uneasy as she feels left behind. Meanwhile, Amit shows off his new haircut to Lior, who gently sets boundaries, reminding him their relationship is limited to the café.
 
Episode 4
Yes I’m Lonely
Ron impresses his neighbor at a new job—until it forces him outside, and he refuses. Amit’s misguided attempt to woo Lior ends with a restraining order and total isolation. Zohar meets a man from work, only to realize the “date” was secretly arranged by her brother.
 
Episode 5
Make a Wish
It’s Zohar’s birthday, but when her coworkers don’t show, she celebrates with Amit and Ron. A night out boosts her confidence—and reveals Asher has a girlfriend. Ron faces pressure to work outside or be fired. Amit regains Erez’s friendship, but turns bitter after losing Lior—and his café.
 
Episode 6
Going Out
Zohar meets Asher’s girlfriend Mali, who bonds with her—but Zohar’s day collapses when she’s fired and later flees after discovering Alex with Yaeli. Amit’s disastrous speed-dating ends with misguided hope. Ron attempts a small victory outside, venturing out to buy milk with his neighbor guiding him by phone.
 
Episode 7
What Do I Feel?
Ron once again tries to go outside, with the neighbor guiding him over the phone, but as he walks, he suddenly can’t hear her anymore. He goes back to her apartment and finds her dead on the sofa. Frightened, he goes outside and continues talking to her on the phone.  He slowly begins to come out of his shell and confront her death, meeting new people and visiting new places in the process.
 
Episode 8
“I Don’t Want to Be an Egg”
After Asher rescues Zohar, he insists she move in with him, but she resents the control and her dull new job. Amit shows promise with a new girl until seeing Lior reignites his obsession. Ron confronts grief and intimacy after an unexpected encounter with his late neighbor’s daughter.
 
Episode 9
“Neurotypical”
Zohar meets a man on the spectrum who helps her embrace her identity, leading to a new relationship and a reconciliation with Yaeli. Ron struggles to navigate expectations with Paz after they sleep together. Amit’s renewed fixation on Lior spirals at a fan event, ending in serious trouble.
Episode 10
So Many Trees
Erez prepares to join the apartment and delivers a heart-wrenching speech. Zohar is expecting to sleep with her new boyfriend, but then realizes he is not interested in that. Yaeli rescues Amit from a fight, which prompts him to switch his obsession from Lior, the waitress, to her.

#### ChaiFlicks to Release Sarah Solemani’s Award-Winning Short Film “Mashhad” Depicting Hidden Chapter of Iranian and Jewish History
The award-winning short film Mashhad, written and directed by actor and filmmaker Sarah Solemani (Bridget Jones’s Diary), will premiere on the Jewish streaming platform ChaiFlicks on April 6. Ahead of its debut, the film is now available for a limited free preview on YouTube via Reboot Studios.
Mashhad reflects a moment in Iranian and Jewish history that many people are unfamiliar with but also speaks to the long relationship between the Iranian and Jewish communities and the ways diaspora identities continue to intersect. Solemani hopes this film will “generate conversations about the possibility of a more democratic and pluralistic future for Iran, the importance of women’s leadership and participation in rebuilding civic institutions, and the ways Iranian, Jewish, and diaspora communities might imagine a more hopeful future.”
Set in the holy Islamic city of Mashhad in 1930’s Iran, Mashhad follows Miriam, a spirited young Jewish girl living in the ghetto, struggling to understand why her family conceals who they are. Unbeknownst to her, an innocent day playing with a neighborhood friend soon threatens the fragile safety of two households, putting her family’s life in jeopardy. What unfolds is an extraordinary story of religion as oppression, and faith as survival, and a retelling of Iran’s long-lost ethnic group.  Produced by Reboot Studios and inspired by writer-director Sarah Solemani’s family history in the Mashhadi Jewish community, the film offers a rare cinematic window into a long-suppressed chapter of Iranian Jewish life. The film will become available on ChaiFlicks beginning April 6. Audiences can watch the short film on YouTube here until it begins streaming exclusively on ChaiFlicks.
Winner of two FFTG awards, including the People’s Choice and The Grand Jury Choice Award, “Mashhad” also won Best Short Film at The Crown Wood International Film Festival, and Best Short Film at the Indian Independent Film Festival.

#### CHAINED – A Review by Cynthia Flores
CHAINED – A Review by Cynthia Flores
Director Yaron Shani has written and directed three films known as Love Trilogy. The first film Striped was released in 2018. This second film, Chained, is released now, and in July, the third film Reborn will premiere. All three of the movies have some of the same characters flowing in and out of the storylines, but not in a sequential way. So the films can be viewed in any order. It sounds confusing, but it really works out well. The core of all the stories deals with a group of women who help each other to change and break the cage of their self-destruction.
Interestingly, the director used a process where the actors, who have never studied acting, experience living the lives of their characters for a year. Creating a strange dynamic meant to blur the line between fiction and real life. With many of the scenes being improvised, creating a raw and intense cinema verité effect. These films were a joint Arab-Jewish collaboration seven years in the making.
Chained tells the story of Rashi (Eran Naim), a big burly police officer on the job for over sixteen years. He’s been married for the last two years to Avigail (Stav Almagor), a single mom with a now thirteen-year-old daughter named Yasmine (Stav Patay). Rashi is tough and believes in clearly defined rules to keep his step-daughter safe. He really does care for her and knows first-hand how dangerous the world outside can be because of all the violence he deals with daily at work. Yasmine is a typical defiant teenager who likes to hang out in the park and drink with her older friends. This causes a lot of tension between Rashi and Avigail as they are dealing with the rigors of fertility treatments and miscarriages. Add to all of this pressure the false charges of two young boys suspected of selling drugs in the park. Rashi is falsely accused of sexual harassment by them and suspended until he is found innocent. With everything going on, his wife asks for time apart to deal with her daughter and their strained relationship. As time passes, Rashi unravels. Pushing closer to an edge, he will not be able to find his way back from. Making this second film in the trilogy a gripping study of love and betrayal.
I give Chained a 4.5-star rating. It is brutal at times while managing to remain a touching look at love and unfulfilled longing.
 
This film is part of the 8th annual Israel Film Center Festival set for June 7-14, 2020.  For more information: https://israelfilmcenterstream.org/festival/.
 
Directed by: Yaron Shani
Written by: Yaron Shani
Rated: NR
Selig Rating 4.5 Stars
Running Time:  1hr 52min
Drama / Hebrew with English Subtitles
8th annual Israel Film Center Festival: June 7th @ 7pm – 14th @ 11:59pm EDT, Q&A is June 11th @ 5pm EDT
Starring: Stav Almagor, Eran Naim, Stav Patay
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### CHAK DE…girl Shilpa Shukla returns as the ultra-sexy promiscuous Delhi housewife
 

	Shilpa Shukla, who stood out with her brilliant portrayal of a talented but stubborn and arrogant hockey player in CHAK DE! INDIA returns with a stunning performance as a 'Sexy neighbuorhood aunty' in Ajay Bahl's multiple-award winning film B.A.PASS, an erotic journey of a young college boy and a mysterious married woman which threatens to spiral out of control.

	The film which is path-breaking in its real and aesthetic filming of the lovemaking scenes, in the Indian cinema context, is based on the short story 'The Railway Aunty' by the New York based Indian author Mohan Sikka.
	Shilpa plays the Femme Fatale in this Neo noir, who rebels against her dysfunctional marriage and engages in sexual adventures. Falling for her charms is the new comer Shadab Kamal, who won the best actor award at the Osian's Cinefan Film Festival for his powerful yet restrained rendition of a young college student, lost in the scramble for his own gratification and the responsibility he bears for his family.

	When asked how people would relate to her role, Shilpa said 'I don't think there will be a direct relationship with the character but the boys might relate to it as there is always this one mysterious aunty in every neighbuorhood that one hears hush hush stories about, whether she actually exists or is a figment of pubescent male imagination is ambiguous. To play a character who is the object of sexual fantasy, imagined or real was difficult, challenging and yet very exciting specially as the character was layered by subtext that suggests irreparable inner damage and cracks which she is always trying to conceal,' concludes the talented actress.
	 

#### CHAMPIONS – A Review by Cynthia Flores
CHAMPIONS – A Review by Cynthia Flores
Champions is the uplifting and often touching new comedy from Focus Features. It’s the American version of the 2018 award-winning and acclaimed Spanish language film Camperones.  
In this film, we see a stubborn and hotheaded minor league basketball coach named Marcus (Woody Harrelson) sentenced to community service after several unruly incidents on and off the court. The judge tells him he must coach a Special Olympics basketball team called the Friends for his mandated time.
Marcus ended up in this situation because of his lack of people skills. That is genuinely showcased in his private life and his romantic relationships. A woman named Alex (Kaitlin Olson) he met on a dating app and never intended to see again is thrust back into the picture unexpectedly. Her little brother Johnny (Kevin Iannucci), who has Down Syndrome, is on his team. They are forced to interact with each other as civilly as possible. And yes, there is a natural attraction between the two.
Running the shoestring-budget, non-profit recreation center where Marcus works with the Friends team is Juilo (Cheech Marin). Julio is a guy who has devoted his life to running this league. And he is protective of his Friends’ team. He sees potential in this rough-around-the-edges coach that needs the team more than they need him.
As Marcus trains the team to bring them to a higher level of competition and a chance to go for gold at the matches, he learns to open up and understand that he needs to be as good at being a caring human being as he is good at the game of basketball.  
Champions has a lot of good chemistry in it. There is a working chemistry between director Bobby Farrelly and Woody Harrelson, who last collaborated on Kingpins in 1996. The believable romantic chemistry between Marcus and Alex. And most importantly, the contagiously fun chemistry between the ten IDD actors – According to the Global Down Syndrome Foundation, IDD stands for intellectually and developmentally disabled. 
Many that were cast for the film not only had to act for the first time but also had to learn how to play basketball. The director’s son, A.B. Farrelly, was still in high school and worked with a group in the public high school called Hoop Heroes. It is similar to the Friends group in the film. So A.B. enjoyed working extensively with the ten actors hired to be the Friends team. Of his work on the film and with the team, A.B. said,
“It’s been fantastic,” he says. “You got to leave work every day with a tremendous amount of joy. A lot of our Disabled actors have been told their whole life what they can’t do, and to watch them every day be movie stars with Woody and Kaitlin was pretty cool. It reminded me that you should never let people tell you what you can or can’t do.” 
The vibe of Champions reminded me of the PG-rated 1976 hit The Bad News Bears. However, Champions chose to go the off-color jokes route, which wasn’t needed. By throwing in some smutty jokes among the Friends team that often fell flat because of the stiff delivery, they missed the chance to make a film the whole family could enjoy. I think that is too bad. Because younger audiences would have given the film a bigger audience and need to see people with IDD on the big screen. Also, the smuttiness of the humor is not dirty enough to appeal to older teenage audiences that would consider it too tame. So it was a missed shot that just bounced off the rim.
I give Champions 3 stars. It’s a silly and fun movie that won’t win any awards but is full of heart and laughs. Also, I enjoyed seeing Woody Harrelson in another basketball movie. It’s been a while since he trod the floorboards in White Men Can’t Jump.  
 
Directed by: Bobby Farrelly
Written by: Mark Rizzo, Javier Fresser, David Marquez
Rated: PG-13
Selig Rating: 3 Stars
Running Time: 2h 3min
Comedy/drama/Sport
Wide Release: In Theaters March 10th
Starring: Woody Harrelson, Kaitlin Olson, Cheech Marin, Matt Cook, Kevin Iannucci
 
The Selig Rating Scale:
5 Stars – Excellent movie/show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well, there was nothing else…
1 Star – Total waste of time.

#### Channing Tatum Kicks Off “Team Oscar®” On “The Ellen Degeneres Show”
httpv://www.youtube.com/watch?v=kmcRsgX4V1I

	 

	Channing Tatum and The Academy today launched the “Team Oscar” college search on “The Ellen DeGeneres Show,” along with this year’s Oscars host, Ellen DeGeneres, by inviting the next generation of filmmakers to vie for an opportunity to appear onstage during the live Oscar broadcast. Winners will deliver Oscar statuettes to celebrity presenters at the Academy Awards® on Oscar Sunday, March 2, 2014, live on ABC.

	“We were very happy to have created this college program for last year’s show. It was a huge success, and we’re excited to take it to the next level,” said show producers Craig Zadan and Neil Meron. “With Channing Tatum set to help us discover a new group of talented young filmmakers and ‘The Ellen DeGeneres Show’ on board to chronicle their stories, we feel Team Oscar will be more rewarding and exciting than ever.”

	Run through The Academy’s Facebook page, Team Oscar is open to U.S. college students, and submissions are due by January 5, 2014. To enter, students must visit The Academy’s Facebook page, where they can submit a creative short video explaining how they will contribute to the future of movies and answer a brief essay question on a similar topic.

	Producers Zadan and Meron, along with Tatum and the Academy, will ultimately pick a minimum of six winners who will be flown to Los Angeles by United Airlines, the official airline of the Academy, to participate in the Oscars at the Dolby Theatre® at Hollywood & Highland Center®.

	“It’s inspiring to see talented young people passionate about movies, and I’m excited to help shine a spotlight on them through Team Oscar,” said Tatum. “I’m looking forward to viewing and judging the creative videos submitted on Facebook and working with Craig, Neil and the Academy to choose winners who epitomize the next generation of filmmakers.”

	Tatum will return to “The Ellen DeGeneres Show” in early 2014 to announce the Team Oscar winners.

	Oscars for outstanding film achievements of 2013 will be presented on Oscar Sunday, March 2, 2014, at the Dolby Theatre at Hollywood & Highland Center and televised live on the ABC Television Network. The presentation also will be televised live in more than 225 countries and territories worldwide.

#### CHAPERONE – Interview with Writer/Director Zoe Eisenberg and Stars Mitzi Akaha and Laird Akeo
CHAPERONE is having its SLAMDANCE world premiere this evening and our Gadi Elkon chatted with Writer/Director Zoe Eisenberg and Stars Mitzi Akaha and Laird Akeo.

Misha Miyamoto, 29, lives alone in the house her grandmother left her, has held the same job since high school, and likes her life as is: simple. Unfortunately, her satisfaction disappoints everyone around her. Her boss can’t fathom why she won’t take a promotion, her lack of ambition dissuades potential love interests and her parents push her to sell her estate since she has no interest in starting a family. These pressures leave Misha alienated, isolated and sick of justifying her choices. So when Jake, an earnest 19-year-old, mistakes Misha for a high school student, she finds solace in his lack of expectation and starts a relationship with him. As their relationship grows, so does Misha’s reckless behavior.
Zoe, Mitzi and Laird talked with Gadi about shooting in Hilo, Hawaii and the impact real locations had on the film.  The trio talked about working with a fun feline cast member who embody the role of Princess Diana.  Gadi also asked about the team being out at Slamdance and their excitement for their 2024!
Here is our interview with Writer/Director Zoe Eisenberg and Stars Mitzi Akaha and Laird Akeo:

The film is having its world premiere tonight at SLAMDANCE.
For more info, CHAPERONE.

#### CHAPPIE
CHAPPIE

	By Gary Murray

	Starring Dev Patel, Ninja and Yo-Landi Visser

	Written by Neil Blomkamp and Terri Tatchell

	Directed by Neil Blomkamp

	Running time 120 min

	MPAA Rating R

	Selig Film Rating Cable

	 

	The story of Frankenstein is subtitled The Modern Prometheus. Prometheus is said to be the Titan who brings mankind enlightenment and power by giving him fire.  As a punishment for doing this, Prometheus is eternally chained to a rock and has his liver eaten out by an eagle.  At night, his organ grows back and he must endure the torture through eternity.  That is his penalty for giving man knowledge. 

	Today, we give knowledge to computers and we work to craft computers more and more into our image.  The goal is to have a thinking working brain and a body that works and looks like a human.  In many ways, today’s computer scientists and computer designers are a step away from Dr Frankenstein.  Instead of using dead body parts, these scientists use dead medal and plastic to create a live image of man. Chappie, the new film by Neil Blomkamp, is a very modern telling of the tale of making a man in our image.  

	The story takes place in a future Johannesburg, South Africa.  A company has invented a series of police robots called scouts to be a part of the force.  The company has also invented a super robot called Moose.  Moose looks a lot like the robot guards from Robocop.  The idea is to have the robots take over all dangerous police duties.

	The designer of the scouts is Deon (Dev Patel).  The designer of the moose is Vincent (Hugh Jackman).  Head of the company Michelle (Sigourney Weaver) decides that the way for the company to go is with the scout program and to give up on the moose.  This upsets Vincent.

	Deon has an idea to make the scouts self –aware and more like humans.  Late one night, he breaks the code and completes the coding to the next generation of scouts. He just has to test the idea. Michelle shoots down his idea.

	On the other side of the plot we have two low-life gangsters played by Ninja and Yo-Landi Visser.  They are in arrears to another gangster for a few million pounds and need to make a big score to even out the books. 

	They hit upon the brilliant idea of scoring the remote control of the machines to be able to turn them off.  They kidnap Deon to achieve their goal.  He convinces them that there is no on-off switch for the robots but he has another idea. 

	In Frankenstein like fashion, Deon constructs a new robot from other robot parts.  The robot has a damaged power source and will only survive for a few days. 

	The robot becomes self-aware and is named Chappie. Like a child, it has to discover about life and does so by its surroundings.  It dubs Deon as the Creator, Visser as Mother and Ninja as Father. 

	It begins to learn and adopt the gangster lifestyle of its parents.  There is a moral code laid down by Deon but Ninja convinces the robot that misdeeds are done for a greater good.   Chappie begins a life of crime with some funny interludes.

	The film builds to two events, a major heist and the realization by Chappie that it does not want to die.  This, along with the breakdown of the scout and the implementation of the moose system drive the plot to the ending.  There is a giant battle between Chappie and the moose robot along with a battle between different low-level gangsters.  The ending becomes a special effects shoot’em up.

	While there are some interesting ideas going on in Chappie, the entire film is a bit of a mess.  As a physical character, Chappie is truly not a hero nor is it an anti-hero.   At most, the concept is confused. The audience wants to root for Chappie but finds it hard to root for a low-level thug adorned with bling.

	While Del Patel is a good actor, here he is just going through the motions.  There is no spark in his acting, no joy in the performance.  He seems to be going through the role in a rote fashion.

	As actors, Ninja and Yo-Landi Visser are believable in their roles.  They are both parents and gangsters, dispensing ill-gotten platitude on the innocent robot while still keeping a solid family unit.  In the end, they are just bad parents.

	Both Hugh Jackman and Sigourney Weaver have done better work.  This feels more like a paycheck for the actors than a dedication to the roles.  One expects more from these icons.

	Much of the production is shot in documentary style, especially at the beginning, then the tone of the film changes.  It is a weird mesh of two styles that weaken the storytelling. The makers should have gone either one way or the other.  It feels like they started with one concept then abandoned it.  

	The film is directed by Neil Blomkamp, the man behind the brilliant District 9 and the horrible Elysium.  This film falls between the two and leans toward the Elysium side.  The special effects are superb, with brilliant motion capture.  But it feels like we’re watching a remix of District 9 with a bit of Robocop into the proceedings.  That in lies the problem, the film does not feel visionary as it does redundant. We have seen all this before.

	Chappie is not the movie one would think it would be and the commercials do not give an honest representation of the final product.  Many who see the ads will be disappointed with the film.  It is best to wait and catch it on cable or a live stream.   

#### CHARCOAL (Carvão) Interview with Writer Director Carolina Markowicz
The 47th Toronto International Film Festival will hold the world premiere of, Filmmaker Carolina Markowicz’ feature film debut, CHARCOAL.  Carolina talked with our Gadi Elkon about the film, her history at TIFF, and so much more!

In the Brazilian countryside, a family straining to care for their bedridden patriarch have their lives changed when a shady nurse offers a diabolical deal: put their elder to rest and host an Argentinian drug kingpin who urgently needs a place to hide.
Filmmaker Carolina Marowicz feature film debut, CHARCOAL, is set for this Sunday September 11th.  Carolina and our Gadi Elkon talked about her connection to the countryside shown in the film, her history at TIFF and so much more!
Interview with Writer/Director Carolina Markowicz:

CHARCOAL holds its world premiere this Sunday, 11th 2022 at TIFF Bell Lighthouse theatre.
For more information, CHARCOAL TIFF 2022.

#### Charles Band Brings his Evil Bong to Theaters
Charles Band is a film maker who has been working outside the mainstream for a number of years.  He was a driving force behind such films as Re-Animator, Puppet Master, Troll and Parasite.  Some of his cult masterpieces have been released in major markets while others have gone the direct to video route.  His latest is Evil Bong 3-D:  The Wrath of Bong.  The film features scratch and sniff cards ala the John Waters film Polyester,
 
The film is a crazed ride of a flick where an evil alien bong makes its way to the Earth with the goal of world domination.  The stoned heroes of the drama are sent to the bong alien planet where they are captured by beautiful nude aliens.  They rag-tag group has to escape and save the Earth.  Along for the ride are returning Evil Bong cast members John Patrick Jordan, Robin Sydney and Mitch Eakins.  
 
The film is on a series of one-night screenings events which mirror the old road show concept used decades ago.  Much like William Castle did, the film is going to be a multi-media production with interactive contests, Burlesque-style performances and special guest appearances.  
 
Conformed for the Dallas appearance is Charlie Stradling of The Doors and Puppet Master 2.  The event will happen on National Pot Day. April 20th.
 
Before a recent show, we had the chance to have an e-mail chat.  
 
What drew you to make this film?
 
This is the third film in the Evil Bong series, but the script was so funny and I thought, “You know, why don’t we tie it to some kind of event.”  I’m not sure National Pot Day was the greatest idea, but there’s a sizable percentage of the country that smokes weed, and then I thought “Let’s make this into something more than sending it straight to video.” 
 
This film is a live experience. A lot of people don’t have the experience of seeing more of an event like this. A fun, interactive film. Today with the multiplexes, the biggest screens are usually 250 or 300 seats. So when you get 1,000 crazy people in the right mood in the theater, especially something like this–crazy escapism, 3-D, scratch and sniff, silliness, weed–it’s an experience. So, I’m excited for everything with this theatrical run.
 
How did you get the cast together?
 
So, the first one was with Tommy Chong, and the adventures here are relatively similar. This time, we wanted to focus on the central cast – the 4 boys. Well, the 3 boys return. And of course, we have a new Alistair. And the girls get to have their fun moments. We have all of the same cast returning and then some new people who are wonderful. Plus I’m very excited that Irwin Keyes is the first person you see on screen! We worked together years ago on Oblivion and he’s just always so memorable. Just wait until you see his tongue in this film! And in 3-D! 
 
What was the hardest part of making the film?
 
Any time you shoot in 3D, you have to keep perspective in mind. You have to plan out the depth of each shot. Closer to the camera is still closer to the audience, but now the object or person is also bigger! Or smaller. It makes the staging and blocking of each shot that much more complex. And the trick is to get it smooth so the audience never notices those details. Plus it’s fun to poke stuff at the audience!
 
What do you think of the state of the modern horror film? 
 
My passion is for the classic films. The ones you remember. The one’s that inspired today’s films. I’ve never been a huge fan of gore. And that’s where modern horror is right now. It’s not my style. It’s not scary to me. 
I’ve always been drawn to creepy little creatures that could be hiding around a corner at any second–the confusion and alarm and panic that a little dude creates by sneaking on you. There’s something about character design, something tangible and iconic that lives on in your memory, rather than just another knife and another spray of blood.
 
How close is the film from the one you imagined? 
 
This film is as straight forward as it gets. 3D. Sniff-o-Rama with scratch –N-sniff cards right in your hands. Hot Alien chicks. Killer talking bongs. I mean – it’s so simple and fun! 
 
I was there in the last wave of 3D films. I made Parasite with Demi Moore and Metal Storm. Making a 3D movie, putting aside the technology, is no different from movies made in the '50s. Back then, they were more gimmicky with stuff poking out at you and we are absolutely on that track with Evil Bong 3-D. Forget about Avatar. This is not this “beautiful window of depth.” This is just fun stuff that will poke you in your face. This is back to the gimmicky roots of 3-D.
 
Do you have any desires to make a typical Hollywood film?  What kind of film would it be?
 
Mainstream, typical Hollywood films have never been my goal. I’ve made about 300 genre films that have this very real sense to them. I’m not a huge fan of CGI and all the modern techniques. I prefer to have everything in the camera. I want the actors to be able to touch their surroundings and touch the objects they interact with and touch the characters on the screen. 
 
My favorite films are classics like The Omen and The Exorcist–films that relied on psychological intensity and a certain realness to them. Life is not a typical Hollywood film. It’s more gritty and real. 
 
This film is being road showed.  How did you decide to do this old form of presentation?
 
Our direct-to-video business is pretty good, and we survived the difficult years, but I just wanted to do something theatrically. I released many films back in the '80s theatrically, back when it was much more independent. I thought, “You know, this picture just has all of the fun, so we will open it up with an abbreviated road show, and depending on the city maybe pull in some other films that I’ve made and some of the celebrities, but let’s see how an audience reacts with their glasses and their Sniff-o-Rama cards to just a fun interactive film,” 
 
The buzz seems good. It’s very hard living for so many years in the direct-to-video, now direct-to-digital, world, to actually not even make a screener. There’s a promo of the first 22 minutes of the movie that we are just now sending out to the press, which is kind of fun, but I just didn’t want it to get out there [via bootleg]. Aside from the rip off factor, which is a bummer, I just didn’t want people to see it in a venue that it wasn’t intended for. I’m especially excited about Dallas on 4/20!
 
Do you think they will legalize pot and why?
 
Eventually, yes! There is such a large and wide demographic of people in this country that smoke pot regularly. And the vast majority have at least tried it once in their life. Already, California and a dozen states have legal dispensaries. It is one step at a time; slowly pushing forward. And really, it’s all silly. Just be done with it. It’s inevitable.
 
Since you have been a part of so many horror flicks, what advice would you give a young film-maker?
 
So many film-makers and enthusiasts and students have approached me over the years. There is so much to learn, so much experience to get under your belt. If you’re a producer or director and that’s your dream, the most important thing is to actually experience every aspect of film making. Don’t assume you can just get someone else to do the details for you. I grew up on film sets. My father was a producer and director and I spent my childhood right there on set, getting the real life, real world, hands on advantage. And that’s what I suggest young film makers do. Be on set. Make films. Learn every aspect. 
 
I even made a whole DVD series called Cine-maker that summarizes everything in one spot. And there are tons of interviews with amazing friends of mine, like Lloyd Kaufman, John Carpenter, Stuart Gordon, plenty of horror names that young film makers know. 
 
What plans do you have for the DVD and what kind of extras can the audience expect?
 
The DVD will come with 3D glasses and the scratch sniff card! Plus extras like promos that the fans made. And some very cool music from our nationwide unsigned band search. We’re also going to collect together all 3 films – Evil Bong, King Bong: Evil Bong 2, and Evil Bong 3D: The Wrath of Bong – all in one killer 3 disc box set. And eventually everything can be found at www.fullmoondirect.com! 
 
The schedule for Evil Bong 3D: The Wrath of Bong is:
Chicago, IL – April 9th – Portage Theater
	Tempe, AZ – April 16th – Madcap Theaters
	Dallas, TX – April 20th – Inwood Theater
	Atlanta, GA – April 22nd – Plaza Theater
Madison, WI – April 23rd – Orpheum Theater
	Portland, OR – April 30th – Hollywood Theater
	Metuchen, NJ – May 14th – Forum Arts Center
 
 

#### Charley Pride Selected for the Mississippi Arts + Entertainment Experience (The MAX) Hall of Fame Class of 2018
 

	 

	Country Music Hall of Fame member and Mississippi native Charley Pride, was honored with another industry accolade recently, celebrating his legendary career as a pioneering Country musician. Pride was inducted into the Mississippi Arts + Entertainment Experience Hall of Fame class of 2018, on August 25th in Meridian, Mississippi, along with four other recipients; singer-songwriter Jimmy Buffett, Photographer William Eggleston, Writer and editor Willie Morris, and Blues musician Howlin’ Wolf. Pride also received a 'Walk of Fame' star as part of the ceremony.

	"I'm very humbled to be part of this Hall of Fame class along with these other accomplished Mississippians," said Pride. "This honor means a lot to me because it comes from my home state. I am so proud to be from Mississippi!"

	Charley Pride was born in Sledge, Mississippi to a sharecropping family, and was raised from humble roots on a farm. Pride’s love of country music was fostered by Grand Ole Opry broadcasts on WSM radio. He saved money for almost a year to purchase his first guitar at age 14 – a Silvertone model from Sears & Roebuck.

	In 1966, Pride was signed by Chet Atkins to RCA Records, where his gritty, Southern-accented baritone voice made him a superstar. Pride has received three Grammys, three Country Music Association awards, an Academy of Country Music Pioneer Award, Country Music Hall of Fame and Grand Ole Opry inductions and a Recording Academy Lifetime Achievement Award.

	His 52 top-10 hits include “Is Anybody Goin’ to San Antone,” “Mississippi Cotton Picking Delta Town,” “Burgers and Fries,” “Roll On Mississippi” and others.
	The eighteen other Mississippi artists inducted into the Hall are: painter Walter Inglis Anderson, writer William Faulkner, actor Morgan Freeman, writer John Grisham, puppeteer Jim Henson, bluesman Robert Johnson, actor James Earl Jones, bluesman B.B.King, potter George Ohr, entertainer Elvis Presley, opera singer Leontyne Price, musician Jimmie Rodgers, bluesman Muddy Waters, actor Sela Ward, writer Eudora Welty, playwright Tennessee Williams, Entertainer Oprah Winfrey, and writer Richard Wright.
	Charley Pride Tour Dates:

		Sep 15 – Crystal Grand Music Theater / Wisconsin Dells, Wis.
	

		Sep 22 – Seneca Allegany Resort & Casino / Salamanca, N.Y.
	

		Sep 28 – Dosey Doe (The Big Barn) / The Woodlands, Texas
	

		Oct 05 – The Welk Resort Theatre / Branson, Mo.
	

		Oct 12 – Grand Ole Opry / Nashville, Tenn.
	

		Oct 13 – Grand Ole Opry / Nashville, Tenn.
	

		Oct 19 – Morse Center / The Villages, Fla.
	

		Oct 26 – The Welk Resort Theatre / Branson, Mo.
	

		Nov 03 – Eisemann Center / Richardson, Texas
	

		Nov 07 – TCU Place / Saskatoon, SK
	

		Nov 09 – Conexus Arts Centre / Regina, SK
	

		Nov 10 – Club Regent Event Center / Winnipeg, MB
	

		Nov 18 – Wagner Noel Performing Arts Center / Midland, Texas
	

		Dec 01 – Jackpot Junction / Morton, Minn.
	

	
	Be sure to follow Pride on Facebook and charleypride.com.

#### Charlie Chaplin Google Doodle
The Google Doodle team stars in an homage to the silent film era's greatest star's 122nd birthday.

	httpv://www.youtube.com/watch?v=3NGSU2PM9dA

#### CHARLIE ST. CLOUD – A Review by Gary Dean Murray
CHARLIE ST. CLOUD By Gary Dean Murray Starring Zac Efron, Charlie Tahan, Amanda Crew, Ray Liotta and Kim Basinger Written by Craig Pearce and Lewis Colick Directed by Burr Steers Running time 93 min MPAA Rating PG-13 Selig Film Rating Matinee Zac
Efron is trying to make the transition from teen idol to serious actor. The former High School Musical star has been turning in some solid performances in different major motion pictures for the last few years with various degrees of success. With every big budget smash flick like Hairspray, he’s done some independent films such as Me and Orson Welles which saw a small box office but had critical acclaim. He latest is the specter melodrama Charlie St. Cloud. Zac plays the title character, a young sailing star who is about to graduate high school and go to Stanford on a sailing scholarship. He has a precious little brother Sam (Charlie Tahan) and an overworked Mom (Kim Basinger). The two boys fight and pick on each other, but deep down the two truly have a brotherly bond. On the weekend of his graduation, Charlie has to babysit his little brother instead of going to a farewell kegger thrown by his buddies who are off to war. Charlie decides to take Sam to a friends house, going against Mom’s wishes. Charlie promises Sam that they will spend every day at sunset practicing his baseball fundamentals if he goes along with the plan. On the way to drop Sam off, the two are in a terrible car wreck. Paramedic Florio (Ray Liotta) saves Charlie but cannot save Sam. With Charlie coming back from the dead, Florio believes that he has witnessed a miracle and that Charlie has been given a second chance at life. Flash forward five years and Charlie is a grounds keeper at the cemetery where Sam is buried. Mom is long gone, trying to build a new life in another city. When the cannon thunder signals nightfall, Charlie goes to the woods and Sam is waiting for him. It seems that Charlie can see dead people and Sam has refused to cross over to the other side. The two are in limbo, with Sam never going to the afterlife and Charlie never living his life. Charlie is known as the slightly cracked loner by everyone in the town. Enter Tess (Amanda Crew). She’s a former sailing competitor who has gone on to bigger fame. With her coach, they are planning to participate in an around the world sailing event. Tess has a striking command of the sea but cannot shake the competitive spirit she feels when she is near Charlie. One can tell that Charlie is envious about all that Tess has accomplished in a short few years. On the night of a bad storm. Tess shows up at Charlies small cemetery cabin and the two begin a relationship, much to the chagrin of Sam. How all these elements play out is what drives Charlie St. Cloud to its inevitable conclusion. As a starring vehicle, this is another strong performance from Zac. While the story is very simplistic and the twist seen a mile away, Zac does a good job at giving the audience a large range of emotions. We see him both laugh and cry, while never losing the basic tenants of his character. He proves that he can carry a heavy dramatic part while infusing a light touch to the proceedings. His scenes battling the geese near the cemetery show the lighter side of his character. Amanda Crew has a great chemistry with Zac, showing all the elements one wants in what is a basic, thumbnail part. She is the non-threatening girl next door, the kind of young woman that the teens in the audience can relate to and imagine falling for Zac. Though she does get a little chance to show some depth toward the end of the piece. The biggest find in Charlie St. Cloud is Charlie Tahan as little brother Sam. He just pulls at the heartstrings while delivering a reading that shows both warmth and humor. His is the hardest role, the one surrounded in mystery but he takes us in a solid direction. Our two big stars—Ray Liotta and Kim Basinger are basically cameo performances with Basinger almost being a ‘blink and you miss it’ turn. The second unit has to be praised for giving some of the most striking visual images of the year. The scenes of the sailing that pepper the film are breathtaking in composition and tone. The craftsmen who put these images on the screen are almost painting a picture with the elements, giving a warmth to the sea faring vistas. A film like Charlie St. Cloud will never win the Oscar but it should bring in the ‘tween audience it aims for, making back all the money put out. It is spiritual without being religious, heartfelt without being heavy handed. It is romantic without being sexual and morose without being morbid. And we get some e.e. cummings poetry. This is just the kind of film like The Notebook which will be watched over and over again by young women wanting a relationship like the one portrayed on screen. Charlie St. Cloud is not a bad little film but it is not made for an old guy like me.

#### Charming, LGBTQ+, Holiday RomCom, The Christmas Writer Makes its World Premiere on VOD on Nov. 18th
When a bestselling lesbian Christmas author loses her holiday muse and experiences writer’s block, she returns to her quaint hometown in search of renewed inspiration. What she finds is an unexpected love story that even she couldn’t have written.
Don’t miss the LGBTQ+, holiday romcom The Christmas Writer, making its world premiere Nov. 18 on VOD on the popular lesbian Tello Films Network, the world’s longest running LGBTQ+ streaming platform with the biggest library of sapphic holiday films available anywhere. The film will also be available to rent or buy on Amazon, Apple, YouTube Movies and other VOD platforms.
Tello Films Subscription Not Required
VOD Pre-Order: Nov. 1 / VOD Release: Nov. 18
Rent The Christmas Writer for $6.99 (14 days) or purchase the film for $14.99
Limited Theatrical Release; Opening Day Q&A Presentation With the Director & Cast:
Los Angeles (Nov. 11), San Francisco Bay Area (Nov. 16),
Washington D.C. (Nov. 18), Atlanta (Nov. 21) & Nashville (Dec. 3)
Available Now: Rent 7 other beloved Tello lesbian holiday movies for $14.99 (30 days)
https://www.tellofilms.com
The Christmas Writer stars Shelby Allison Brown (How (Not) to Get Rid of a Body) as Noel; Callie Bussell (Thy Will be Done, Sydney, Crow) as Callie; Jordan Myrick (Gastronauts, Good Mythical Morning, Dropout) as Paulette; Kendahl Landreth (Natural Disaster, Rhett & Link’s Wonderhole) as Erin; Stacey Lee Powell (Lez Go travel series) as Jillian; Karen M. Chan (I Can, 5 Hours to Georgia) as Grandma Robbins; and June Tuss (Passage) as Pepper.
The film was directed by Tello Films founder & CEO Christin Baker (Christmas at the Ranch, Merry & Gay, Season of Love) and written by Christin Baker and Katie I. Williams. A Tello Films co-production with indie distributor Good Deed Entertainment, the film was produced by Andrew James Myers (The Holiday Club) and Trenton Julius.

#### Chase Returns as Title Sponsor for  5th Anniversary LATINAFest®
 
LATINAFest®, the largest outdoor festival on the West Coast celebrating all things Latina, will pay tribute to Latina pioneers during Women’s History Month at their 5th annual event themed LATINAFest: Sembrando and Cultivating our Future. The one-day festival, sponsored by Chase, will take place on Sunday, March 19 from 11:00 AM to 6:00 PM at LA Plaza de Cultura y Artes located at  501 N Main St., Los Angeles 90012.
“It is an honor to celebrate National Women’s Month with the return of Chase as our title sponsor for the third consecutive year. Together we continue the work of providing tools and resources to the dynamic community of Latinas entrepreneurs as they grow their businesses,” said Bel Hernandez, co-founder LATINAFest.
This year LATINAFest pays homage to Latina pioneers, past and present, who planted the seeds that have inspired generations of women to follow in their footsteps. Some of these Latinas include actress Lynda Carter (Wonder Woman), union organizer Dolores Huerta, feminist artist Frida Kahlo, actress María Félix, actress and EGOT winner Rita Moreno, and Supreme Court Justice Sonia Sotomayor.
“This year we chose to honor history-making women who look like us,” said LATINAFest co-founder, Naibe Reynoso. “These women were pioneers in their fields. They inspired us and became our “superheroes” because we saw ourselves in them, and they keep inspiring new generations.”
As part of their commitment to empowering Latina entrepreneurs, Chase will once again partner with LATINAFest for the third consecutive year to present the $5,000 LATINAFest Hero Women Rising Entrepreneur Grant which will be awarded to a Latina entrepreneur who has shown growth, leadership, innovation and commitment to the community. Five semi-finalists will be selected and the grant winner will be announced at LATINAFest on March 19th.
“As the fastest-growing segment, Latina entrepreneurs are the backbone of our economy,” said Silvana Montenegro, Global Head of Advancing Hispanics & Latinos at JPMorgan Chase. “Providing them with the tools and resources they need to succeed is key to supporting a stronger economic foundation for all. We are proud to support LATINAFest’s mission to empower Latina business owners across the nation.”
Chase will once again host the Chase Pavilion at LATINAFest, which consists of 10 local Latino/a-owned businesses who have successfully grown their companies through the Chase for Business Mentorship Program. The program is designed to help minority entrepreneurs grow and scale their businesses with resources tailored to start-ups, one-on-one coaching, access to professional development opportunities, educational seminars and streamlined banking and credit solutions. It is part of  JPMorgan Chase’s $30 billion racial equity commitment that accelerates minority small business growth in historically underserved neighborhoods. Additionally, Chase will donate 50 admission tickets to attend LATINAFest to non-profit organizations in Los Angeles to give to their constituents to come and enjoy the festivities.
“Los Angeles is the largest small business economy in the United States with over 250,000 small businesses across the region. Latina entrepreneurs here make up a large share of our economy and it is important that we not only support their growth but also celebrate their success,” said Maria Garcia, Managing Director and Los Angeles Regional Director for Consumer Banking at JPMorgan Chase.
LATINAFest would like to thank sponsors Telemundo, Kia, and AARP. Sponsorship opportunities are still available. For sponsorship opportunities, please contact: latinafestevents@gmail.com
Tickets for LATINAFest are now available online. General Admission tickets are $10 and children under 12 years old are free. For more information about LATINAFest and to purchase tickets, please visit: www.LATINAFest.net
To submit an application for the Hero Women Rising Entrepreneur Grant, before the March 2nd deadline, please visit:  https://forms.gle/NjWq4hZuCHnAPXxR8
 

#### CHASING MAVERICKS
 

	CHASING MAVERICKS

	 

	By Gary “Big Kahoka” Murray

	Starring Johnny Weston, Gerard Butler and Elizabeth Shue

	Written by Kario Salern

	Directed by Michael Apted and Curtis Hanson

	Running time 2 hrs

	MPAA Rating PG

	Selig Film Rating Matinee

	 

	Surfing is more of an art form than a true competition sport.  The combination of rider and board going down a mountain of water is as graceful as ballet.  These guys spend years chasing the biggest and best breaks to test their endurance and skills.  In the film Chasing Mavericks, we see how this obsession starts and manifests itself.

	The story is of Jay Moriarty.  The film starts in Santa Cruz in 1987 when he is a child, watching the surf break against the shoreline.  Suddenly a dog falls into the brink.  He tries to save the pooch and falls into the cold water himself.  Frosty Hesson (Gerard Butler) a local surfer pulls Jay on his board and surfs him to shore.  This is the spark that ignites the burning passion in the young man.

	Flash forward seven years and Jay is now on the verge of becoming a man.  Everyone in the town knows that he is one of the best wave riders around, but he is looking for more of a challenge. 

	One night Jay sees Frosty strapping his board to his old van.  He jumps on the roof, finding out that Frosty and a small group of surfers have discovered a huge swell of maverick waves, breaking stories tall.  Most surfers believe that maverick waves are a myth, like the Loch Nest Monster.  Jay now knows that it is true and has to ride those waves.

	So, Frosty very reluctantly begins to teach Jay all of the skills needed to ride mavericks.  He must master the four pillars of taking on big waves—­­­physical, mental, emotional and spiritual.  As this fifteen year-old finds his way to manhood, he also discovers some deeper truths about himself.  It is a journey of finding out the difference between fear and panic. 

	But the story is not only of surfing.  Jay is from a broken home and his mom (Elizabeth Shue) struggles to keep a roof on their heads.  With a Gremlin parked in the drive-way, it is easily inferred that they are barely making ends meet.  Jay has to give his mother money to keep going.  It is not the best of an existence.

	Jay also has a crush on the slightly older Kim, the girl he has dreamed of since he was a boy.  The story of Chasing Mavericks is of their budding romance, something that both try to deny.  Frosty’s wife Brenda (Abigail Spencer) explains to the man that he is the father figure that young Jay has been looking for.   

	The entire film culminates in Jay getting his chance to ride a maverick wave.   The payoff is a wonderfully photographed bit of surfing magic.  Michael Apted took over the shooting of Chasing Mavericks from Curtis Hanson.  Whoever was behind the lens captured the beauty and majesty of surfing much the same way Endless Summer did years ago.  This is yet another film that could spurn a new generation of surfers.  He also picks some of the greatest summer songs for his soundtrack. 

	The film is written by Kario Salern.   The work feels honest but the structure of the film is very old fashioned, like the kind of film one would see decades ago.  Any person who has seen a movie knows exactly where all the characters are going to end up without much of a surprise.   

	I can easily see young Johnny Weston becoming a teen heartthrob for the younger set.  He has a winning smile and piercing gaze, the kind of poster-boy look that the girls love to look at.  He does a nice job of acting here but there is not much of a challenge to the role. 

	Though it is a small part, Abigail Spencer shows some real emotions in her role as Brenda.  She is the understanding wife of a man obsessed.  It is a nice little turn that should generate her more roles. 

	Gerard Butler is the focus of the film and he comes across as a cross between Yoda and Mr. Miyagi.  As he dispenses his wisdom to his young charge, he also discovers hidden parts of himself. 

	Chasing Mavericks is a very old school film in a modern world.  It is not a bad little work, but it is not a film that will set the world on fire.  It is the kind of flick that one watches in the dead of winter when they are dreaming of warm summer days.  

#### CHASING TIME – Interview with Jeff Orlowski-Yang and Sarah Keo
Its been over a decade since James (Jim) Balog’s photography work was given a full documentary take in CHASING ICE which forever opened our eyes.  Now CHASING TIME continues the story and our Gadi Elkon talked with filmmaker Jeff Orlowski-Yang and Sarah Keo about Jim’s work, film festivals, the importance of this work and their own journeys.

 If a single photo can inspire change, how influential are a million images? Over the course of the 15-year Extreme Ice Survey project, photographer James Balog and his team brought some of the world’s first and most compelling visual evidence of climate change to the global stage as he depicted the rapid melting of glaciers around the world. Thoughtfully helmed by acclaimed director Jeff Orlowski-Yang (Chasing Ice, Chasing Coral, The Social Dilemma) and first-time filmmaker Sarah Keo, Chasing Time is a meditative exploration of time and mortality, following James and his crew as they bring the decades-long project to a close, cataloging more than one million images in the process. The short documentary reunites James and the Emmy-award-winning team behind Chasing Ice to capture the end of the epic undertaking and spotlight the power of an intergenerational effort to seed hope and inspire action toward a sustainable future. A beautiful tribute to the power of images and the importance of mentorship, the team examines the legacy their efforts have made on the world.
Jeff and Sarah talked with our Gadi Elkon about working with Jim, continuing what Chasing Ice started, and how important this subject should be to us all.
Here is our interview with filmmakers Jeff Orlowski-Yang and Sarah Keo:

The film has its US premiere this weekend at Seattle International Film Festival.
For more info, CHASING TIME.

#### CHEF
CHEF

	By Gary Murray

	Starring Jon Favreau, John Leguizamo and Sofia Vergara

	Written and directed by John Favreau

	Running time 115 min

	MPAA Rating R

	Selig Film Rating FULL PRICE

	 

	I try to avoid as much as possible all the media that happens before a film is released.  In our oversaturated cinema information world, one has seen all the funny bits and all the action bits of a film well in advance of the film spilling out on a cinema screen.  I prefer to go in without any preconceived notions of what will happen on the screen.  Basically, I enjoy the blank slate.

	There was not one frame of the new film by Jon Favreau (Iron Man, Iron Man 2, Cowboys & Aliens) that I had seen prior to the press screening.   As the lights went down, I knew nothing of the film and was pleasantly surprised and charmed by the experience.

	The story of Chef is the story of Carl Casper (Jon Favreau).  He runs the kitchen at a five-star restaurant run by Riva (Dustin Hoffman).  Years ago, Carl was heralded as the new shining star in Miami but seems to be in a cooking rut in California.  He wants to be experimental but the owner wants to keep serving the culinary greatest hits. 

	One of the biggest on-line critics Ramsey Michel (Oliver Platt) is coming to the restaurant and Carl wants to make something special.  His cooking team Martin (John Leguizamo) and Tony (Bobby Cannavale) support his endeavor.

	The owner balks and forces Carl to make the same old tired menu.  The on-line review comes out and the critic slams the chef.  He also takes some personal stabs against the man himself.  The words enrage Carl and he sends a Twitter reply to Ramsey.  Not understanding how Twitter works, Carl actually sends the message so that all of Ramsey’s followers see the words. 

	With the gauntlet thrown down, Ramsey decides to make a special menu for Ramsey, inviting him back.  Riva refuses to let this happen, reminding Carl that it is Riva’s restaurant. Carl quits.  That night, Carl confronts Michel at the restaurant, ranting at the critic.  Since everyone on the planet has a camera phone, Carl instantly becomes an internet sensation and a man without a job and with no prospects for another chef job. 

	Carl’s ex-wife Inez (Sofia Vergara) knows that Carl will not be happy unless he is the owner of his own business.  She has been pushing him to start a food truck where he can cook what he wants and be his own boss.  She is an event planner, living in a giant house full of servants.   She dotes over her young son Percy (Emjay Anthony).  Percy keeps showing an interest in his father’s work, wanting to learn everything about being a chef. 

	Inez has to go to Miami and takes Carl along as Percy’s nanny.  She convinces her first ex-husband Marvin (Robert Downey Jr.) to help out Carl.  Before one can blink, Carl has a used food truck and the last half of the film is the road trip back to LA from Miami.

	There is some true obsession in this film.  Jon Favreau the writer/director is impassioned by the proceedings and makes a film that shows not only a love of good food but a love of doing good work.  Time and time again, he teaches his young son life lessons while making sandwiches.  There are truly no bad guys or good guys in the film, just people who want to do their best.  This is Jon Favreau’s most personal film of his career.

	Sofia Vergara plays a very subtle role, a far stretch from her over-the-top television character.  She is full of allure and wit, a woman who cares for everyone and tries to do what is best for everyone.  It is a new direction in her career.

	The film is peppered with just about every actor in Hollywood in small parts.  It seems that Jon called in every favor from every A-list celebrity to be a part of this little film. 

	The weakest element is Jon Favreau as an actor.  As a director and storyteller, he has few equals.  He just does not have the charm needed for this role.  And it is very hard to believe all the different women who show interest in his character.

	The soundtrack has a mix of different local vibes, from Cuban dance music to New Orleans jazz.  It becomes a whirlwind of sounds that blend into an exotic whole, easily one of the best soundtracks of the year.

	To put it simply, Chef is my favorite film of 2014 (so far), full of heart and fervor.  It is a pleasant surprise in a summer of CGI effects.  It is a story of real people living real lives.   One final note–do not go to this film on an empty stomach.  All the different foods and flavors will drive patrons crazy with culinary desire.

#### CHEMICAL HEARTS – A Review by Cynthia Flores
CHEMICAL HEARTS – A Review by Cynthia Flores
First off, I have to tell you that I have not read the popular book “Our Chemical Hearts” written by Krystal Sutherland, so I will not debate how close or far this film is from the book. I will leave that to the battles of the legions of fans of the book surely to come on Twitter or Instagram. I am just dealing with the film version of this story written and directed by Richard Tanne. He was handpicked to do this film by its star Lili Reinhart that loved the book so much that she is also the Executive Producer for this film, Chemical Hearts. Most people just know her as girl-next-door Betty Cooper on the hit television series “Riverdale.” She was drawn to Sutherlands’ coming of age story about a teenage boy who is a hopeless romantic. Reinhart is quoted as saying, “I loved that it was not what you expect when talking about a teen love story. It seemed a lot deeper than many other young adult romances out there. It’s more raw and grounded in grief.” Reinhart says. “This is the internal struggle of these two young people feeling overwhelming emotions as their worlds are changing.”
Chemical Hearts tells the story of seventeen-year-old Henry Page (Austin Abrams), who has never been in love. The kind of once-in-a-lifetime love like his parents have is what he’s been hoping for, but it just hasn’t happened yet. Then, on the first day of senior year, he meets transfer student Grace Town (Lili Reinhart), and it seems all that is about to change. When Grace and Henry are chosen to co-edit the school paper, he is immediately drawn to the mysterious newcomer. However, Grace is not easy to get close to. She dresses in baggy jeans and T-shirts and keeps people at a distance with her standoffish attitude. She really is a reluctant co-editor and does not join in socially with Henrys’ tight-knit school paper staff. As Henry learns the heartbreaking secret that has changed her life, he finds himself falling in love with her or the person he thinks she is.
I was so pleasantly surprised to see a coming of age story avoid the cookie-cutter sex, drugs, and rock-n-roll stories that have been done to death. Instead, Chemical Hearts is a refreshing and smart take on being a teenager during your last year in high school in these current times. It shows drinking and some pot use as it occurs naturally at some high school parties. Also, the sex scene where Henry loses his virginity is painfully natural. The film deals with the issue of being responsible enough to use a condom. That alone kept it from the teen film norm of sex just being some sort of soft porn set up done to a blaring soundtrack.
This film has a great cast that deals with love, pain, heartbreak, and living in the limbo that all young people cross to become adults. There is also a good soundtrack to enjoy as this story takes its time to unfold at a natural pace instead of the wacky fast cuts of most teen films.
I give Chemical Hearts a 4-star rating. It’s a layered movie that won’t wreck you as you watch it, but it will remind you how hard it was to be young and dealing with adult feelings for the first time.
 
Directed by: Richard Tanne
Written by: Richard Tanne, (Book) Krystal Sutherland
Rated R
Selig Rating: 4 Stars
Running Time: 93min
Drama / Romance
Exclusive Digital Release: July 21st on Amazon Prime
Starring: Lili Reinhart, Austin Abrams, Sarah Jones, Adihir Kalyan, Kara Young, Coral Pena, C.J. Hoff
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### CHEMICAL HEARTS – A Review By Gadi Elkon
Chemical Hearts is a coming-of-age drama that reminded me a lot of The Perks of Being a Wallflower but on heavier depressants.   Here is my review of the Amazon film starring and Executive Produced by Lili Reinhart.
 

Seventeen-year-old Henry Page (Austin Abrams) has never been in love. He fancies himself a romantic, but the kind of once-in-a-lifetime love he’s been hoping for just hasn’t happened yet. Then, on the first day of senior year, he meets transfer student Grace Town (Lili Reinhart) and it seems all that is about to change. When Grace and Henry are chosen to co-edit the school paper, he is immediately drawn to the mysterious newcomer. As he learns the heartbreaking secret that has changed her life, he finds himself falling in love with her — or at least the person he thinks she is.   CHEMICAL HEARTS 
Young actress Lili Reinhart fell in love with Krystal Sutherland’s novel, Our Chemical Hearts.  Reinhart approached Writer/Director Richard Tanne to sculpt a script version and the duo brought it to Sutherland’s attention.  The rest is history as they say.  This passion of bringing a property to life is nothing new in the industry but it should spotlight Reinhart’s eye for good material.  A young actress making moves to bring her career into focus through her choices is always a positive element.
Reinhart’s portrayal of Grace Town is rich in its emotional arc and does highlight the tremendous range of the actress.  Every scene she is in seems to have an aura surrounding her, granted a sorrowful aura.  As the plot unravels her tragic tale becomes more open and honest.  Her falling for Henry Page seems sweet if not a little unwarranted.   The Henry character is a confusing one.  Austin Abrams delivers a solid performance but if anyone seems out of place it is the Henry character.  To shy and lacking a real solid leadership quality to be a school’s newspaper editor really hinders the believability of the film.  You literally find yourself thinking any of the other kids writing for the paper would have made for a better editor.  The movie doesn’t linger to much on the newspaper world sadly and concentrates luckily on Reinhardt’s character’s emotional ebb and flow.  The romance element of the movie also seems a bit heavy handed and fueled by a quick edited sequence.  Though the handling of a more intimate scene does seem real and honest to the characters.  I did find myself saying yeah that’s a sweet moment but still found it a little unrealistic that this intelligent girl falls for this guy.
Chemical Hearts hits all the right notes for teen drama and is elevated anytime Reinhardt is on screen.  However, the movie does seem like another footnote in a large genre.  Richard Tanne should be given credit for his direction in keeping the film’s pacing and edit tight.  Overall a film that is emotionally stimulating but lacks the sustainability of a film like The Perks of Being a Wallflower.  Recommended but bring tissues and be prepared to forget most everything from the film but the amazing showcase of Lili Reinhardt.  Can’t wait to see what she has coming up next.

 
Directed by: Richard Tanne
Written by: Richard Tanne, (Book) Krystal Sutherland
Rated R
Selig Rating: 3.5 Stars
Running Time: 93 min
Drama / Romance
Digital Release: July 21st on Amazon Prime
Starring: Lili Reinhart, Austin Abrams, Sarah Jones, Adihir Kalyan, Kara Young, Coral Pena, C.J. Hoff
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.
 

#### Cher to Kick Off TCM’s New Friday Night Spotlight
 

	Cher, the Oscar®, Emmy®, Grammy®, Cannes Film Festival and three-time Golden Globe® award winner is set to be the first host of Friday Night Spotlight, a brand new film showcase launching April 5 on Turner Classic Movies (TCM). TCM host Robert Osborne will join Cher to kick off the franchise with A Woman's World: The Defining Era of Women in Film, a collection of 17 films handpicked by Cher to illustrate the evolving roles of women from the late 1930s to the early '50s. Each month thereafter, Friday Night Spotlight will feature a celebrity or expert host who will take viewers through a collection of films focusing on a specific topic.

	A Woman's World: The Defining Era of Women in Film will start Friday, April 5, at 8 p.m. (ET) with Cher and Osborne hosting a night of movies focusing on motherhood, beginning with Joan Crawford's Oscar®-winning performance in Mildred Pierce (1945). Subsequent Fridays in April will feature films about the war effort and life on the homefront (April 12), working women (April 19) and women taking charge (April 26).

	"Working with Robert isn't like working at all! We can't stop taking about the classics and obscure golden oldies. We talk though the breaks while they move the cameras, check the lighting and do the touch-ups. I can't stop when it comes to the subject of old films, and then I get Robert going, and then the crew and director finally say, 'Ahh, Cher? We have a show to do.' Robert and I laugh and become gown-ups again. We don't work. We play every Friday night in April! Come have fun with us,"  commented Cher.  Cher last appeared on the network with Robert Osborne as a Guest Programmer in September 2011.

	"It's a great pleasure to be joining Cher in launching TCM's new Friday Night Spotlight series," said Osborne. "Besides being an Academy Award winning actress and an electrifying stage performer, Cher loves movies, knows movies and has fascinating things to say about them. We're also proud to claim her as one of Turner Classic Movies' most passionate and knowledgeable fans."

	A complete schedule for A Woman's World: The Defining Era of Women. hosted by Cher and Robert Osborne, is included below.

	"After Cher and Robert get things started in April, TCM's Friday Night Spotlight will continue with a new host each month as it explores themes that range from specific film genres to forgotten gems worthy of a second look," said Charles Tabesh, senior vice president of programming for TCM. "We have designed this showcase to give longtime fans of classic movies the chance to see their favorites in a new light, while also giving newer fans the opportunity to expand their cinematic horizons." TCM will announce additional hosts and themes for the Friday Night Spotlight soon.

	TCM's Friday Night Spotlight – A Woman's World: The Defining Era of Women
	Hosted by Cher & Robert Osborne

	Friday, April 5 – Motherhood
	8 p.m. – Mildred Pierce (1945)
	10 p.m. – Stella Dallas (1937)
	Midnight – Penny Serenade (1941)
	2:15 a.m. – Bachelor Mother (1939)

	Friday, April 12 – War Effort and the Homefront
	8 p.m. – So Proudly We Hail (1943)
	10:15 p.m. – Since You Went Away (1944)
	1:15 a.m. – The White Cliffs of Dover (1944)
	3:30 a.m. – Three Came Home (1950)
	5:30 a.m. – The Best Years of Our Lives  (1946)

	Friday, April 19 – Working Women
	8 p.m. – His Girl Friday (1940)
	10 p.m. – Woman of the Year (1942)
	Midnight – Tender Comrade (1943)
	2 a.m. – The Devil and Miss Jones (1941)

	Friday, April 26 – Women Taking Charge
	8 p.m. – The Great Lie (1941)
	10 p.m. – Kitty Foyle (1940)
	12 a.m. – The Palm Beach Story (1942)
	1:45 a.m. – The Women (1939)

#### CHERRY – A Review by Cynthia Flores
CHERRY – A Review by Cynthia Flores
Cherry, the film, is based on the hit semi-autobiographical novel about former army soldier and former drug addict-turned-author Nico Walker. It’s hard to translate such a raw book about one man’s epic and twisted love story. Because, despite all the awful things Cherry (Tom Holland) goes through, war, drug addiction, robbing banks, they are not the core of the story. The true heart of the film is the love between Cherry and Emily (Ciara Bravo).  
Cherry uses several stylized film-looks to tell this off-kilter journey of a disenfranchised young man from Cleveland, Ohio. One who meets the love of his life in college, only to risk losing her through a series of bad decisions. The biggest mistake of all was his decision to join the Army just because he thought Emily broke up with him. Cherry is an unhinged character who is only anchored by his one true love, Emily, who ultimately becomes his wife. When Cherry returns home from his service as an Army medic in the Iraq war, he is a hero. However, he battles the demons of undiagnosed PTSD and spirals into drug addiction, surrounding himself with a funny and dysfunctional group of depraved misfits. Emily is sick of trying to help him recover, so she joins him in his spiral into addiction. Sadly, the two waste away together. Once Cherry begins robbing banks to support their habit, it’s the beginning of the end. 
Cherry is a gritty film that at times dares you to look at the couple as they waste away becoming hard-core junkies. The film is narrated by Cherry from the start and lets you know this guy’s mindset who believes that perhaps the gift of life was wasted on him as he struggles to find his place in the world. This is a very long, maybe too long, coming-of-age story that covers a lot of ground. The last half of the film is so good that it’s worth sitting through the long first part. That being said, it makes the movie uneven. Too bad because the acting from the whole cast is spot on. And the cinematography of Newton Thomas Sigel is simply haunting at times. From the look of the brutal fighting scenes in the Iraq war to the dark deteriorating existence of the drugged-out couple, the cinematography is like thick, rich honey. This only adds to the Russo brothers directing style that brings energy and dark humor to most scenes. The directors chose to shoot and edit Cherry with stylized visual flair while filming their hometown and it paid off.
I give Cherry a 3.5-star rating. It’s not a date movie, but this love story is worth watching.  
 
Directed by: Anthony Russo, Joe Russo
Written by: Angela Russo-Otstot, Jessica Goldberg, Nico Walker (Novel)
Rated: R
Running Time: 2hr 22min
Drama
Release: Apple TV+ March 12th
Starring: Tom Hollard, Ciara Bravo, Jack Reynor
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### CHERRYPOP HOST MEG MCCARTHY INTERVIEW
CherryPicks, the entertainment and media website founded by Miranda Bailey and Rebecca Odes in 2018, premieres the second season of their original podcast, CHERRYPOP on May 4, 2021. Meg McCarthy returns as the host with new episodes dropping every Tuesday. This season includes a stellar line up of Hollywood stars, cultural tastemakers and social media influencers talking about SEX and the difficult discussions surrounding sexuality on screen.
Host Meg McCarthy chatted with our Gadi Elkon about everything Cherrypop!!
 

Meg McCarthy Interview.mp4 from Gadi Elkon on Vimeo.
CherryPop can be found on Apple Podcasts and Spotify. New episodes drop every Tuesday.

Links to Cherrypop’s Season 1:
https://podcasts.apple.com/us/podcast/cherrypop/id1533006400 (Apple Podcasts)

https://open.spotify.com/show/0VbqbFSTPofS13JFBLG2Hp (Spotify)

For social media: follow @TheCherryPicks on Instagram, Twitter, and Facebook or visit our website:  www.thecherrypicks.com.

#### Cheryl Boone Isaacs Elected Academy President
BEVERLY HILLS, CA – Cheryl Boone Isaacs was elected president of the Academy of Motion Picture Arts and Sciences Tuesday night (July 30) by the organization’s Board of Governors.

	Boone Isaacs, who is beginning her 21st year as a governor representing the Public Relations Branch, served as Academy first vice president during the past year. She also produced the 2012 Governors Awards. Boone Isaacs succeeds Hawk Koch, who served a one-year term as president.

	In addition, John Lasseter was elected first vice president; Jeffrey Kurland and Leonard Engelman were elected to vice president posts; Dick Cook was elected treasurer; and Phil Robinson was elected secretary.

	These will be the first officer stints for Engelman, Kurland and Cook.  Lasseter previously served one-year terms as treasurer (2011-2012) and secretary (2009-2010). Robinson served as vice president during the past year, his fourth consecutive term in that office (2009-2013).

	Boone Isaacs currently heads CBI Enterprises, Inc., where she has consulted on such films as “The Call,” “The Artist,” “The King’s Speech,” “Precious: Based on the Novel ‘Push’ by Sapphire,” “Spider-Man 2” and “Tupac: Resurrection.”Boone Isaacs previously served as president of theatrical marketing for New Line Cinema, where she oversaw numerous box office successes, including “Austin Powers: The Spy Who Shagged Me” and “Rush Hour.” Prior to joining New Line in 1997, Boone Isaacs was executive vice president of worldwide publicity for Paramount Pictures, where she orchestrated publicity campaigns for the Best Picture winners “Forrest Gump” and “Braveheart.”

	Academy board members may serve up to three consecutive three-year terms, while officers serve one-year terms, with a maximum of four consecutive years in any one office.

#### Cheryl Boone Isaacs Re-Elected Academy President
 

	Cheryl Boone Isaacs was re-elected president of the Academy of Motion Picture Arts and Sciences Tuesday night (August 5) by the organization’s Board of Governors.

	In addition, Jeffrey Kurland was elected first vice president, Leonard Engelman and John Bailey were elected to vice president posts, Dick Cook was elected treasurer, and Bill Kroyer was elected secretary.

	Boone Isaacs is beginning her second term as president and her 22nd year as a governor representing the Public Relations Branch. Last year Kurland served as vice president. Both Engelman and Cook were re-elected to their posts. These will be the first officer stints for Bailey and Kroyer.

	Boone Isaacs currently heads CBI Enterprises, Inc., where she has consulted on marketing efforts on such films as “The Call,” “The Artist,” “The King’s Speech,” “Precious: Based on the Novel ‘Push’ by Sapphire,” “Spider-Man 2” and “Tupac: Resurrection.”Boone Isaacs previously served as president of theatrical marketing for New Line Cinema, where she oversaw numerous box office successes, including “Austin Powers: The Spy Who Shagged Me” and “Rush Hour.” Prior to joining New Line in 1997, she was executive vice president of worldwide publicity for Paramount Pictures, where she orchestrated publicity campaigns for the Best Picture winners “Forrest Gump” and “Braveheart.” This year, she was inducted into the National Association for the Advancement of Colored People (NAACP) Hall of Fame, and received the African American Film Critics Association (AAFCA) Horizon Award and the 2014 Trailblazer award from Essence magazine.

	Academy board members may serve up to three consecutive three-year terms, while officers serve one-year terms, with a maximum of four consecutive years in any one office.

#### Cheryl Boone Isaacs Re-Elected As President of the Academy
 

	Cheryl Boone Isaacs was re-elected president of the Academy of Motion Picture Arts and Sciences Tuesday night (August 2) by the organization’s Board of Governors.

	Also elected to officer positions by the Board:

		Jeffrey Kurland, First Vice President (chair, Awards and Events Committee)
	

		John Bailey, Vice President (chair, Preservation and History Committee)
	

		Kathleen Kennedy, Vice President (chair, Museum Committee)
	

		Nancy Utley, Vice President (chair, Education and Outreach Committee)
	

		Jim Gianopulos, Treasurer (chair, Finance Committee)
	

		David Rubin, Secretary (chair, Membership and Administration Committee)
	

	Boone Isaacs is beginning her fourth term as president and her 24th year as a governor representing the Public Relations Branch.  Bailey, Gianopulos, Kennedy and Kurland were re-elected to their posts.  This will be the first officer stint for Rubin and Utley. 

	Boone Isaacs heads CBI Enterprises, Inc., where she consults on film marketing efforts.  She is currently an adjunct professor at Chapman University’s Dodge College of Film and Media Arts and serves as a trustee of the American Film Institute.  In May she received an honorary Doctor of Arts degree from the Dodge College of Film and Media Arts.  She also received the 2016 Rosa Parks Humanitarian Award from the Southern Christian Leadership Conference of Southern California.  Over her career, Boone Isaacs has consulted on such films as “The Call,” “The Artist,” “The King’s Speech,” “Precious: Based on the Novel ‘Push’ by Sapphire,” “Spider-Man 2” and “Tupac: Resurrection.”  Boone Isaacs previously served as president of theatrical marketing for New Line Cinema, where she oversaw numerous box office successes, including “Austin Powers: The Spy Who Shagged Me” and “Rush Hour.”  Prior to joining New Line, she was executive vice president of worldwide publicity for Paramount Pictures, where she orchestrated publicity campaigns for the Best Picture winners “Forrest Gump” and “Braveheart.” 

	Academy board members may serve up to three consecutive three-year terms, while officers serve one-year terms, with a maximum of four consecutive years in any one office.

	For a full listing of the Academy’s 2016-17 Board of Governors, click here.

#### Chi-Raq – A Review By Liz Casanova
Chi-Raq

	By Liz Casanova

	Starring Samuel L. Jackson, Nick Cannon, Teyonah Parris, Wesley Snipes, Angela Bassett, John Cusack and Jennifer Hudson

	Written by Kevin Willmott, Spike Lee and Aristophanes (based on the play Lysistrata)

	Directed by Spike Lee

	Running time 118 min

	MPAA rating R

	Selig Film Rating Dollar

	It is said that art often imitates life. And no other film is more relevant to the times than Spike Lee's Chi-Raq. The setting is Southside Chicago, which is sardonically referred to as Chi-Raq. Lee immediately supports the point by presenting statistics that compare the Iraq and Afghanistan death tolls to Chicago's, from 2011 to present day. After the stage is set, the everyday lives of criminals and innocents give the audience a peek of a community riddled with violence. 

	Chi-Raq is actually Lee's ghetto fabulous version of the play Lysistrata by Aristophanes. Anyone who took a literature or theater class will vaguely remember that it's a satire about a woman who has the brilliant idea of stopping the Peloponnesian War by withholding sex from her man. In Chi-Raq, the sexy neigborhood queen, Lysistrata (Teyonah Parris), builds an army of 'sexless sistas' to force their men to give up their guns. Chi-Raq also happens to be the name of Lysistrata's man, played by the incredibly intense Nick Cannon. On the flip side, there are the innocents, include grieving mother Irene (Jennifer Hudson), Father Mike Corridan (John Cusack) and community organizer Miss Helen. It is truly a war of interests. 

	As always, Lee excels in casting. There is a parade of old-school actors, but the surprises come from Cannon, Parris and Hudson. Cannon especially is transformed from that guy who was married to Mariah Carey, and hosts America's Got Talent, to a hardened and heartless street lord. It's equivalent to the shock of hearing Wayne Brady or Bob Saget use foul language. Cannon, however, shocks with the ability to harness a depth that usually only seasoned actors can pull off. Hudson too is convincing as the mother whose young daughter is senslessly murderd at the playground.  

	The greatness of Chi-Raq is those serious moments that pull us in the story and lets us relate and not relate. It's an interesting balance of knowing what the characters feel like when it comes to the emotional moments, as well as introduce a situation that the majority of middle America feel alienated from. There is also the device of using poetry instead of straight dialog. It keeps the audience paying attention and gives a musical element. Speaking of music, the soundtrack is solid, including tracks by R. Kelly, Jhene Aiko and Bruce Hornsby and the Noisemakers.

	But as awesome as the first half of the film is, it has its irritating pitfalls. Chi-Raq is a satire and there are plenty of comedic moments. However, at times it pulled me out of the film. I can pinpoint it to the scene where Lysistrata invades the military compound. Without giving too much away, she seduces a racist general, pulling down Confederate flags and shaking her booty. It is a little too Mel Brooks and the racism narrative feels forced. What starts out as an intellectual and artistic discussion about the situation in Chicago, turns into a watered down political rant. I'm not discouraging political themes in films (Lee especially should be discussing it) but there is no added value. It is too obvious, when the film starts out so beautifully character driven.  

	There is a lot of movement currently going on in the Chicago Police Department that is deliciously foreshadowed. But I left the theater a little disappointed. Lee had the opportunity to go deeper than what we see on the news, but instead Chi-Raq ends up preaching to the choir. However, if you go in knowing you're not going to see the best Spike Lee film ever, it's worth checking out for the comedy and admissible theme.  I have deep mixed feelings about Chi-Raq. As a Spike Lee fan, I really wanted to love it. Like how I really love 25th Hour and She's Gotta Have It. Chi-Raq lacks that independent filmmaking spirit that would have made it epic. 

#### Chicago Architecture Center Announces 2020 Open House Chicago Festival
Mundelein Center for the Fine and Performing Artsat Loyola University Chicago in the city’s Rogers Park neighborhood. Photo by Zachary Whittenburg.
 
The Chicago Architecture Center (CAC), under the leadership of President and CEO Lynn J. Osmond, is pleased to announce nearly 50 online programs and trails for self-guided biking, driving and walking during the CAC’s 10th annual Open House Chicago (OHC) festival, reconfigured for outdoor and remote attendance from Friday, October 16 through Sunday, October 25, 2020. CAC members get priority access to an OHC 2020 preview program on Wednesday, October 7 at noon, as well as exclusive access to a series of eight “My Neighborhood, My Story” virtual tours with local celebrities and public figures.
These offerings highlight more than 20 Chicago neighborhoods and two suburbs with an intentional focus on, and engagement with, areas and corridors prioritized by the City of Chicago’s INVEST South/West initiative including Auburn Gresham, Austin, Back of the Yards and New City, Bronzeville, Englewood, Humboldt Park, North Lawndale, Pullman and Roseland, and South Shore. Fifteen additional OHC 2020 focus areas are Chicago’s Loop, Near North Side and Near West Side plus Beverly, Chinatown, Evanston and Rogers Park, Hyde Park and Kenwood, Lincoln Park, Logan Square, Oak Park, Pilsen, Wicker Park and Woodlawn.
“As we approach the end of a year that has brought unforeseen challenges to us all, we’re proud to offer this year’s Open House Chicago as a gift to the city’s residents, as well as a way for people to learn more about ‘the city of architecture’ from wherever they’re most comfortable,” says CAC President and CEO Lynn J. Osmond. “In partnership with our friends at Choose Chicago and in response to the unfortunate but necessary contraction in local tourism, we’re leveraging OHC 2020 to prompt visitation and patronage of more than 100 businesses, sites of cultural significance and other assets near official OHC sites and trails. For making this all possible, the CAC extends its deepest appreciation to Presenting Sponsor Wintrust, for its remarkable support of North America’s largest annual architecture festival.”
Visitors to each OHC 2020 area will be supported in their self-guided exploration by free resources available online at openhousechicago.org, as well as through the free OHC 2020 application for mobile devices, compatible with both Android (Google) and iOS (Apple) operating systems. Using these free resources, OHC 2020 attendees will be able to explore and select routes on a variety of themes, learn more about buildings and sites of interest in each neighborhood, browse and register for related OHC online programs and more. OHC online programs are aligned with the festival’s neighborhoods and themes, featuring guest presenters and representatives from more than 50 local organizations.
OHC 2020 Supports a Safe Experience
All OHC 2020 experiences and programs are outdoors or online in support of public safety. While select online programs during the festival may include images and video footage of building interiors, please do not attempt to enter any of the more than 100 OHC sites and buildings located along OHC trails. OHC participants are asked to observe all current recommendations from public health officials from the State of Illinois and the City of Chicago.
OHC 2020 Mobile App and Self-Guided Trails
Access complete OHC site and trail content including audio, images and video via the OHC 2020 mobile app, available for download via the App Store (for iOS devices) and Google Play Store (for Android devices) prior to the festival. Out-of-app, analog versions of this content will be available upon request for those with access needs. Unless otherwise noted, OHC trails are easy to intermediate bicycle rides or walks designed to last an hour or less.
 
Architectural Innovation Trail: Chinatown
Take 30 minutes or more to follow this one-mile route, tracing historic and recently completed sites of architectural significance, including Hilliard Tower Apartments, Chinatown Square, Ping Tom Memorial Park, the CTA Green Line station at Cermak-McCormick Place and the Chicago Public Library’s Chinatown Branch. Audio narration by Carol Ross Barney, Ross Barney Architects; Brian Lee, Skidmore, Owings & Merrill; and Ernest C. Wong, site design group, ltd.
 
Architectural Innovation Trail: Fulton Market District
Take 30 minutes or more to follow this one-mile route highlighting just a few of the many new developments in and around Chicago’s Fulton Market District. Trail stops include 1K Fulton, Fulton West, the Chicago Public Library’s West Loop Branch and McDonald’s Global Headquarters, plus the under-construction projects Fulton East and 800 Fulton Market.
 
Architectural Innovation Trail: Hyde Park
Take 45 minutes or more to follow this 1.5-mile route, spotlighting historic and recently completed sites of architectural significance, including the Frederick C. Robie House, Keck-Gottschalk-Keck Apartments, Promontory Apartments, University Park Condominiums and Townhomes and Solstice on the Park. Audio narration by Mark P. Sexton, Krueck + Sexton; and Juliane Wolf, Studio Gang
 
Bicycle / Driving Trail: A Ribbon of Green on the West Side
The chain of wooded roadways and major parks on Chicago’s West Side comprises more than 1,700 acres of green space, connecting six public squares and eight parks, linked by 18 historic boulevards. Built in stages between 1869 and 1942, the showpieces in this famed “ribbon of green” are the city’s Douglass, Garfield and Humboldt Parks. Enjoy this 7.5-mile trail of highlights by bicycle, car or on foot, or go the distance and travel all 26 miles from end to end. Audio narration by Julia Bachrach, historian and Chicago parks expert
 
Bicycle / Driving Trail: Chicago’s Tied Houses
This citywide trail is best approached as a half-day adventure enjoyed by car or bicycle, with a route linking well-preserved examples of Chicago’s once-commonplace tied houses—bars and saloons “tied” to selling the products of a single brewery. Many designed by architects Frohmann & Jebsen in Chicago for Milwaukee’s Schlitz company, tied houses and the system they supported played a significant role in triggering the movement that led to Prohibition.
 
Bicycle / Driving Trail: North Shore Historic Homes
Take your time following this five-mile route through Kenilworth, Winnetka and Glencoe on Chicago’s North Shore, highlighting homes on the National Register of Historic Places designed by David Adler, Howard Van Doren Shaw and Frank Lloyd Wright. Audio narration is by Lisa Pickell, president of Orren Pickell Building Group and a CAC docent. The North Shore Historic Homes trail is sponsored by Orren Pickell Building Group.
 
Bicycle / Walking Trail: Olmsted’s South Park
Chicago’s Jackson and Washington Parks, along with the Midway Plaisance, form a coherent, 1,055-acre landscape originally known as South Park. Designed in 1871 by Frederick Law Olmsted, “the father of landscape architecture,” this trio of urban assets took time to mature. Enjoy this 2.5-mile trail of highlights or go the distance and travel all five miles from end to end. Audio narration by Julia Bachrach, historian and Chicago parks expert; and Robert W. Karr, Jr., Project 120 Chicago
 
Neighborhood Trail: Austin: Frederick R. Schock Homes
Take 20 minutes or more to enjoy this half-mile route past four houses designed by Frederick R. Schock, a Chicago-born architect who pushed stylistic boundaries and helped establish Austin as a fashionable residential enclave. Featured sites, including Schock’s own residence, combine elements of Queen Anne and the Shingle Style—a design approach uncommon in the Midwest but highly influential to Chicago architects associated with the Prairie School.
 
Neighborhood Trail: Beverly: The Prairie School
Take an hour or more to explore this two-mile route showcasing the rich variety of homes on and around a prominent natural ridge extending from Chicago’s 87th Street south to the City of Blue Island. While there are unique homes and vibrant communities along all six miles of the ridge, this trail focuses on a short stretch featuring grand homes by influential architects—and a collection of Prairie Style exemplars to rival Oak Park.
 
Neighborhood Trail: Bronzeville: Performance Spaces in the Black Metropolis
Through the first half of the 20th century, discriminatory practices by banks and insurance companies forced Black Chicagoans and new arrivals to the city from the American South to settle in a narrow corridor of the South Side known as “The Black Belt.” With space so limited, several buildings operated both as community gathering points and venues for musicians and other performing artists. Take 45 minutes or more to follow this 1.5-mile trail connecting a few sites still standing from the heyday of Chicago’s “Black Metropolis.” Audio narration by Bernard Loyd, Urban Juncture; and Robert M. Marovich, Journal of Gospel Music
 
Neighborhood Trail: Downtown: Lakeshore East
Take 30 minutes or more for this half-mile exploration of the latest structures to rise in Lakeshore East, a master-planned community on the former site of the Illinois Central Railroad yards and, later, a nine-hole golf course. Tucked between Lake Michigan, Millennium Park and the Chicago River, Lakeshore East is now home to some of the tallest new buildings in the United States. Audio narration by James Loewenberg, Magellan Development Group; and Juliane Wolf, Studio Gang
Neighborhood Trail: Lincoln Park: A Women’s History
Take 45 minutes or more to follow this one-mile trail and learn how a small cemetery was transformed into today’s 1,200-acre recreational landscape. The handful of important contributions by women to the creation of Lincoln Park are often overshadowed by men whose names and figures adorn the park’s historic sites and natural features. Explore locations that broaden the narrative of how the park took shape over 150 years, with an emphasis on women who envisioned—and continue to improve—a space all Chicagoans can enjoy. Audio narration by Julia Bachrach, historian and Chicago parks expert
 
Neighborhood Trail: Logan Square: Homes of the Boulevards
Take 45 minutes or more to follow this 1.5-mile trail of highlights along the tree-lined boulevards radiating outward from Chicago’s Logan and Palmer Squares. Having taken their design cues from older, heavier façades along Drexel and Grand Boulevards as well as Lake Shore Drive, the Prairie, Queen Anne and Greystone homes on Kedzie and Logan Boulevards aimed to attract newly affluent buyers seeking a then-suburban setting.
 
Neighborhood Trail: Near North Side: Gold Coast Tales
Following the Great Chicago Fire of 1871, grand residences were built throughout the northeast pocket of today’s Gold Coast neighborhood, along Lake Shore Drive between Division Street and North Avenue. Take 45 minutes or more to follow this one-mile trail profiling the ambitions, personalities and stories of figures and families who chose to make homes in the area. Audio narration by Virginia Gerst, CAC docent
 
Neighborhood Trail: Near South Side: Prairie Avenue Homes
Some of the oldest, most picturesque homes still standing in Chicago can be found tucked away along South Prairie Avenue southeast of Soldier Field, including the Henry B. Clarke House (1836), Keith House (1870) and OHC 2020 community partner Glessner House (1885−87). Take 30 minutes or more to enjoy this half-mile stroll through Chicago’s historic Prairie Avenue District—and learn which of the area’s buildings were picked up and moved from their original locations.
 
Neighborhood Trail: Oak Park: The Young Frank Lloyd Wright
Take 30 minutes or more to follow this half-mile trail highlighting seven early houses designed by Frank Lloyd Wright during the first two decades of his long career. Curated from among Wright’s 25 extant Oak Park commissions, these examples show how his work evolved, from his early tenure as a draftsman under Louis Sullivan to his emergence as an established and influential architect in private practice. Audio narration by Adam Rubin, Chicago Architecture Center
 
Neighborhood Trail: Pilsen: Mosaics
Take 30 minutes or more to appreciate the remarkable mosaics along this 1.25-mile trail, created using tiles and other mixed media over the past 30 years. Tracing at least to Mario Castillo’s “Peace or Metafisico” mural of 1968, Chicago’s Pilsen neighborhood has long been a hub of the Mexican muralist movement in the United States. Many of the neighborhood’s works of tile and painting merge expressions of cultural and religious identity with calls for social justice, by artists such as Sandra Antongiorgi, Aurelio Diaz, Héctor Duarte, Sam Kirk, Jeff Maldonado, Francisco Mendoza, Gabriel Villa and others. Audio narration by Luis Tubens, Pilsen murals expert
 
Neighborhood Trail: Pullman and Roseland Today
Chicago Neighborhood Initiatives president David Doig discusses historic rehabilitation and housing development work in and around Pullman, originally intended as an idyllic community for Pullman Palace Car Company laborers but, within 15 years, the site of the violent Pullman Strike of 1894. Absorbed by the City of Chicago in 1889, Pullman today encompasses the Pullman National Monument, including landmark buildings by architect Solon Spencer Beman and landscapes by Nathan Barrett, as well as larger areas to the west of Lake Calumet and north to 95th Street, urbanized throughout the mid−20th century. Video content by Video Parachute, with kind assistance from Chicago Neighborhood Initiatives and Leadership Greater Chicago
 
Neighborhood Trail: Rogers Park: The Mile of Murals
Take 45 minutes or more to enjoy The Mile of Murals—more than 14,000 square feet of bold imagery and vibrant color on street-facing walls abutting elevated CTA Red Line tracks through Rogers Park. Launched in 2007, the project aims to promote and celebrate the arts-centered identity of the neighborhood, which includes the Glenwood Avenue Arts District. Audio narration by Ana Bermúdez, Rogers Park Business Alliance
 
Neighborhood Trail: Wicker Park: Beer Baron Row
Take 30 minutes or more to peruse this half-mile trail through a well-preserved collection of mansions between Damen and North Avenues and Leavitt and Schiller Streets. Dubbed “Beer Baron Row,” this tightly packed assortment of grand homes in Queen Anne, Second Empire, Richardsonian Romanesque and other styles are surrounded by humble workers’ cottages of the same period, built to house German, Scandinavian and Polish immigrants who shared the neighborhood.
 
OHC 2020 App Exclusive: Aural Neighborhoods Trails
Download and install the OHC 2020 mobile app to experience a pair of corresponding, self-guided sound trails created exclusively for the festival by NON:op Open Opera Works. Grab your headphones, choose the Auburn Gresham or Evanston option, travel to the trailhead and follow maps and prompts in the app to find specific points at which you can listen to custom-created, site-specific soundscapes.
OHC 2020 App Exclusive: The Planner’s Path with CAC Teen Fellows
Download and install the OHC 2020 mobile app to check out original neighborhood improvements designed by CAC Teen Fellows in summer 2020 to bring community connection and engagement to 19 underutilized Chicago sites. Additional OHC 2020 content and programs designed for young people and families will be announced at a later date.
 
OHC 2020 App Exclusive: Site Portrait Gallery
Download and install the OHC 2020 mobile app to browse and share unique portraits of 15 OHC 2020 sites, curated exclusively for the festival by artists from Plein Air Painters Chicago.
OHC 2020 Online Programs
Advance registration for most free and paid online events will be required. Event listings and registration will be available at openhousechicago.org/programs and via the OHC 2020 mobile app. Unless otherwise noted, all OHC 2020 online programs are scheduled on Central Time, hosted via Zoom and subject to change. Current CAC members get free access to most OHC online programs, and exclusive access to the “My Neighborhood, My Story” series of video tours led by noted architects, artists, media personalities and public figures.
 
MEMBERS ONLY OHC 2020 Preview
Wednesday, October 7 at noon
FREE exclusively for CAC members first
CAC members are invited to attend this special sneak preview of the OHC 2020 mobile app and virtual programs, with opportunities to ask questions and get recommendations for maximizing their OHC 2020 experience. This online preview program will be accessible to the general public following its premiere for CAC members only.
 
OHC 2020 Trivia Night
Friday, October 16 at 7pm
$15, CAC members $10
To kick off 10 days of endless discoveries during Open House Chicago 2020, join fellow OHC devotees and special guests to compete in teams on trivia questions about Chicago places and spaces.
 
Artmaking and Placemaking in Chicago Communities
Saturday, October 17 at 2pm
FREE
OHC 2020 community partner Hyde Park Art Center co-convenes this roundtable discussion about artist-driven community activations, creative projects and placemaking across Chicago, ahead of its forthcoming 2021 exhibition, “Planting and Maintaining a Perennial Garden.” Presenters include lead exhibition artist and Floating Museum co-director Faheem Majeed, Borderless Studio founder and principal Paola Aguirre, social justice artist and Folded Map Project creator Tonika Lewis Johnson and Future Firm principal Ann Lui.
 
Chicago Landmarking at 50: Past, Present and Future
Saturday, October 17 at 4pm
FREE
Chicago’s historic preservation movement is now more than half a century old. Learn how local landmarking came into being and how its use and impact have gone far beyond preservation, with Chicago’s diverse Third Ward serving as a case study. Presenters include urban planner Jeremi Bryant, Third Ward Alderwoman Pat Dowell and OHC 2020 community partner Glessner House curator and executive director William Tyre.
 
MEMBERS ONLY “My Neighborhood, My Story” Virtual Tour with Gordon Gill
Saturday, October 17 at 7pm
FREE exclusively for CAC members
Renowned architect Gordon Gill, FAIA of Adrian Smith + Gordon Gill Architecture brings CAC President and CEO Lynn Osmond on a video walking tour, to view a selection of the firm’s projects in Chicago and discuss its skyline-altering work in cities around the globe.
 
A New Vision for the Kenwood Line
Sunday, October 18 at 2pm
$8, FREE with registration fee to CAC members
Inspired by the City of Chicago’s INVEST South/West Initiative, Migel Antonino Santos, recent graduate of the College of Architecture at the Illinois Institute of Technology, created a proposal to revitalize the Kenwood Line, a six-station branch of the city’s “L” network that served South Side residents and visitors from 1907−57. Now based in Chicago, Santos originally hails from Pasig City, Metro Manila in the Philippines—among the most densely populated areas on Earth. Hear how Santos suggests Chicago leverage this decommissioned rail line in support of greater socioeconomic equity and neighborhood vitality.
 
MEMBERS ONLY “My Neighborhood, My Story” Virtual Tour of Pulaski Park Fieldhouse  
Sunday, October 18 at 4pm
FREE exclusively for CAC members
Free Street Theater and Performance for Social Justice gives CAC members a video tour through the curious, mural-filled rooms of Pulaski Park Fieldhouse (William Carbys Zimmerman, 1914), where Free Street is headquartered through the Chicago Park District’s Arts Partners in Residence program.
 
Women in Architecture Virtual Tour 
Monday, October 19 at 10am
$8, FREE with registration fee to CAC members
While women in architecture and design professions were historically limited by glass ceilings, they’ve secured bigger and more visible roles in the 21st century, opening and running their own offices and designing buildings that have changed cities and skylines the world over. CAC docent Mary Jo Hoag leads this special encore presentation during OHC 2020 of her popular virtual tour, premiered on CAC Live in June 2020.
 
MEMBERS ONLY “My Neighborhood, My Story” Virtual Tour with Heather Ireland Robinson
Monday, October 19 at 5:30pm
FREE exclusively for CAC members
Jazz Institute of Chicago executive director Heather Ireland Robinson brings CAC members on a video tour through Chicago’s Roseland neighborhood, where Robinson grew up.
 
Revitalized: What’s New and Cool on the River
Tuesday, October 20 at noon
$8, FREE with registration fee to CAC members
Join CAC docents Lance Friedmann, Wayne Johnson, Kelly Jones and Alison Schlickman as they share highlights among the many new buildings, neighborhood developments and works of public art along the Chicago Riverwalk.
Investment through Preservation in Roseland
Tuesday, October 20 at 5:30pm
FREE
OHC 2020 community partner Preservation Chicago co-convenes this roundtable discussion about the Roseland neighborhood on Chicago’s South Side. After decades of disinvestment, what does Roseland need to rebuild its community health and vibrance, and how might historic preservation be leveraged as a means toward such progress? Presenters include Greater Roseland Chamber of Commerce founding executive director Andrea D. Reed, Preservation Chicago director of community engagement Mary Lu Seidel, Roseland Heights Community Association president and Red Line Extension Coalition member Clevan Tucker, Jr. and historian, musician, photographer and lifelong Chicago resident Paul Petraitis.
 
MEMBERS ONLY “My Neighborhood, My Story” Virtual Tour with Neil Steinberg
Tuesday, October 20 at 7pm
FREE exclusively for CAC members
Chicago Sun-Times columnist Neil Steinberg brings CAC members on a video tour highlighting some of Steinberg’s favorite buildings, places and spaces in Oak Park.
 
Get to Know Your House: Rogers Park Edition
Wednesday, October 21 at 10am
Registration fee TBA
Based on the CAC’s popular class series Get to Know Your House, initially offered and sold out in March 2020, this one-time special edition provides attendees tips on researching their historic homes. With Chicago’s Rogers Park neighborhood serving as a case study, this program features a discussion between Rogers Park homeowner and CAC Vice President of Education and Audience Engagement Nicole Kowrach and Property History Quest staffer Dona Vitale from OHC 2020 community partner Rogers Park / West Ridge Historical Society.
 
Changing the Narrative: African Americans in Evanston
Wednesday, October 21 at noon
FREE
Established in 1863, the City of Evanston benefited economically and socially from the contributions of its African American residents—a fact often diminished in, if not excluded entirely from, historical records and narratives. OHC 2020 community partner the Evanston History Center co-convenes this conversation between its director of facilities, visitor services and collections Kris Hartzell and Shorefront Legacy Center founder and executive director Dino Robinson.
 
 
Stories of (Im)Migration, Sites of Unity
Thursday, October 22 at noon
FREE
OHC 2020 community partner Chicago Cultural Alliance co-convenes this discussion among representatives from its member organizations. Hear reflections on (im)migration stories from the communities their organizations serve, and learn about local sites where those communities have come together, past and present, as they’ve made homes for themselves in Chicago.
 
Book Talk: “Evanston’s Design Heritage: Architects, Designers and Planners”
Thursday, October 22 at 5:30pm
Registration fee TBA
Join OHC 2020 community partner Design Evanston for a look at its new book, “Evanston’s Design Heritage,” featuring 127 notable architects and landscape architects, designers and planners who lived or worked in the North Shore city since its founding in 1863. Presenters include architect and University of Illinois at Chicago professor emeritus Stuart Cohen, FAIA; Evanston History Center director of facilities, visitor services and collections Kris Hartzell; architect and landscape designer Tom Hofmaier, LEED AP; Heidrun Hoppe Associates president Heidrun Hoppe; Design Evanston president and Ross Barney Architects marketing principal Laura Saviano; Design Evanston and Teska Associates founder Bob Teska; and Chicago Design Archive president and Jack Weiss Associates principal Jack Weiss.
 
MEMBERS ONLY “My Neighborhood, My Story” Virtual Tour with Lin Brehmer
Thursday, October 22 at 7pm
FREE exclusively for CAC members
93 XRT host Lin Brehmer brings CAC members on a video tour of downtown Chicago, stopping at sites of significance in the history of rock music including famed venues where bands beloved by XRT listeners gave still-legendary concerts.
 
MEMBERS ONLY “My Neighborhood, My Story” Virtual Tour with Carol Ross Barney
Friday, October 23 at 4pm
FREE exclusively for CAC members
Renowned architect Carol Ross Barney, FAIA brings CAC docent Michelle Woods on a stroll along Chicago’s Riverwalk, an award-winning, multi-phase project by Ross Barney Architects that Woods oversees in her role as a City of Chicago project manager for concessions, maintenance and operations.
 
If Walls Had Ears: Historic Chicago Music Venues
Friday, October 23 at 7pm
$15, CAC members $10
This special collection of virtual tours and brief performances by musical artists brings attendees “into” spaces they wouldn’t ordinarily see, such as backstage dressing and green rooms, at storied Chicago venues including the Avalon Regal (South Shore), The Forum (Bronzeville) and Thalia Hall (Pilsen). Presenters include Bernard Loyd, founder and president of Urban Juncture and owner of OHC 2020 community partner The Forum.
 
South Shore Neighborhood Virtual Tour
Saturday, October 24 at 2pm
FREE
This live-streamed, virtual tour of the South Shore neighborhood showcases its rich history and beautiful architecture. Presenters include OHC 2020 community partner Rainbow Beach Park Advisory Council president Allan Lindrup; CAC docent Mike McMains; and MOBE and Real Men Charities, Inc. CEO Yvette J. Moyo, publisher of South Side Drive Magazine: Guide to the Good Life Chicago.
 
MEMBERS ONLY “My Neighborhood, My Story” Virtual Tour with Robert Loerzel
Saturday, October 24 at 4pm
FREE exclusively for CAC members
”Walking Chicago” author, freelance journalist and photographer Robert Loerzel brings CAC members on a video tour of favorite buildings, places and spaces in Chicago’s Edgewater and Rogers Park neighborhoods.
 
Historic Community Gardens of North Lawndale
Sunday, October 25 at 2pm
FREE
Chicago’s North Lawndale neighborhood features a collection of more than 50 community gardens, enlivening many formerly empty lots and often serving as accessible spaces for public gatherings and events. OHC 2020 community partners North Lawndale Community Coordinating Council and North Lawndale Historical and Cultural Society co-convene this discussion with North Lawndale residents about the impact and importance of eight area gardens in particular. Presenters include Chicago and Paris−based architect Odile Compagnon, teaching professor in the Department of Architecture, Interior Architecture and Designed Objects at the School of the Art Institute of Chicago.
MEMBERS ONLY “My Neighborhood, My Story” Virtual Tour with Rhymefest
Sunday, October 25 at 4pm
FREE exclusively for CAC members
Hip-hop artist, community organizer, teacher and writer Che “Rhymefest” Smith brings CAC members on a video tour to places that changed the course of his life and career, in Chicago’s Hyde Park and Kenwood neighborhoods.
 
 
 

#### Chicago Architecture Center Launches Design-Centered at-Home Film Festival in Partnership with the Music Box Theatre
Anne Surak
 
The Chicago Architecture Center (CAC) and Chicago’s Music Box Theatre are pleased to announce Celluloid Skylines: An At-Home Architectural Film Festival. Comprising four interactive discussions hosted via Zoom, prompts to encourage design-themed household conversations and more, Celluloid Skylines runs Memorial Day Weekend 2020, Friday, May 22 through Monday, May 25, with discussions beginning at 8pm Central Time. Registration is available à la carte or through festival passes offering all four events for the price of three. Current Music Box Theatre and CAC members save 22 percent. The deadline to register, both for individual events and full festival passes, is noon Central Time on Friday, May 22, 2020.
Celluloid Skylines is part of the CAC’s broad array of remotely accessible programming, through and beyond its temporary suspension of in-person activities. CAC Live continues with one-time-only events featuring architecture experts, design practitioners, acclaimed authors and industry leaders, while engaging the organization’s corps of more than 600 docents and volunteers; visit architecture.org/caclive to browse and register for upcoming events and click here to view CAC Live listings through June 17. In April 2020, CAC Live attendees joined from 20 U.S. states plus ten countries on five continents.
CAC Live and other events are promoted via free public and CAC member−exclusive versions of CAC@Home, the organization’s digital mini magazine sent every Thursday and archived online at architecture.org/athome.
Celluloid Skylines: An At-Home Architectural Film Festival
Presented by the Chicago Architecture Center in partnership with the Music Box Theatre
Memorial Day Weekend 2020, Friday, May 22 through Monday, May 25
$9 per post-screening discussion, CAC and Music Box Theatre members* $7
Four-film festival passes $27, CAC and Music Box Theatre members* $21
This debut at-home film festival helps attendees explore how filmmakers use architecture to tell extraordinary stories. Celluloid Skylines features four films to stream at home, each followed by discussion via Zoom, facilitated by CAC staff and a guest expert on the film’s design themes.
Each discussion features a brief design analysis and a facilitated question-and-answer period. Pre-screening emails include suggestions for ways to “festival-ize” your experience, including links to view Music Box Theatre organist Dennis Scott performing a musical overture, themed cocktail recipes for each film, and a set of prompts to encourage design-themed household discussions. Participants may choose to stream the films according to our recommended start times—such that each film ends just as the discussion begins—or at their own convenience.
Celluloid Skylines: Program Schedule
Discussions are approximately one hour and begin at 8pm Central Time.
Friday, May 22: Blade Runner, Ridley Scott, 1982, 117 minutes
In a dystopian imagining of Los Angeles in the year 2019, the Tyrell Corporation develops androids, identified as “replicants,” to serve as slaves. The corporation hires a former LAPD officer (Harrison Ford) to hunt down a fugitive group of replicants living undercover as humans. Incorporating a selection of iconic landmark buildings, including Los Angeles Union Station, the Bradbury Building and the Frank Lloyd Wright−designed Ennis-Brown House, Blade Runner’s futurist production design brilliantly incorporates historic architecture.
Christopher Hawthorne, discussion guest co-host for Blade Runner, is Chief Design Officer for the City of Los Angeles and former architecture critic for The Los Angeles Times. Hawthorne is also Professor of Practice at the University of Southern California’s Dornsife College of Letters, Arts and Sciences.
Saturday, May 23: Columbus, Kogonada, 2017, 100 minutes
The Korean-American son (John Cho) of a celebrated architecture scholar finds himself in Indiana, where his father lies comatose in a local hospital. He strikes up a friendship with Casey (Haley Lu Richardson), a young woman who works in the local library but dreams of leaving town to study architecture. With expertly composed shots of Columbus’ remarkable collection of modernist buildings, Columbus examines themes of family obligation, home and identity, using architecture as its guiding metaphor.
Anne Surak, discussion guest co-host for Columbus, is Director of Exhibit Columbus with more than 15 years of experience creating collaboration-based projects and gallery exhibitions. Owner of the consulting firm art + space, Surak was the inaugural director of Project 4 gallery in Washington, D.C.
Sunday, May 24: An Engineer Imagines, Marcus Robinson, 2019, 80 minutes
This cinematic homage to Peter Rice traces the Irish structural engineer’s extraordinary life and career, from his Dundalk childhood to his work on the Sydney Opera House, the Centre Pompidou and the Lloyd’s Building, to his untimely death in 1992. Marcus Robinson uses stunning time-lapse photography and revealing interviews to tell the story of a genius who stood in the shadow of architectural icons—until now.
The guest co-host for An Engineer Imagines is a structural engineer at Skidmore, Owings & Merrill, to be announced at a later date.
Monday, May 25: The Hudsucker Proxy, Joel and Ethan Coen, 1994, 111 minutes
A conniving executive (Paul Newman) devises a corporate takeover after a company’s founder dies. To devalue its stock, he promotes naïve business school graduate and amateur inventor Norville Barnes (Tim Robbins) from mailroom clerk to the board of directors. But when Barnes’s latest invention succeeds, the company’s value launches into the stratosphere. The Hudsucker Proxy weaves together iconic Chicago locations with exquisite models to create a larger-than-life metropolis, punctuated by real-life Art Deco treasures.
Jean L. Guarino, PhD, discussion guest co-host for The Hudsucker Proxy, is an author, scholar and architectural historian. For the book “Art Deco Chicago: Designing Modern America,” she contributed essays on multiple Chicago skyscrapers of the 1920s.
Celluloid Skylines registration grants access to Zoom discussions only; attendees are responsible for viewing films on their own, via multiple platform options provided via email.
*Music Box Theatre members must use the email address associated with their Music Box Theatre membership to redeem their discount on registration via architecture.org. Member discount pricing is the same for CAC members and Music Box Theatre members as well as those who are members of both organizations and can only be redeemed once.
While the CAC Call Center remains closed to support employee safety, voicemails at 312-922-3432 are monitored daily. The CAC responds within 24 hours to all inquiries sent via email to tickets@architecture.org, boxoffice@architecture.org and info@architecture.org.
Subscriptions via email to CAC@Home are free; visit architecture.org to sign up today. Visit architecture.org/join to become a member today starting at just $80 per year.

#### CHICAGO THE MUSICAL
 

	CHICAGO THE MUSICAL

	 

	By Gary Murray

	 

	Starring Tracy Shayne, Terra C. MacLeod, John O’Hurley and Ron Orbach

	 

	Book by Fred Ebb & Bob Fosse

	 

	Music by John Kander

	 

	Lyrics by Fred Ebb

	 

	Chicago is back and better than ever.  The Bob Fosse musical has been around for decades and still manages to thrill audiences.  A few years ago it was put on film with Renee Zellweger and Catherine Zeta-Jones in the lead roles.  It has been on national tour for years and it makes its appearance at the AT&T Performing Arts Center as part of the Lexus Broadway Series.

	The story of Chicago is of Roxie Hart (Tracy Shayne) a married chorus girl who kills her lover.  She is locked in a woman’s prison awaiting trial.  Her celebrity cellmate is Velma Kelly (Terra C. MacLeod) a double murderer who is a star of vaudeville.  Velma is everything that Roxie wants to be, both famous and infamous. 

	Roxie sees that her acquittal on murder charges should vault her into the A-list of celebrity in gangster era of the 1920s Chicago.  In jail, she meets Mama Morton (Kecia Lewis-Davis).  Mama is the woman with the connections and for a price, she can make things happen. 

	Roxie, through Mama, hires Billy Flynn (John O’Hurley) to be her lawyer.  He is a crafty devil of an attorney who cares more about his own celebrity and collecting $5,000 than the pursuit of justice. 

	The musical is the ins and outs of both the judicial system and the want of celebrity.  As we sprint toward the trial, the audience sees all the back-stabbing and jealousies that are the worst of humanity.  It is about manipulations and manipulators. 

	But, Chicago the musical is more about music and this is a classic score.  The play opens with “All that Jazz” a sexy number with the barely clothed cast sizzling across the stage.  The first big number of Act One is “Cell Block Tango” where we meet the cast of female murders.  The ladies tell their tales with a macabre glee, lighting suggesting jail cell bars. 

	After that big number, Kecia Lewis-Davis makes her entrance on “When You’re Good to Mama”  This performer commands the stage with a powerful, throaty voice.  She gets a much deserved roaring amount of applause.

	Finally, John O’Hurley takes the stage as Billy Flynn.  He is best known for his role on Seinfeld and as a game show host.  His first big number is “All I Care About” and at first it looks like he was stunt casting.  It takes a few bars in before John finds his footing and by the end delivers a strong, room filling performance.  He does little acting but plays a perfect MC for the chaos that surrounds.  His smile is genuine as the delivers comic lines to both the actors and the on-stage musical director.

	 

	The two actresses who play the leads are totally opposite in skills.  Tracy Shayne has an amazing voice that packs the hall with harmonious tones.  It is a crystal clear instrument that sends chills down the spine.   Terra C. MacLeod is a different performer.  She shows some killer comic timing and delivers both the comedy and drama of the role with certain flair.

	 

	One of the true stand-out performances is by Ron Orbach as Amos Hart.  He takes his single song “Mister Cellophane” and turns it into a wanting plea.  It is a brilliant combination of pathos and sympathies that wins the audience.  He takes the role and turns it into the true victim of the piece. 

	 

	The play is presented with the band on stage and the action happening in front of the bandstand.  The one thing I would like to see is someone to re-imagine the presentation.  It seems that it could be done more in a traditional style with the orchestra in the pit and the players on the stage.  With a more open floor, the dancing and singing could be opened up.

	 

	Chicago is a stalwart production, a classic of the modern musical.  This is a must-see show that should not be missed.  Do not miss this chance to see it on stage. 

	 

	 

	 

	 

	 

#### Chicago’s PrideArts Announces Four-week Streaming International Queer Film Festival July 18 – August 14
GOD’S DAUGHTER DANCES
 
PrideArts today announced a film festival of 29 films from eight countries that will stream online in four separate programs, each available online for one week. The unusually diverse selection of films was chosen by a PrideArts panel that reviewed hundreds of submissions. The films explore a range of queer life topics in genres that range from comedy and drama to science fiction, Zoom dating, Star Trek fandom, and modern dance. The 28 short films from eight different countries will be shown over three separate programs of approximately two hours per program, with each program streaming for one week. The four-week festival will conclude with a weeklong streaming of BOY MEETS BOY, a new feature film by German filmmaker Daniel Sanchez Lopez that has earned acclaim in international festivals and is set to enjoy a theatrical release in Europe. Sanchez Lopez’s film follows two young men – a Brit and a German – who meet online for sex, but who develop a deeper connection over one long night in Berlin.
Access to each program of shorts and to BOY MEETS BOY will be $12.00, which will grant viewing of the program or feature purchased for a full week – allowing audiences greater flexibility in viewing the films at their leisure.  Tickets and more information will be available shortly at www.pridearts.org.
 
A complete listing of each program appears below.
 
LISTING INFORMATION
PRIDEARTS SUMMER FILM FESTIVAL
July 18 – August 14, 2021
Streaming Online
Three weekly programs of short queer films, followed by a weeklong run of the Chicago premiere of the 2021 feature film BOY MEETS BOY, directed by Daniel Sanchez Lopez, from a screenplay by Sanchez Lopez and Hannah Renton.
$12.00. Admission allows unlimited viewing through the end of the week of release for the shorts program or feature film purchased.
More info and ticketing at www.pridearts.org
 
SHORTS PROGRAM A (1:51:34)  – July 18-24, 2021
10 short films from the US, UK, Korea, Germany, and Italy
SHORTS PROGRAM B (1:51:00) – July 25 – 31, 2021
8 short films from the US, Brazil, India, and Germany
SHORTS PROGRAM C (1:58:00) – August 1-7, 2021
10 short films from the US, UK, and Mexico
Feature Film – BOY MEETS BOY (Germany, 1:15) – August 8-14, 2021
Directed by Daniel Sanchez Lopez, Screenplay by Daniel Sanchez Lopez and Hannah Renton
 
COMPLETE PROGRAM
 
Shorts Program A– Streaming July 18-24, 2021
1701: A BLERD STORY (USA, 7:21). Written and directed by Matt Jennings.
A black gay nerd uses “Star Trek” to cope with life.
 
FROM A TO Q (UK, 18:52). Written and directed by Emmalie El fadli.
22-year-old Alex wakes suddenly from a dream where she’s intimate with Kayla. Only problem is; Kayla happens to be Alex’s best friend and Alex has never been with a girl before.
 
GOD’S DAUGHTER DANCES (Republic of Korea, 24:53). Written and directed by Sungbin BYUN.
A transgender female dancer, Shin-mi, gets a call from the Military Manpower Administration, to attend for the Military Service Examination. Shin-mi, with everything in readiness, takes her steps to the Military Manpower Administration.
 
MALL (Germany, 7:03). Written by Florens Huhn, Directed by Jerry Hoffmann.
The introverted Didi is out with his man dominated family in a Megastore. Didi walks around alone in the toy section, where the storage racks are sorted strictly by gender: boys’ toys on the one side, girls’ stuff on the other. But Didi only has eyes for one side of the racks.
 
MARCELLO (Italy, 13:42 ) Written and directed by Francesco Di Giuseppe.
Marcello always stares at Andrea, a young girl who loves wearing lipstick and craves for his attention during biochemistry classes. Despite the initial wrong impression, Andrea is not what Marcello is staring at, but there is something deeper behind. MARCELLO is a journey through the path of gender expression as well as personal growth.
 
STAY (Italy, 11:59). Written and directed by Francesco Marsella.
Ana just paid Bibi for sex. When they finish, she expects Bibi to return to her place, but she has no intention to leave the bed first and the philosophical clash she created later.
 
SUNDOWN TOWN (USA, 10:00). Written by Mylo Butler and Jada Lewter, Directed by Butler.
Bryce & Mitchell’s trip home is disrupted after making a pit stop in a mysteriously unwelcoming town.
 
SWIVEL (UK, 6:39). Written and directed by Lois Norman.
What if, you can be all of who you are and still allow another? That just for one night, judgement no longer exists? What if, an intimacy of touch, a truth of want, swivels around your doubt and trusts? What if, love is not a gender, it is a swivel of the heart?
 
TOTAL CATCH (USA, 2:22). Written and directed by Sarah Clark.
Dating is hard… Zoom dating is harder.
 
ULRICHS 1867 (Germany, 9:50) Directed and choreographed by Sven Niemeyer.
Karl Heinrich Ulrichs (1825-1895), was a lawyer, journalist, publisher, writer, pioneer of sexology and is known as the “first open gay man” and “LGBTQ+”-activist in Germany. His words urging acceptance of same-sex attraction are read and interpreted through dance set to a techno score.
 
Shorts Program B – Streaming July 25-31, 2021
ANTONI-A (USA, 27:30). Written and directed by Miguel Miller.
Antoni-a is a cross-dresser sex worker with a troubled past that we discover while formidable detective Ana Frank is interrogating her. Bloodied and beaten, Antoni-a relays the harrowing events that caused her bruises and Mr. Silverman, her John’s death.
 
AS SIMPLE AS THAT (Brazil, 19:08). Written by Felipe Cabral, Directed by Luciana Bitencourt
Suspicious that her son is gay, Joana shares her doubts with her husband. To her surprise, the boy’s father knows much more about the subject than she imagined. After all, why was she the last to know?
 
DIFFERENT QUAKE (USA, 6:03). Written by Brandon Shim, Directed by Jack D. Fleischer.
During an intense earthquake, a love triangle erupts between church missionaries Mark and their potential convert Vanessa. But that different quake saves and transforms them.
 
LOVE CONQUERS (USA, 6:33). Written and directed by Eric Bendross.
A conflicted young man contemplates coming out to his super religious mother, but what happens next is nothing like either of them expects.
 
RIMI (India, 13:05). Written and directed by Nischhal Sharma
Yasin and Mauro live everywhere but nowhere. The streets are their home, the night is their life. Why adapt when you can do what you want? Even love is for sale so they can only rely on their friendship -but what happens when everything gets out of hand?
 
THE LAST ROMANTICS OF THE WORLD (Brazil, 23:00). Written and directed by Henrique Arruda.
2050. The world as we know it is about to be ended by a pink cloud. Far away from the urban chaos, Pedro and Miguel seek only eternity.
 
WISH FULFILLMENT (USA, 15:53). Written by David Simpatico and Matt Brown, Directed by Simpatico.
A son comes out to his father…12 different ways.
 
Shorts Program C – Streaming August 1-7, 2021
A FIRE THAT NEVER DIES (USA, 6:58). Written and directed by Chheangkea Ieng.
A young man becomes infatuated with his upstairs neighbor after believing that his late mother has sent him.
 
COMPOSITIONS FOR UNDERSTANDING RELATIONSHIPS (USA, 5:30). Directed by David De La Fuente.
“A Love Letter”
 
EDEN (Mexico, 15:00). Written and directed by Tavo Ruiz.
Eden is the queer re-tale of Adam and Eve’s story in modern times. A visually striking story about first love situated in Berlin.
 
FAMILY MISFORTUNES (UK, 11:11). Written by Aidey Pugh, Directed by Joseph Burke.
When father and daughter just want to be loved for who they are.
 
FROZEN OUT (USA, 5:00). Written by Hao Zhou and Tyler Hill, Directed by Hao Zhou.
An émigré retreats to frozen prairies, forests, and swamps, trying to find a meaningful story and escape the anxieties of dislocation. Delivered as a film-letter to the protagonist’s sister in rural China, the film considers his queer self-exile as well as identities that were too difficult to express back home.
 
IN[APP]LICABLE (USA, 11:08). Written and directed by Cam Owen.
After moving from small-town Louisiana to New Orleans, Ted navigates the city using a dating app.
 
MORE OF SOMETHING (USA, 18:00). Written and directed by Kevin J. Nettles.
Two guys meet for a hook-up, but find there is something more, if you are open to it
 
ROADKILL (USA, 15:00). Written and directed by Aliza Lorraine Brugger.
Tillie’s lonely life as a roadkill removal worker is destabilized when Wanda, a lively stranger, comes to town.
 
THE MORE THINGS CHANGE (USA, 16:00). Written and directed by Debra F. Simone.
For the longest time, Dana thought transition would change everything…but she’s still grinding it out at work, dealing with a crazy boss, and has no time for family, friends, or any fun at all.
 
THE UNSURE MASSEUR (USA, 14:00). Written and directed by Reid Waterer.
A young man considering a career as a masseur visits one and ends up learning more about the job than he ever imagined. Alternate synopsis: Trapped in our gig jobs economy, an aspiring masseur learns the sacrifices required from an experienced massage therapist.
 
Feature Film – Streaming August 8-14, 2021
 
BOY MEETS BOY (Germany, 1:15) – August 8-14, 2021
Directed by Daniel Sanchez Lopez
Screenplay by Daniel Sanchez Lopez and Hannah Renton
Set in one memorable day during an unexpected brief romance in Berlin, Boy Meets Boy is a love letter to everything that can happen between two strangers. For Johannes, white and German, and Harry, Black and British, a shared kiss in a nightclub leads to a day spent ambling through the urban landscape. Their immediate intimacy and undeniable chemistry unfold against the ticking clock: Harry is leaving Berlin in a few hours. THE DIGITAL FIX says BOY MEETS BOY is a look at how the internet has transformed love and sex for the young generation…it’s a work that specifically tackles the disillusionment that gay hookup culture can cause. The film never takes its eyes off the root causes, rather than the symptoms, of this fatigue: as a result, it doesn’t feel judgmental or moralistic.”

#### CHICAGO’S ASIAN POP-UP CINEMA ANNOUNCES SEASON NINE
 
Non-profit pan-Asian film organization Sophia’s Choice today announces Asian Pop-Up Cinema – Season Nine, is the film series that cultivates American interest and understanding of Asian culture through movie storytelling while making Chicago a destination for international visitors.
Films have been thoughtfully curated to represent authentic voices of Asia in artful narrations by filmmakers; a majority of which will be Chicago premieres, never before shown on the big screen. Season Nine presents 17 new films and 15 special guests to Chicago from September 10 through October 10, 2019.
The five-week schedule highlights films made from the same geographic location per week.  A majority of the screenings will be presented at the festival’s primary venue, AMC River East 21.
Select titles are screened at collaborative partners’ premises: Gene Siskel Film Center, Harold Washington Library Center, Alliance Française de Chicago, Chinese-American Museum, Illinois Institute of Technology, School of the Art Institute, and Midwest Buddhist Temple.
Among the highlights for Asian Pop-Up Cinema’s Season Nine include four films that are heavily influenced by Hollywood musicals: Japan’s Can’t Stop the Dancing, South Korea’s Swing Kids, Hong Kong’s Office and the Philippines’ Miss Granny. Special programming for Filipino American History Month in October includes two award-winning films Signal Rock and Miss Granny from the Philippines. Returning this season is the popular “Movie with Mooncakes” free screening showing with internationally known Zhang Yimou’s spectacular Shadow to celebrate the Mid-Autumn Festival.
Season Nine will honor one of Hong Kong’s legendary stars, Kenneth Tsang Kong (The Attorney) with the Lifetime Achievement Award; and the notable Philippines actor Christian Bables (Signal Rock) with the Bright Star Award.  Award ceremonies will take place on the same night of their screenings.
Film details, trailers and ticketing for each screening, plus information on special guests, are below and available at www.asianpopupcinema.org.
 
Below is full list of special guests scheduled to attend with their films:
 
South Korea
·      Lee Min-Jae (director) – The Odd Family: Zombie on Sale
·      Hong Seung-Wan (director) – Juror 8
 
China
·      Huo Meng  (director) – Crossing the Border
·      Song Wen (director) – The Enigma of The Arrival
·      Gu Xuan (actress) – The Enigma of The Arrival
 
Japan 
·      Tanaka Seiji (director) – Melancholic
·      Minagawa Yoji (producer/actor) – Melancholic
 
Thailand
·      Ping Lumpraploeng (director) – The Pool
 
Philippines
·      Christian Babies (actor) (Bright Star Recipient) – Signal Rock
 
Hong Kong
·      Christopher Sun (director) – Deception of the Novelist
·      Justin Cheung – (producer/actor) – Deception of the Novelist – The Attorney
·      Kenneth Tsang Kong (Lifetime Achievement Recipient) -The Attorney
·      Cherrie Lau (Executive Producer) – The Attorney
·      Frances To (scriptwriter) – The Attorney
 
All films are shown in their original language with English subtitles. Post-screenings discussion will be led by Ron Falzone, Associate Professor of Cinema and Television Arts at Columbia College Chicago or by one of the following guest speakers/moderators:
 

Darcy Paquet (South Korea) – Professor, Busan Asian Film School (AFiS), Artistic Director, Wildflower Film Awards Korea, and Programming Consultant, Udine Far East Film Festival
Jennifer Dorothy Lee, PhD (U.S.)  – Assistant Professor of Art History, Theory & Criticism at School of the Art Institute of Chicago
Lane Alexander (U.S.) – Co-founder & director of Chicago Human Rhythm Project

Tickets for Asian Pop-Up Cinema – Season Nine are on sale now; individual tickets range from $8-$15, with discounts available for seniors and students at AMC; other non-AMC screenings are either admissions free or donation at $10 basis.  A limited number of free tickets are available to students on a first-come, first-served basis. All tickets and events info are available at www.asianpopupcinema.org/tickets
 
ASIAN POP-UP CINEMA – SEASON NINE Full Schedule and Film Details
 
Tuesday, September 10, 7:00 PM @ AMC River East 21
Opening Night Film
THE ODD FAMILY: ZOMBIE ON SALE (기묘한 가족) | Chicago Premiere
Introduction and Q&A with Director Lee Min-Jae
Guest Moderator: Darcy Packet
South Korea | 2019 | Comedy | 111 Minutes | In Korean w/English subtitles
Director: Lee Min-Jae | Starring: Jung Jae -Young, Kim Nam-Gil, Uhm Ji-Won, Lee Soo-Kyung, Jung Ga-Ram, Park In-Hwan
 
Human Bio, the biggest pharmaceutical company in Korea conducts illegal experiments on humans. One day, a test goes wrong and resulting in the creation of a zombie. Soon after, in the remote countryside, the oddball Park family makes their acquaintance with the zombie in question, Hyun-woo. Rather than afraid of this strange creature, Park’s family plots to make money out of him, especially after realizing the ’old’ father’s sudden restored virility from a bite of the zombie. Only the youngest daughter Hae-gul takes a liking to Hyun-woo, and nicknames him “Jongbie, the pet.” Will Jongbie make a home with his ‘weirder than zombie’ family?
“Director Lee Min-Jae’s action-packed and self-referential debut takes everything to task with uproarious abandon.” – NYAFF 18th edition
 
 
Thursday, September 12, 7:00PM @ AMC River East 21
JUROR 8 (배심원들) | Chicago Premiere
Introduction and Q&A with Director Hong Seung-Wan
Guest Moderator: Darcy Paquet
South Korea | 2019 | Comedy/Drama/Law | 114 Minutes| In Korean w/English subtitles
Directors: Hong Seung-Wan
Starring: Moon So Ri, Park Hying Shik, Jo Soo Hyang, Jo Han Chul, Seo Jung Yeon, Kim Mi Kyung, Yoon Gyung Ho, Baek Soo Jang
 
Juror 8 is a story of South Korea’s first trial by jury in 2008. It follows the case of a son brutally murdering his mother, with all factors seeming to point to a guilty ruling. However, the trial does not go as smoothly as expected. The eighth juror, young entrepreneur Kwon Nam Woo questions the defendant’s self-declaration of guilt. As a result, Kim Joon Gyum the presiding judge, calls for a new debate to establish a guilty or not guilty verdict. The jury consists of 8 ordinary people with different ages and personality, but, after they become jurors, they seek out the truth of the case.
“…. a touching story that is both serious and fun” – M. Dang, soompi.com
 
 
Saturday, September 14, 2:00PM @ Illinois Institute of Technology (IIT)
SWING KIDS ( 스윙키즈) | Free and Open to the Public
Guest Speaker: Lane Alexander
South Korea | 2018 | Drama/Period-1950/Dance | 133 Minutes | In English and Korean w/English subtitles
Director and Screenplay: Kang Hyeong-Chul | Starring: Do Kyung-Soo, Park Hye-Cu, Jared Grimes, Oh Jung-Se
 
Winner for Best Director at the 2019 Baeksang Arts Award, this swinging musical drama set during the Korean War when the soldiers at a POW camp plan a tap show to distract both themselves and the prisoners from the hardships of war. Led by a former Broadway dancer and a rebellious North Korean soldier, the band of prisoners find a new sense of freedom in dancing.
“Swing Kids is such a dizzying, anachronistic mash-up of genres and cultures — tap-dancing musical, violent war movie, social-justice drama, and slapstick comedy with music from David Bowie, The Beatles and swing king Louis Prima — that it deserves respect.” – Cary Darling, Houston Chronicle
 
 
Sunday, September 15, 10:30 AM @ IIT
SHADOW (影) – Free and Open To the Public
This is APUC’s 2nd annual “Movie with Mooncakes” event celebrating the Mid- Autumn Festival with mooncakes contributed by the Consulate General of People’s Republic of China.
China | 2018 | Action/War/Drama | 116 Minutes | In Mandarin w/English subtitles
Director: Zhang Yimou | Starring: Deng Chao, Sun Li, Zheng Kai, Wang Qian-yuan
 
With Shadow, director Zhang Yimou (Hero, House of Flying Daggers) once again pushes the boundaries of wuxia action to create a film like no other, masterfully painting a canvas of inky blacks and greys punctuated with bursts of color from the blood of the defeated. In a kingdom ruled by a young and unpredictable king, the military commander has a secret weapon: a “shadow”, a look-alike who can fool both his enemies and the King himself.  Now he must use this weapon in an intricate plan that will lead his people to victory in a war that the King does not want.
“[The film]’s immaculate slow-build of training, tension and treachery shows the director has truly recaptured his mastery of the wuxia genre.” – James Marsh, South China Morning Post
 
Wednesday, September 18, 7:00PM @ AMC River East 21
CROSSING THE BORDER (过昭关) | North America Premiere
Introduction and Q&A with Director Huo Meng
Guest Moderator: Jennifer Dorothy Lee, Phd
China | 2018 | Drama/Family | 94 Minutes | In Mandarin w/English subtitles
Director, Producer, Screenplay, Editor and Music: Huo Meng | Starring: Yang Taiyi, Li Yun-hu
 
During summer vacation, Ning Ning, a 7-year-old boy, was sent back to the countryside to be taken care of by his 70-year-old grandfather named Li Fu-chang. Li Fu-chang accidentally got an old friend’s contact information and learned that his old friend had suffered a stroke and was dying. He decided to ride a motorbike with his grandson to visit his old friend who lived thousands of miles away.
“Life is precarious but it is also a magnificent adventure, and everyone has to overcome their own existential “boundaries.” The story is helped by a dose of subtle, refined humor making the closing scene of the film particularly memorable.”  – Maria Barbieri, Udine Far East Film Festival
 
 
Thursday, September 19, 7:00PM @ AMC River East 21
THE ENIGMA OF THE ARRIVAL (抵达之谜) | North America Premiere
Introduction and Q&A with Director Song Wen and Actress Gu Xuan
Guest Moderator: Jennifer Dorothy Lee, PhD
China | 2018 | Drama | 112 Minutes | In Mandarin w/English subtitles
Director: Song Wen | Starring: Li Xian, Dong Borui, Gu Xuan
 
After many years, a group of college friends reunite. They have not seen each other since the disappearance of Dong-dong, a girl that they all secretly fancies. The circumstances of her disappearance caused the end of their friendship. A lot has remained unsaid. Until now.
“…. a subtle examination of media consumption, masculinity, and declining social trust in a rapidly changing China.” – Adam Keller, reelydope.com
 
 
Friday, September 20, 6:00PM @ School of the Art Institute
WUSHU ORPHAN (武林孤儿) | Chicago Premiere | Free and Open To the Public
Guest speaker:  Jennifer Dorothy Lee, PhD
China | 2018 | Drama | 121 minutes | In Mandarin w/English subtitles
Director:  Huang Huang | Starring:  Jin Jingcheng, Hou Yunxiao, Liu Zhihan, Shi Zhi, Ma Zhongshan, Wang Shulin
 
“In the late 90’s, wet behind the ears, Lu Youhong takes a job teaching Chinese at a remote martial arts academy.  His many students could care less for academics except for Zhang Cuishan, who excels at schoolwork but hates martial arts, and is bullied for it …. “Huang Huang’s evocative feature debut is a beautifully poetic paean to the bittersweet pangs of growing up at all stages of life.” NYAFF, 18th edition
“A charming, clever and fresh vision from a young filmmaker that will leave you grinning….” – Ryan Charland, easternkicks.com
 
Wednesday, September 25, 8:00PM @ Gene Siskel Film Center
Centerpiece
MELANCHOLIC  (メランコリック) | Chicago Premiere
Conversation with Director Seiji Tanaka and Producer/Lead Actor Yoji Minagawa
Moderator:  Ron Falzone
Tanaka Seiji won Best Director Award at Japanese Cinema Splash for his first feature film Melancholic at the 31st Tokyo International Film Festival.
Japan | 2019 | Comedy/Romance/Crime/Thriller | 113 Minutes | In Japanese w/English & Chinese subtitles
Director and Writer: Tanaka Seiji| Starring: Minagawa Yoji, Yoshitomo Isozaki, Mebuki Yoshida, Stefanie Arianne, Yuta Okuba, Takanori Kamachi, Keiji Yamashita, Hiroko Shinkai, Makoto Hada, Masanobu Yada, Yasuyuki Hamaya
 
Kazuhiko isn’t enjoying his life, despite earning his degree from a top university. One day, he runs into a high-school classmate, Yuri, at a bathhouse and later starts working there. His discovery that the place is being used for nefarious after-hours activities is bad enough, but then Kazuhiko finds that his colleague Matsumoto is an assassin.
“Melancholic makes it darkly funny, viscerally thrilling and improbably heartwarming, all without departing far from the stark immediacy of its opening scenes.” – Mark Schilling, the Japan Times
 
Thursday, September 26, 7:00PM @ AMC River East 21
CAN’T STOP THE DANCING (ダンスウィズミー) | Chicago Premiere
Japan | 2019 | Comedy/Musical | 103 Minutes | In Japanese w/English subtitles
Director: Shinobu Yaguchi | Starring: Ayaka Miyoshi, Yuu Yashiro, Chay, Takahiro Miura, Tsuyoshi Muro, Akira Takarada
 
Suzuki Shizuka is an office lady at a large corporation who is treated by a hypnotist and left under the spell. Thereafter she cannot but sings and dances whenever she hears any melody whatsoever. Shizuka heads back to the hypnotist for relief, but he is nowhere to be found when he is needed the most.
“A funny, fast-paced and deliriously joyful update of classic musicals featuring a delightful lead performance from Ayaka Miyoshi.” – JCCC Canada
 
 
Friday, September 27, 7:00PM @ Midwest Buddhist Temple
BENTO HARASSMENT  (今日も嫌がらせ弁当) | Chicago Premiere
Japan | 2019 | Family/Comedy/School/Drama | 106 Minutes | In Japanese w/English subtitles
Director and Screenwriter: Tsukamoto Renpei | Starring: Ryoko Shinohara, Kiyoko Yoshine, Rena Matsui, Kanta Sato, Ryuta Sato
 
Kaori raises her high school-age daughter Futaba as a single mother. Her daughter is in her rebellious phase and ignores her mother. Kaori decides to take measures to communicate with her daughter and also get some “revenge.” Kaori creates messages in her daughter’s bento meals.
“Based on a real-life blog by a real-life Kaori that rose to No. 1 on the Ameba hosting site, the opening scenes of Bento Harassment offer fresh twists on the perennial theme of inter-generational strife as well as on familiar foodie movie tropes.” – Mark Schilling, the Japan Times.
 
 
Wednesday, October 2, 7:00PM @ AMC River East 21
THE POOL ( นรก 6 เมตร ) |  Chicago Premiere
Introduction and Q&A with Director Ping Lumpraploeng
Moderator:  Ron Falzone
Thailand | 2018 | Action/Drama/Horror | 91 Minutes | In Thai w/English subtitles
Director and Writer: Ping Lumpraploeng | Starring: Ken Theeradej Wongpuapan, Ratnamon Ratchiratham
 
Being stuck in the desolated pool twenty feet (6 meters) deep without water, no ladder and no way out, a couple need to survive from this situation. Everything may be easier, if the unfriendly animal does not accidentally fall in.
The Pool is Ping Lumpraploeng’s (Loveaholic, Dreamaholic) 4th feature film. The film stars Thai superstar Ken Theeradeth Wonpuapan, who returns to big screen for the first time in nine years since GTH’s Bangkok Traffic Love Story.
Winner of Critic’s Prize at Brussels International Fantastic Film Festival 2019.
“A deep swimming pool. 2 trapped people. 1 hungry crocodile. No way of escape. The tensest movie I’ve seen in years…” – Andrew Daley, easternkicks.com
 
 
Thursday, October 3, 7:00PM @ the Alliance Française de Chicago
SIGNAL ROCK | Chicago Premiere
Introduction and Q&A with Actor Christian Bables, Bright Star Award Recipient
Guest moderator: Louella Cabalona
Actor Christian Bables, already won Best Supporting Actor Award at multiple festivals for his trans woman character “Barbs” in the movie Die Beautiful was declared Best Leading Actor at the 5th Hanoi International Film Festival for his character “Intoy” in the movie Signal Rock. 
The Philippines | 2018 | Drama | 127 Minutes | In Tagalog w/English subtitles
Director/Producer: Chito S. Roño | Starring: Christian Bables, Daria Ramirez, Nanding Josef, Mon Confiado, Elora Españo
 
“Signal Rock is the latest film by well-established director Chito S. Roño, shot again in his native Samar, on a small island, where he had shot Badil in 2013. A remote island, where women go far away to find a foreign husband, and where life is not so different of what it was decades ago. With his usual craft, Chito Roño tells the story of Intoy, a young boy trying to help his sister expatriated in Finland, to win a child custody battle. Signal Rock, or how to find the signal, is an amazing experience, beautifully shot by great cinematographer Neil Daza, and a comment on different ways of communication.” – Mex Tessier, Udine Far East Film Festival
“Signal Rock’s greatest strength, aside from Neil Daza’s crisp cinematography and a naturalistic, connective central performance by Bables, is its unapologetic emotion.” – Elizabeth Kerr, hollywoodreporter.com
 
 
Saturday, October 5, 2:00PM @ Chinese-American Museum
OFFICE (華麗上班族) | Free and Open To the Public
Hong Kong | 2015 | Musical/Comedy/Romance | 117 Minutes | In Cantonese and Mandarin w/English subtitles
Director and Producer: Johnnie To | Starring: Chow Yun Fat, Sylvia Chang, Eason Chan, Tang Wei
 
Based on the hit play ‘Design for Living’ by star and producer Sylvia Chang, Office is a musical spectacular revolving around corporate maneuvering and romantic intrigue. Hong Kong legend Johnnie To delivers a biting takedown of capitalism, detailing the financial crisis following the Lehman Brothers collapse and what one company has to do to fight to stay alive – all in a lavishly detailed, wholly original musical production.
The film won the Best Art Direction in the 35th Hong Kong Film Awards and the 52nd Golden Horse Awards.  We are encoring this film to showcase a stylish musical rarely produced from Hong Kong.
 
 
Sunday, October 6, 2:00 PM @ IIT
LONG TIME NO SEA (只有大海知道) | Free and Open To the Public
Taiwan | 2018 | Drama/Musical | 97 Minutes | In Mandarin and Tatu w/English subtitles
Director and Editor: Heather Tsui | Starring: Shang He-huang, Zhong Jia-jun, Feng Ying-li
 
Manawei, a sweet, clever, and empathetic young boy, lives with his doting grandmother on Orchid Island, southeast of Taiwan, where the two search for ripe fruit in the trees. His mother has passed away, and his father works in Taiwan. Chung-hsun, meanwhile, is a 30-something teacher who comes from the city to work with the indigenous community, using dance to help them get in touch with their own potential as well as their traditions. As the two come together, perhaps they and their dance troupe can make it all the way to the National Aboriginal Dance Competition.
Long Time No Sea, based on the experiences of director Heather Tsui’s involvement with the Little Flying Fish Cultural Exhibition Dance Troupe and the children of the Yami people, is full of gentle humor and themes of cultural identity, the visual style capturing the island’s beauty as well as the energy of the children in tightly framed shots. And of course, there is a double meaning to the film’s title: a nod of appreciation to the surrounding sea as well as Manawei’s longing for his father’s attention.
 
 
Tuesday, October 8, 6:00 PM @ Cindy Pritzker Auditorium, Lower Level of Harold Washington Library
MISS GRANNY | Chicago Premiere | Free and Open To the Public
The Philippines | 2018 | Drama/Song | 114 Minutes | In Tagalog, English w/English subtitles
Director:  Joyce Bernal | Starring: Sarah Geronimo, Jaes Reid, Xiam Lim, Nova Villa and Buboy Garovillo
 
In this Filipino remake of South Korean film Miss Granny (2014), a stubborn old woman named Parn (Niranuch Patamasute) steps into a photo studio and magically emerges as her 20-year-old self (Davika Hoorne).  She uses the chance to pursue her lifelong dream of becoming a singer.
“Sarah Geronimo is simply magnetic, capable of turning the most uninspired of scenes tolerable by just her presence.” Film Critic, Oggs Cruz
The movie picked up the Movie Actress of the Year; Movie Musical Scorer of the Year from the 35th PMPC Star Awards for Movies as well as the Movie Supporting Actress of the Year from the 50th Box Office Entertainment Awards.
 
Wednesday, October 9, 7:00 PM @ AMC RIVER EAST 21  
Closing Night Film
DECEPTION OF THE NOVELIST (作家的謊言-筆忠誘罪) | North America Premiere
Introduction and Q&A with Director Christopher Sun and Producer/Lead Actor Justin Cheung
Moderator: Ron Falzone
Hong Kong| 2019 | Crime/Thriller | 90 Minutes | In Cantonese w/English & Chinese subtitles
Director: Christopher Sun | Starring: Justin Cheung, Jeana Ho, Linah Matsuoka
 
Tsui is renowned as an excellent healing author as well as a young successful man. His pieces are called “Chicken Soup for the Soul” for soothing many readers’ soul and spirit. The public image of Tsui is a kindhearted family man who loves his wife deeply, though, he has inherited his wealth from his father. Ever since a beautiful new tenant, Elaine, had moved to live in the upper floor flat of Tsui’s building, uncontrollable event disrupted Tsui’s calm life.
 
Thursday, October 10, 7:00 PM @ AMC River East 21
Season Nine Finale
Lifetime Achievement Award Ceremony honoring Kenneth Tsang Kong
THE ATTORNEY (一級指控) | Chicago Premiere
Introduction and Q&A with Actor Kenneth Tsang Kong, Scriptwriter Frances To, and Executive Producer Cherrie Lau
Hong Kong | 2019 | Courtroom drama |102 Minutes | In Cantonese w/English subtitles
Director: Wong Kwok-fai |Starring: Alex Fong, Patrick Tam, Nina Paw Hee-ching, Kenneth Tsang Kong, Carlos Chan, Liu Kai Chi
 
Politics and the law, money and murder, all compellingly intertwined in this taut mystery/courtroom drama. Powerhouse attorney Lui has won 12 cases in a row, so it’s a bit bewildering when he agrees to take on the defense of a young kid who wakes up next to the murdered daughter of a billionaire businessman with no idea what happened the night before. What seems like an unwinnable defense, however, takes a surprising turn when it’s revealed that the young woman was involved with an up-and-coming shady politician.
“What makes this film works, while others have failed in the past, is the subtlety in the plot line and characters that we eventually cared about. In the days of lacking these kind of genre movies in Hong Kong cinema, The Attorney more than fills this void.” – Andrew Chan, neofilmshop.com

#### Chick Flicks Film Festival Call for Entries!
Chick Flicks Film Festival Call for Entries!
 
Submissions are open! Women In Film.Dallas (WIF.D) celebrates the 10th Anniversary of our annual Chick Flicks Film Festival this fall. This festival showcases female filmmakers, whether she is a director, producer, DP, screenwriter or another key role in the production.
Don't let the title "Chick Flicks" fool you. The films showcased aren't just rom coms, but span across all genres and include animation, live action and documentaries.
The submission deadline is August 31st and max run time is 30 minutes. Official selections will be screened on Thursday, October 27 at the Angelika Film Center in Dallas and eligible for the "Jury Choice" and "Audience Choice" recognition awards.
ENTRY FEE: $15 for WIF.D members; $20 for students; $30 for non-members;
Please visit our website at http://www.wifdallas.org for all the details on how to submit.
Questions about the festival can be emailed to chickflicks@wifdallas.org. The festival is a key fundraiser for Women in Film.Dallas and proceeds from entry fees and ticket sales directly benefit our scholarship and completion grant program awarded to Texas women each year. Scholarship winners for 2011 will be announced the evening of the festival.

#### Chick Flicks Film Festival Oct.16-18 – Get Your Tickets Today!
Time for the 11th Annual Chick Flicks Film Festival! Women in Film.Dallas presents 3 nights of female filmmakers from Texas and beyond. Films with women calling the shots from behind the camera, as director, producer, executive producer, writer, cinematographer, and editor. Festival dates are October 16-18 at the Angelika – Dallas, all screenings start at 7 p.m. with a Filmmaker Q&A following.

	And for Members-Only there will be a Mix & Mingle before every screening with the filmmakers. Click HERE to sign-up for all three nights! Space is limited to 20 people, so don't delay! 

	 

	 

		 October 16 – WONDER WOMEN! The Untold Story of American Superheroines
	

		This film traces the fascinating evolution and legacy of Wonder Woman. From the birth of the comic book superheroine in the 1940s to the blockbusters of today, WONDER WOMEN! looks at how popular representations of powerful women often reflect society’s anxieties about women’s liberation. (CLICK TO WATCH TRAILER)
	

		Q&A – Erin Prather Stafford, Executive Producer
		Register HERE
	

		 
	

		October 17 – Girls! Girls! Girls!
		This anthology feature of 6 short films written, produced, shot, edited and directed entirely by women. Women of all ages, race and backgrounds have created a short, each from a different genre, with a perspective on feminine power. Girls!Girls!Girls! is a dynamic movement that is proactively creating more opportunities in key artistic roles for female filmmakers, while fostering mentorships with young women. (CLICK TO WATCH TRAILER) 
		 
	

		Q&A – America Young, Director & Executive Producer
		Register HERE
	

		October 18 – Short Film Competition – Short Flicks by Texas Chicks
		The Chick Flicks Committee selected 7 short flicks by Texas Chicks, we will be awarding a Jury Award and a Student Award for the films selected by our judges Meredith Stephens and Julia Dyer. There will also be a chance to vote on the Audience Award so come out to make your pick!
		Register HERE
	

		 
	

		Here is the line-up for Short Flicks by Texas Chicks: 
	

		 
	

		Raspberry Jam – Courtney Ware – Director, Editor / Meredith Burke – Producer
	

		The Package – Kim Visser/Nicole Holt/Hayley Polack (Writers/Actors)
	

		The Chrononaut – Abbey Hoekzema – Director/Producer (Student Film)
	

		Butterfly – Jing Yang – Director, Writer, Producer and Editor (Student Film)
	

		Duck Food – Sara Roberts – Producer / Julia Farrell – Principal Actor
	

		City Waltz – Reyna Cuellar – Producer, Director of Photography, and Sound Design (Student Film)
	

		Hellion – Kat Candler – Writer and Director / Farah White – Executive Producer
	

		 
	

	
	Get your tickets before midnight the day before the event to get the Early Bird Discount. For questions, email chickflicks@wifdallas.org .

	Best, Erin Gardner & Natasha Paris
	Chick Flicks Chairs 2012

	 

	 

	Chick Flicks Thanks Our Festival Sponsors!
	 

	 

	 

	 

	 

	 

	 

	 

		   
	

		 
	

		   
	

	 

	Chick Flicks Thanks Our Year Round Sponsors for WIF.D!

		 
	

		
		 
	

	 

#### CHILD OF GOD – A Review by John Strange
 

	CHILD OF GOD

	 

	By: John ’Doc’ Strange

	 

	Directed by: James Franco

	 

	Cast: James Franco, Tim Blake Nelson, Jim Parrack, Scott Haze, Fallon Goodson

	 

	MPAA Rating: R (for disturbing aberrant sexual content, nudity, language and some violence)

	 

	Selig Rating: MATINEE

	 

	Runtime: 104 Min.

	 

	 

	Lester Ballard (Scott Haze) was a child who was raised with no adult supervision, no one to teach him the way of the world following the hanging death of his father.  As a result he lives on the edge of civilization but is not really civilized.  When his family farm is sold out from under him he is forced to find a place to live.

	 

	Stumbling upon a shack in the woods, he makes himself a home, adding a mattress and a few odds and ends, he makes the drafty line shack his.  He hunts in the woods for his food and occasionally raids his old family farm for the odd chicken.  He does chores for people to earn money to pay for the items he can’t find any other way.

	 

	We watch as the young man slowly slips into the throws of insanity.  Lester begins to exhibit some extremely bizarre behavior.  Finding a couple who have died while having sex in their running car due to carbon monoxide poisoning, he discovers the joy of sex with dead females.  He takes the dead girl back to his cabin and courts her in his mind before having sex with her again.

	 

	One really cold night he loses the cabin when the fireplace sets it ablaze.  He loses both his home and his woman in one night.  From here he moves into the local caves.  He desire for sex continues to grow and people begin to disappear from their cars when they go up on the mountain to be alone together.

	 

	The story is based upon the novel ‘Child of God’ by Cormac McCarthy.  Child of God is a difficult film to watch for all that it is extremely well made.  The script is excellent and the casting choices are very good.  Tim Blake Nelson’s portrayal of Sheriff Fate is spot on as a Southern law officer in this story set in Sevier County, Tennessee in the 40’s.  It is told in a documentary style that really fits the subject matter well.

	 

	If it weren’t such a bizarre film, I would rate it higher on our scale.  As it is, I think most film aficionados will like it but the average family needs to stay as far away from it as possible.  This is NOT one for the kids to watch.  I missed this one when it played at the Dallas International Film Festival.  I thank the folks at Well Go USA Entertainment for giving me the second chance to see it!

	 

	 

	Movie Site: http://www.facebook.com/ChildOfGodMovie

	 

	 

	The Selig Rating Scale:

	 

	FULL PRICE – Excellent movie, well worth the price

	MATINEE – Good movie

	DOLLAR – OK movie

	CABLE – No need to rush. Save it for a rainy day.

	FREEBIE – Good that I saw it on the big screen but wish I hadn't paid for it.

	COMMERCIAL TV – Commercials and cutting to the allotted time will not hurt this one.

	FORGET IT! – Bad. If you see this one, do yourself a favor and keep it to yourself.

	GET YOUR TORCHES – BAD! – Burn the script, the writer, the director and maybe even the actors!

#### Children of Giant – Interview with Filmmaker Hector Galan
https://www.youtube.com/watch?v=bfKcBBcHCvY

	Based on the controversial Edna Ferber novel of the same name, the film, Giant did not shy from strong social-issue themes experienced throughout post-WWII America.  Award-winning documentary filmmaker, Hector Galan weaves clips from the feature film with the voices of the Mexican American and Anglo townspeople, cast and crew who experienced this unique conjunction of art and life in the summer of 1955.  From GalanInc.com.

	Click through for my in-depth chat with Hector Galan.

	

	Prolific filmmaker and activist Hector Galan spoke to us at a special screening of Children of Giant at the Latino Cultural Center of Dallas. 

	Interview with Hector Galan:

	

	 

	 

	 

	 

	Stay updated with the film via the Children of Giant Facebook Page.

	This Sunday November 8th the film will screen at the 9th Annual Lone Star Film Festival from 1:15 to 3:15pm.

#### Chonda Pierce and John Schneider Star in The Confession Musical – In Theaters Feb 20
 
Blue Gate Musicals, UpTV Entertainment, and Fathom Events are partnering together to bring THE CONFESSION MUSICAL with special performances by Chonda Pierce and John Schneider to theaters nationwide on February 20. Based on the popular book series “The Heritage of Lancaster County” by New York Times best-selling author Beverly Lewis, the stage play boasts over 200,000 ticket sales since its premiere.  On February 20, for one-day-only,  audiences across the country can share this inspiring and entertaining story of two worlds colliding as a young Amish woman seeks to find her birth mother.
THE CONFESSION MUSICAL was adapted for the stage by Emmy-Nominated screenwriter Martha Bolton. The musical follows the story of Katie Lapp, a young Amish girl who discovers that her parents have been keeping a deep secret…that she is adopted. Katie decides to find her birth mother, defying the rules of her Amish village and risking a shunning. Meanwhile, Laura Mayfield, her wealthy birth mother who is battling an illness that might take her life, began searching for her long-lost daughter. Secretly plotting against Laura is her gold-digging husband Dylan (John Schneider). Dylan knows that if Katie is found, he will no longer inherit Laura’s fortune. With the help and prayers of her Christian housekeeper (Chonda Pierce), Laura hopes to foil Dylan’s plan and be reunited with her daughter.
THE CONFESSION MUSICAL stars John Schneider (Dukes of Hazzard, Smallville), Emmy® -nominated and best-selling comedian/actress Chonda Pierce (“All Saints”, “Selfie Dad”, “Chonda Pierce: Laughing in the Dark”), Caroline Clay (“Doubt”, “The Little Foxes”), Colin Alexander (“Elf the Musical”, “Prince of Egypt”), Kristina Miranda Stone (“Sound of Music,” “Showboat”), Geoffrey Davin (“How the Grinch Stole Christmas: The Musical”, “Death of a Salesman”), and Caitlin Borek (“Pirates of Penzance”, “The Mikado”). Music is under the direction of multi-Grammy nominated and Dove-award winning Dan Posthuma and songwriter Wally Nason.
Blue Gate Musicals is leading the way in creating a unique genre of musicals set in Amish Country America. Their twelve musicals intertwine the Amish and English worlds, creating intriguing dilemmas and soul-searching journeys full of laughter and captivating music. Producer Dan Posthuma, “For the past decade, Blue Gate Musicals has been committed to bringing entertaining and enriching musicals to the stage. We are now thrilled to partner with UpTV and Fathom to bring these stories to the big screen as well.”
Fathom Events and Blue Gate Musicals will host THE CONFESSION MUSICAL MOVIE in movie theaters nationwide on Monday, February 20 at 3:00 p.m. and 7:00 p.m. local time. For a complete list of theater locations, visit the Fathom Events website (theaters and participants are subject to change). Tickets are available today at FathomEvents.com and participating theater box offices.

#### Chonda Pierce Brings Laughter and Love to the Big Screen with Her Newest Project, ‘Enough,’ in Cinemas Nationwide on April 25
 

	Following her successful cinema event, “Laughing in the Dark,” Chonda Pierce returns to the big screen for one special night with a powerful message for audiences nationwide: Laugh – Cry – Love. “ Chonda Pierce: Enough ” highlights the importance of Chonda’s faith and her path to completeness, self-acceptance and fulfillment.

	Following the feature content, audiences will see Chonda and acclaimed singer/songwriter and comedian Mark Lowry, as they answer questions submitted by fans. “Chonda Pierce: Enough” comes to cinemas nationwide for one night on Tuesday, April 25, at 7:00 p.m. local time, presented by Fathom Events and Fuseic Entertainment.

	Tickets for “Chonda Pierce: Enough” can be purchased online beginning Friday, February 17, 2017 by visiting www.FathomEvents.com or at participating theater box offices. Fans throughout the U.S. will be able to enjoy the event in nearly 750 select movie theaters. For a complete list of theater locations visit the Fathom Events website (theaters and participants are subject to change).

	"This event is a hilarious journey to show how far you can come after dealing with life's lessons,” Pierce said. “You'll get to learn some new things about me that weren’t revealed in ‘Laughing in the Dark,’ from insights into the dating scene to some hilarious times spent with some childhood girlfriends.”

	Known as America’s no. 1 female comedian (RIAA certified 5 Platinum, 8 Gold DVDs), Chonda continues to overcome many obstacles through her humor, faith and the support of her community. “Enough” explores the path to healing during grief and loss, and holding on to a positive self-image despite hardship. Beginning two years after the death of Chonda’s husband, audiences will see the “other side” of the themes presented in the award-winning “Laughing in the Dark,” as well as the unique relationship Chonda has with her friends. Through these experiences, we will see her support system at work. Chonda created this project with the intent of encouraging those who are struggling with self-worth and contentment in today’s society to find acceptance on their spiritual journey. “Enough” is a passionate, heartening and funny call to connecting with those who love you the most and knowing you are enough in Christ.

	“Fathom is thrilled to partner with Chonda for the second time to bring her empowering and emotional story to movie theaters,” Fathom Events Vice President of Programming Kymberli Frueh said. “'Laughing in the Dark’ left a lasting mark on audiences, and we expect nothing less from ‘Enough.’”

	"Chonda really connects with the pressure women are under to be perfect,” Producer Kent Songer said. “In this film, Chonda is funny, real and once again rallies women to embrace their uniqueness and feel satisfied and confident during any of life's challenges."

#### Chris Hemsworth to Join Academy President Cheryl Boone Isaacs for Oscar® Nominations
 

	Actor Chris Hemsworth and Academy of Motion Picture Arts and Sciences President Cheryl Boone Isaacs will announce the 86th Academy Awards® nominations  on Thursday, January 16. The Oscars® will air Sunday, March 2, 2014, live on ABC.

	Boone Isaacs and Hemsworth will unveil the nominations at a 5:38 a.m. PT live news conference at the Academy’s Samuel Goldwyn Theater in Beverly Hills, where hundreds of media representatives from around the world will be gathered.  Nominations information for all categories will be distributed simultaneously to news media in attendance and via the Internet on the official Academy Awards website, www.oscar.com.

	Hemsworth made his feature film debut in 2009’s “Star Trek,” but it was his title role in “Thor” two years later that propelled him to worldwide prominence.  He reprised the character in the Marvel blockbusters “The Avengers” and “Thor: The Dark World.”  Hemsworth’s other feature credits include “Snow White and the Huntsman” and “Rush,” and he has starring roles in “Cyber” and “In the Heart of the Sea,” both due out next year.

	Academy Awards for outstanding film achievements of 2013 will be presented on Oscar® Sunday, March 2, 2014, at the Dolby Theatre® at Hollywood & Highland Center® and televised live on the ABC Television Network.  The presentation, produced by Craig Zadan and Neil Meron, also will be televised live in more than 225 countries and territories worldwide.

#### Christian Author Lee Strobel’s ‘The Case for Christ’ Comes Exclusively to Big Screens Nationwide in a One-Night Live Event
 

	Once an investigative journalist, now a Christian author and apologist, Lee Strobel went from resolute unbeliever to all-in Christ-follower. Depicted in his book, The Case for Christ, Strobel’s life-changing story is now portrayed in a full-length feature film, coming to cinemas this April.

	“ The Case for Christ Live Event ” premieres Strobel’s story on the big screen, along with an exclusive Q&A featuring Strobel, his wife Leslie and other special guests, broadcast live from Chicago, Illinois. This special, one-night event comes to movie theaters nationwide on Thursday, April 6, 2017 live at 8:00 p.m. ET, 7:00 p.m. CT, 6:00 p.m. MT, and tape-delayed to 8:00 p.m. PT, from Fathom Events and Pure Flix.

	Tickets for “The Case for Christ Live Event” can be purchased online by visiting www.FathomEvents.com. Fans throughout the U.S. will be able to enjoy the event in select movie theaters through Fathom’s Digital Broadcast Network (DBN). For a complete list of theater locations visit the Fathom Events website (theaters and participants are subject to change).

	In 1980, Strobel’s award-winning investigative reporting earned him a promotion to legal editor at the Chicago Tribune. However, life at home wasn’t going nearly as well. His wife Leslie’s newfound faith in Christ compelled Lee to utilize his journalistic and legal training to disprove the claims of Christianity – pitting his skepticism against her growing faith. Based on Strobel’s bestselling book of the same name, The Case for Christ is a dramatic and heartfelt telling of their compelling journey.

	“The Case for Christ has impacted the lives of numerous people around the world,” Fathom Events CEO John Rubey said. “This re-telling of Strobel’s journey of faith brings to life a story that has become hugely influential in the world of Christian apologetics today, and we are thrilled to be a part of its cinematic debut.”

	“We believe Lee and Leslie Strobel’s real-life story, which led him to writing The Case For Christ, makes for a compelling movie,” said Michael Scott, CEO and co-founder of Pure Flix and a producer of the film. “What a privilege it will be for us and audiences to see them live on movie theater screens talking about their experiences.”

#### Christmas in May? Tis The Season With This Top 10 Christmas Themed Binge-Watching Guide
 
It’s beginning to look a lot like Christmas!  If you notice your neighbors turning on their holiday lights in May, no need to panic — you haven’t lost track of time while sheltering in place…it’s just a cheerful trend that appears to be gaining momentum as Americans have started putting up their holiday lights early to try and spread some joy during this time.
Don’t feel like putting up the full display just yet? Well, have no fear, as Warner Bros. Home Entertainment is dedicating this week’s Top 10 Binge Watching Guide to the most wonderful time of the year to lift your spirits and make you feel jolly!
Check out our holiday themed list below that will warm your heart and bring the magic and spirit of the holidays into your home!
Please check out the behind the scenes clip from our Top Pick below, and share our binge watching guide on your sites and socials today! All titles are now available to own at major digital retailers; including iTunes, Amazon Prime, VUDU and GooglePlay!
 
TOP PICK OF THE WEEK
Break out the mistletoe and holly and get ready to sing and dance in your living rooms!
A Cinderella Story: Christmas Wish
Brimming with overtones from the classic fairytale, this contemporary musical follows Katherine “Kat” Decker dreaming of becoming a famous singer-songwriter. Her reality, however, is suffocated by her conniving and cruel stepfamily and a demoralizing job working as a singing elf at billionaire Terrence Wintergarden’s Santa Land. When she starts to fall for Nick, the handsome new Santa at the tree lot, things begin to look up. Unfortunately, when her stepmother and stepsisters realize Kat has been invited to the prestigious Wintergarden Christmas Gala, they’ll stop at nothing to procure their own invitation and keep Kat from attending. With the help of her attentive dog, a true friend, and a little bit of holiday magic, Kat may just make it to the gala, discover the true identity of Nick, and experience the true meaning of Christmas.
The enchanting original movie stars Laura Marano (Disney’s Austin and Ally) as Kat Decker, Gregg Sulkin (Marvel’s Runaways, Faking It, Wizards of Waverly Place) as Dominic Wintergarden, Barclay Hope (Riverdale) as Terrence Wintergarden, three-time Leo® Award winner and Hallmark Channel favorite Johannah Newmarch (When Calls The Heart, Garage Sale Mystery franchise) as the cruel stepmother Deirdra Decker, Isabella Gomez (One Day at a Time) as Kat’s best friend Isla, and evil-stepsisters Joy and Grace are played, respectively, by Lillian Doucet-Roche (The Miracle Season) and Chanelle Peloso (Syfy’s Deadly Class). This is the fifth installment in the A Cinderella Story movie series, and first one with a Christmas theme. Other titles include A Cinderella Story (Hilary Duff), Another Cinderella Story (Selena Gomez), A Cinderella Story: Once Upon a Song (Lucy Hale) and A Cinderella Story: If the Shoe Fits (Sofia Carson).
 
Other Holiday Titles To Consider:
Christmas of Many Colors: Circle of Love
Dolly Parton’s Christmas of Many Colors – Circle of Love continues with the story of young Dolly Parton as the Parton Family experiences a true Christmas miracle drawing the Partons closer together than ever – with deepened faith and love for one another. The film delivers Christmas joy and peril as an unexpected blizzard threatens the Parton family while Dolly’s father (and his kids) make sacrifices to raise enough money to finally buy his loving wife the wedding ring he could never afford. Meanwhile, an important person in little Dolly’s life begins to see that her amazing voice and musical gift might just be made for something bigger than rural Tennessee.
 
Elf: Buddy’s Musical Christmas
Elf: Buddy’s Musical Christmas tells the story of Buddy the elf, and his quest to reunite with the human father he never knew existed. While Buddy’s sincerity and idealism are commonplace at the North Pole, these attributes are rejected in cynical New York City. But through song, dance, and relentless good cheer, Buddy rekindles the spirit of Christmas for the entire city. This stop-motion animated holiday musical movie combines the humor and spirit of the beloved holiday film Elf with songs from the Broadway hit Elf: The Musical to create an all-new retelling of Buddy’s delightfully absurd yet heartwarming story.
 
Teen Titans Go! Holiday Collection
From Warner Bros. Animation, it’s the return of Robin, Starfire, Raven, Beast Boy and Cyborg in all-new comedic adventures. But these teen super heroes have more than just super powers — they have super-sized chores to do and they’re unsupervised! So get ready for pizza parties and pranks as the teens totally annoy one other, in between fighting crime. Unless there’s something good on TV….
 
A Charlie Brown Christmas
In this Emmy® and Peabody Award winning classic, Charlie Brown is upset by how commercial the Christmas holiday has become. To coax him out of his holiday blues, Lucy suggests he direct the school’s Christmas pageant and decorate a glorious tree. Charlie Brown concedes. The tree he finds however, is puny, prompting everyone to ridicule him.
 
A Christmas Story Live!
A live musical event inspired by the perennial holiday movie favorite and the Tony Award-nominated Broadway musical production, A CHRISTMAS STORY LIVE! follows nine-year-old Ralphie Parker, who dreams of finding a genuine Red Ryder Carbine Action BB Gun under the tree on Christmas morning. The over-two-hour TV movie stars Maya Rudolph, Matthew Broderick, Jane Krakowski, Chris Diamantopoulos, Ana Gasteyer and talented newcomer Andy Walken as Ralphie. This winter-wonderful extravaganza features stunning choreography on massive sets and family-friendly songs with music and lyrics by Benj Pasek and Justin Paul, lyricists of La La Land’s Academy Award®-winning* song, “City of Stars.” Get ready to sing and dance along to your new favorite holiday tradition!
 
How the Grinch Stole Christmas
Magnificently narrated by Boris Karloff (Frankenstein, The Mummy) and directed by animation genius and cartoon legend Chuck Jones (Looney Tunes, What’s Opera, Doc?), How the Grinch Stole Christmas! tells the story of the miserable Grinch, who wants to sabotage Christmas for all the Whos in Who-ville. The Grinch thinks that by stealing the Whos Christmas trees and presents, he’ll succeed in stealing their joy. However, when Christmas morning arrives, the Grinch is taken by surprise when he notices the Whos greet the day joyously singing Christmas carols regardless of the fact that their village has been completely stripped of holiday gifts, decorations and treats. The cheerful attitude of the Whos prompts the Grinch to ponder the true meaning of Christmas and he slowly comes to realize the spirit of the season is not generated by material possessions. Will the Grinch have a change of heart and consider returning the Whos’ Christmas gifts?
 
Tom & Jerry Nutcracker Tale
In an empty opera house, Jerry wishes for a chance to perform — and magically his dream comes true. The little mouse is whisked away to an enchanted kingdom where anything is possible: candy forests, singing snowflakes, even the toys spring to life! Jerry has a great time with his new friends, and when Jerry dances with the music box ballerina, he is as happy as happy can be. Unfortunately, alley cats led by Tom crash Jerry’s party, kidnap the music box ballerina and wreak havoc in the holiday kingdom. It’s up to Jerry to set things right — and with help from a fellow mouse named Tuffy and more newfound friends, Jerry just may win the day!
 
The Year Without a Santa Claus
Mrs. Santa Claus tells the story of the year that Santa Claus, feeling ill and unwanted, decided to take a holiday. But when the elves show Santa all the toys they are preparing–and the children eagerly awaiting Christmas–Santa dons his red suit and drives his gift-laden sleigh for his annual rounds in this stop-motion animated family special.
 
Frosty’s Winter Wonderland
The world’s favorite snowman, Frosty, has lots of young friends, still he’s lonely for another snow-person. The children build him a wife named Crystal, but jealous, cold-hearted Jack Frost plots to keep Frosty and Crystal from finding happiness together in this musical, animated family special.

#### CHRISTMAS ON THE FARM – Interview with Executive Producer & Star Poppy Montgomery
Poppy Montgomery brings her own reality to the Aussie X-Mas adventure that is Christmas On The Farm.  Poppy talked with our Gadi Elkon about the farm, the summer X-Mas, and so much more!

Clementine Jones (Poppy Montgomery) is an Australian author whose book about getting back to nature on a blissful Queensland farm is snapped up by New York powerhouse publishers London & London. But the truth is, “Clementine” is actually her daughter Emmy Jones, a New Yorker basing the book on her late mother’s journals. When the publishers announce they want to experience an authentic Australian ‘Clementine’ Christmas before signing the deal, Emmy must race back to the old family farm, roping in her cousin David (Hugh Sheridan) and his husband Miles (Nicholas Brown) to help maintain the ruse. One problem: London & London CEO Ellison London (Jeanette Cronin) shows up with her handsome adult son Jack (Darren McMullen) in tow – and if he remembers the night he met Emmy in New York, the game will be up!
Here is our Interview with Poppy Montgomery:

For more info on, CHRISTMAS ON THE FARM.

#### CHRISTOPHER ROBIN – A Review by John Strange
 

	CHRISTOPHER ROBIN – A Review by John Strange

	 

	A.A. Milne and E. H. Shepard created a world which existed mainly in a young boy's head, the Hundred Acre Wood and it's inhabitants Winnie-the-Pooh, Tigger, Piglet, Roo, Kanga, EEyore, Rabbit, and Owl.  The little boy, Christopher Robin, was a lonely boy who needed friends.  He found them in that wood.

	 

	In this update of the beloved stories, Christopher Robin's life is traced from his last day in his Hundred Acre Wood with all of his friends through school, the war (WW II), and finally to his life following the war.  Christopher (Ewan McGregor) met his future wife on a trolley.  He and Evelyn (Hayley Atwell) were expecting a child when Christopher went off to war.

	 

	He came home to a sweet and smart young daughter, Madeline (Bronte Carmichael). She loved her father but he was determined to do whatever it took to give his family a good life.  This meant that he missed meals and vacations leaving Evelyn and Madeline by themselves all too often.  Madeline loved her father.  His inability to give her the time she so dearly wanted caused her great pain.

	 

	All this is to change when Pooh (Jim Cummings (Voice)) comes to London to get his old friend to help him find all of his missing friends.  All of the companions from the Wood disappeared!  Christopher starts off refusing to help his old friend as he must finish an important task for work so important that he sent his wife and daughter off on holiday to the country without him.

	 

	Pooh being Pooh, brings about change just by being himself.  The chaos that naturally follows in his innocent wake brings us the humor that is a large part of this story.  There is also a lot of love here as well.  The moral of this story is presented to us in a sweet way that brings all of the characters of the film together in one room.

	 

	This is a story that I feel that Mr. Milne might have written, were he still with us today.  The story has a well defined villain in Giles Winslow, scion of Winslow empire, and Christopher's boss.  The heart of this story is love and friendship.  I absolutely loved it. 

	 

	 

	Directed by: Marc Forster

	 

	Cast: Ewan McGregor, Hayley Atwell, Bronte Carmichael, Mark Gatiss, Jim Cummings (Voice), Chris O’Dowd (Voice), Brad Garrett (Voice), Toby Jones (Voice), Nick Mohammed (Voice), Peter Capaldi (Voice), Sophie Okonedo (Voice)

	 

	MPAA Rating: PG (for some action)

	 

	Selig Rating:  A+

	 

	Runtime: 104 Min.

	 

	Movie Site: movies.disney.com/christopher-robin

	 

	 

	The Selig Rating Scale:

	 

	A – Excellent movie, well worth the price.

	B – Good movie

	C – OK movie

	D – No need to rush. Save it for a rainy day.

	F – Good that I saw it on the big screen but wish I hadn't paid for it.

#### Chuck – A Review by Cynthia Flores
B_01963: Liev Schreiber as Chuck Wepner and Ron Perlman as Al Braverman in Philippe Falardeau’s CHUCK. Photo by Sarah Shatz. Courtesy of IFC Films. An IFC Films release.

	 

	Chuck – A Review by Cynthia Flores

	 

	 

	This film, Chuck, was originally called The Bleeder because that was the rude nickname given to the fighter in real life, heavyweight boxer Chuck Wepner. This movie was inspired by his story and what a story it is.

	 

	We meet Chuck (Liev Schreiber) towards the end of his career in boxing. He is slated to fight a bear in the ring.  That’s right a bear.  That is a long way from the fight against Muhammad Ali for the Heavyweight championship of the world in 1975.  We are told the story by Chuck in voiceover as he takes us back to the beginning and what ultimately led him to the low point of boxing a bear.

	 

	He is loved by his then wife Phyliss (Elisabeth Moss) and his young daughter and the neighborhood in Bayonne New Jersey where they all live.  He’s ranked 8th in the boxing world and while he is waiting for his shot at the title has to keep a day job which he got from a friend selling liquor to local bars.

	 

	His manager and trainer Al (Ron Perlman with a comb-over) has guided him to the fight with Muhammad Ali (Pooch Hall).  We get to see him train and tear his marriage apart with his wandering eye.  This fight with Ali thrusts Chuck into a world wide type of fame.  Very different from being the big fish in a little pond like he was before.  

	 

	The relationship with his wife is bitter sweet Phyliss really loves Chuck but is hurt time and again by his selfishness. It’s with his wife at home that we see them watching his favorite black and white movie on TV. It’s the classic Requiem for a Heavyweight  starring Anthony Quinn as Louis Mountain Rivera the ultimate cautionary tale of a man that almost made it to the world title and his life after the ring.  If you haven’t seen this movie then it might help you to see it before you see Chuck because there are several pivotal scenes they quote and actually show in this movie from that classic film. Also, because you can not call yourself a super film nerd without having seen that film.

	 

	After the Ali fight there is another iconic film that really influenced Chuck's life and that was Rocky. Even though Sylvester Stallone never publicly admitted it even after befriending Chuck, it is obvious that the movie Rocky was based on the Chucks life and fight with Ali.

	 

	It’s thru this notoriety that Chuck and his best friend John (Jim Gaffigan) end up in the fast lane of the Disco scene with all the cocaine and free sex that came along with it. We watch as Chuck's life spirals out of control. His only life line is a flirtation with a red headed tough as nails bartender named Linda (Naomi Watts) that does not cut him the slack that his ex wife or his friends do. Watching Chuck hit rock bottom is not tough because it’s all gritty instead it’s because you really grow to like him and cheer for him despite his own stupidity. It’s great to see how Linda ends up being Chucks salvation and  reason to straighten up and fly right.

	 

	This movie has a great feel and sound to it. The fight scenes are brutal and the gritty, muted colors of the 70s are dead on. Also the soundtrack to this movie is so much fun. I had a little trouble with the tacked on feel of the distant relationship Chuck had with his estranged brother John (Michael Rapaport) in the story.  It felt like it should have been fleshed out more or left out altogether.

	 

	Ultimately the movie Chuck is the story of a “coulda been”. He coulda been a good husband. he coulda been a champ, he coulda been in Rocky 2. He’s not a winner until he learns to be more than the fighter that inspired the movie Rocky or almost went 15 rounds with Muhammad Ali . In the end, he changes from a “coulda been” to being at peace with just being a man loved by one woman instead of the whole world. Chuck is a fun ride you’ll be glad you took. It’s a very satisfying film.

	 

	Directed By:  Philippe Falardeau

	Written By: Jeff Feuerzieg, Jerry Stahl, Michael Cristofer, Liev Schreiber

	Rated: R (for language throughout, drug use, sexuality/nudity and some bloody images)

	Selig Rating: A

	Running Time:  98 min

	Drama, Sport  Biography

	Limited Release: Magnolia

	Starring: Liev Schreiber, Elisabeth Moss, Naomi Watts, Ron Pearlman, Jim Gaffigan, Michael Rapaport, Pooch Hall

#### CHUCK BERRY: THE ORIGINAL KING OF ROCK ‘N’ ROLL – A Review by John Strange
 

CHUCK BERRY: THE ORIGINAL KING OF ROCK ‘N’ ROLL – A Review by John Strange
Feature documentaries allow filmmakers to delve deep into their subjects.  With Chuck Berry: The Original King of Rock ‘N’ Roll, filmmaker Jon Brewer has given us a very good view of the rock and roll life of Mr. Charles Edward Anderson Berry, known to the world as Chuck Berry.
The opening clip and several more video re-creations found throughout the film are shown in black and white with, normally, one color added.  These are taken from Berry’s life and are always visually stunning.
Video interviews from a plethora of major rock and roll legends like Steven Van Zandt, Alice Cooper, Joe Perry, Nile Rodgers, George Thorogood, Joe Bonamassa, and Gene Simmons are interspersed with stories from Chuck’s family, especially his wife, Themetta, as we learn about the career of this legend.
The stories we learn about Chuck are a mixture of what I already knew and a bunch that I never heard before.  The man had depths I never even suspected.  He bought and ran restaurants and night clubs, he bought several houses for his family, and he bought the land that became Berry Land (an amusement park and resort).
This man was talented to the point that some folks took exception to the fact that his was black.  He went to prison multiple times, but it never seemed to hurt his career all that much.  In fact, his being a bit of an outlaw may have even heightened his fame.
This is an excellent film allowing the men and women who worked with Chuck and those who idolized his abilities as both a poet and a musician to tell us more about the man who has been called the poet laureate of Rock ‘N’ Roll.  Take a look at the cast listed below to see who took part in the telling of their Chuck Berry stories.  It’s a “Who’s Who” of Rock ‘N’ Roll and Blues.
This is an excellent film that I rate a strong 5-stars.  We lost Mr. Berry on March 18, 2017.  Sadly, we’ll probably never again see his like.
 
Directed by: Jon Brewer
Cast: Themetta Berry, Ingrid Berry, Charles Berry Jr., Steven Van Zandt, Alice Cooper, Joe Perry, Nile Rodgers, George Thorogood, Joe Bonamassa, Johnnie Johnson, Marshall Chess, Gene Simmons, Johnny Rivers, Jahi Eskridge (Chuck’s grandson), Gary Clark Jr., Johnny Rivers, Wayne Kramer, Eric Clapton, George Lennon, Paul McCartney, Ron Woods, Mick Jagger, Jerry Lee Lewis, Nils Lofgren, Steve Jones, Keith Richards, Taylor Hackford, Elise Legrow,
MPAA Rating: NR
Selig Rating: 5 Stars
Runtime: 100 Min.
Movie Site: Chuck the Documentary
Trailer: Chuck the Trailer
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### CHURCHILL – A Review by Cynthia Flores
 

	CHURCHILL – A Review by Cynthia Flores

	 

	There have been great documentaries and films about Winston Churchill. What I like about this new film Churchill is that it doesn’t try to be a biopic of the man's entire life, instead, it looks at him a few days before D-Day Normandy landings through to the historic speech he gave to his countrymen right afterwards over the BBC radio broadcast.  Prime Minister Winston Churchill (Brian Cox)  is exhausted by years of war, and is  wrestling with his doubts and fears about the operation being carried off as planned. It’s being led by Dwight D Eisenhower (John Slattery) from the US  and British field marshal Bernard Montgomery (Julian Wadham). However, because of the style of beach invasion they were planning for D-Day Churchill was not on board. He had done something like it during  the Battle of Gallipoli 30 years before in world war 1, and that campaign had failed miserably leaving  thousands upon thousands of men dead on the beach.  Churchill felt he had their blood on his hands and did not want a repeat of that kind of defeat again. There is an opening scene on the beach where he is walking along the sand and remembering the cries of the wounded at Gallipoli, and the dead bodies strewn about him turning the sea red with their blood. This opening scene sets the tone for the whole movie.  War is not glorified it is endured. Churchill argues with his right hand man 1st Viscount Alan Brooke (Danny Webb) that has fought along Winston on the battlefields of WWI and now fights the political battles with him. Alan and Clementine Churchill (Miranda Richardson) support Winston through his drunken rants and tantrums he throws as his concerns about the invasion are ignored by the other generals.  The actor Brian Cox breaths life into this giant of history and makes him human. He breaks your heart as you see this lion of a great man due to age, conceding the charge into battle to the younger men at hand.

	 

	I also liked that this film shows how hard it was on Clementine to be married to such an important man. How lonely and frustrating it could all be at times.  Winston Churchill was a complicated man that was beloved by a grateful nation for seeing them through World War 2. There is a quiet scene in the film where King George VI (James Purefoy) honestly and eloquently let's Winston know that he is too important to lose on the battlefield. That Country and the King would suffer greatly for his loss, so he must instead let the younger men go into battle and he must stay and lead the nation instead.

	 

	I loved the contemplative style of this film. Churchill is beautifully shot by David Higgs. The images were respectful to the ravages of war and the story put a spotlight on the burden that the people that have to make the decisions in the war rooms have to live with.

	 

	Directed by: Jonathan Teplitzky

	 

	Written By: Alex Von Tunselmann

	 

	MPAA Rating:  PG

	 

	Selig Rating: B+

	 

	Running Time: 1hr 38min

	 

	Drama,  Biography

	 

	Wide Release  

	 

	Starring:  Brian Cox, Miranda Richardson, John Slattery, James Purefoy, Julian Wadham, Danny Webb, Richard Durden, Ella Purnell

#### CHURCHILL Interviews with Director Jonathan Teplitzky and Writer Alex von Tunzelmann
The iconic figure of Winston Churchill has seen a massive TV and Film resurrection these last two years.   Writer Alex von Tunzelmann and Director Jonathan Teplitzky's dive into the world of Winston is revolved around a very pivotal 3 month period leading up to the Allied forces landing at Normandy.  The Cohen Media Group film is out now in theaters the same June month as the troops tackled Normandy with saving the world on their minds.  Click through for our chat with Jon and Alex about their take on Churchill and so much more.

	

	Writer Alex von Tunzelmann made a wonderful point in our chat to highlight the unique connection of Dwight Eisenhower and Winston Churchill.  Both her and Director Jonathan Teplitzky discuss the ins and outs of their film Churchill.

https://seligfilmnews.com/wp-content/uploads/2017/06/Churchill-Jonathan-Teplitzky-and-Alex-Von-Tunzelmann.mp3

	Don't miss out on this powerful look at one of the 21st most influencial figures. 

	Churchill out in theaters now.

	Shout out to the wonderful Ella Purnell for a great performance. 

#### CIEMME Entertainment’s 2nd film Pocket Gangsters moves into post production
 

	Pocket Gangsters, a hostage drama cum comic thriller, has moved into post-production. Produced by Vikram M. Shah under the banner of CIEMME Entertainment, it is directed by Hemant Nilim Das.

	Slated for July 2013 release, POCKET GANSGTERS is the story of a girl who is worth millions. The plot has numerous twists and turns, the storytelling is highly cathartic and music is romantic.  A true gangster spirited FEATURE…the film engages you from the beginning till end with shock and awe.

	Star-cast of the film is Madhur Mittal (Slumdog Millionaire fame), Shivangi Mehra, Raghubir Yadav, Vijay Raaz, Mukesh Bhatt, Monalisa & Hemant Nilim Das.

	Cinematographer of the film is Sanjiv Singh, Story, Screenplay& Dialogue is by Hemant Nilim Das, Executive Producer is Chetan N Bafna, Music directors are Prakash Nar, Himanshu & Chanchal, Lyrics are by Hemant Nilim Das & Ankitvijay Mishra while Action Director are Darshan Singh, Raju & Fayaz.

	 

#### CINDERELLA
CINDERELLA

	By Gary Murray

	Starring Cate Blanchette, Lily James and Richard Madden

	Written by Chris Weitz

	Directed by Kenneth Branagh

	Running time 112 min

	MPAA Rating PG

	Selig Film Rating Matinee                    

	 

	Cinderella is one of the classic fairy tale stories that have been told to sleeping little girls for generations.  The tale has magic, wonder and a happily ever after ending. 

	The most successful telling of the story is the Disney version.  Walt Disney said that the animation of Cinderella getting her ball dress with the transformation of the carriage were the best single scenes ever done by his studio. 

	Lately, the Disney Corporation have taken their animated films and turned them into live action flicks. We’ve seen Alice in Wonderland and the studio is making Beauty and the Beast.  Out now is Cinderella.

	The story starts with Ella as a young girl.  She is a happy child with a strong loving father and a beautiful young caring mother.  Mom instills all that is good.

	Mom dies.  Many years go by and Dad decides to remarry.  Enter the stepmother (Cate Blanchette) and her two daughters Anastasia (Holiday Grainger) and Driella (Sophie McShera).  They are horrible to Ella. 

	Tragedy befalls the household for a second time and Ella is now an orphan.  She tries to make the most of it and puts on a very brave face.  But, there is little money left and changes have to be made.

	Eventually, all the servants are let go and Ella has to take over all of the household chores.  With ash embers on her face, the step-sisters dub Ella Cinderella (Lily James). 

	One day, Cinderella becomes fed-up and takes a ride in the forest.  There she meets the Prince (Richard Madden).  He tells her that he is an apprentice and Cinderella has no idea that he is the future ruler.  She is off before he even finds out her name but he is smitten by the country lass..

	The king is weak and dying. Different individuals have agendas to marry the Prince off to a wealthier kingdom to assure political powers.  Marrying for love is not thought of with royalty.

	The story finally takes a turn to the familiar, with the helpful mice, the eventual ball where the commoner are invited and the fairy god mother.  There is the transformation of the coach (played for laughs) and the running of Cinderella at midnight.   We also get a better explanation as to why the wicked step-mother is so horrible to Cinderella. 

	The film races to a happily ever after ending that should be pleasing to all the little girls in attendance and their mothers who are dragged along.  This is not a film for he-man men but they may find themselves enjoying the proceedings despite themselves.

	Cindrella is directed by Kenneth Branagh, a man more attuned with Shakespeare than fairy tales.  He delivers a strong story and fills in many details left out of the original shorter version of the film.  While he does not capture all the magical moments of the animated film, he does give more parts of the story.

	He found a great cast with young Lily James as our titled character.  She fleshes out the two dimensional animated character into a much fuller individual.  While still being the lovely young waif, she is also the put upon sister.  

	The film does become a showcase for Kate Blanchette and he does bad very well.  She is a horrible person and her explanation at the end to Cinderella falls a bit flat.  By trying to make her a more sympathetic character it also makes her a weaker character.

	This is a fairy tale and should be taken as such. It is a trifle of a story that should entertain the little ones and be tolerable for the adults.  The film, more than anything, makes the audience long for the animated version with singing mice.

#### CINDERELLA – A Blu-ray/DVD and Digital HD Review by John Strange
 
CINDERELLA – A Blu-ray/DVD and Digital HD Review by John Strange
After World War II, Walt Disney needed a big hit to get the studio back on its financial feet.  He decided to go with the fairy tale of Cinderella.  Depending upon which of the extras you believe, the process took from 1946 to 1949 to develop and complete.  Remember that every motion on the screen was drawn by hand.  This meant literally thousands of separate drawings to bring us a 75-minute feature film.
Walt and the key members of the art and production team mapped out each scene step by step giving us a telling of the tale that has clear-cut good and evil characters.  First they shot the film in live action to help the animators “see” what was wanted.  Some scenes of the final cut of the film followed the live shots and some don’t according to what the animators felt worked.
The film is a wonderful blend of humans and animals interacting in ways only the artists at Walt Disney Studios could do.  The story has been a favorite with the whole family from the day it premiered on March 4, 1950.
But the film is only a part of the wonder that the offerings of the Walt Disney Signature Series bring.  We have so many wonderful featurettes giving us not only a reenactment of the discussions that are from Walt’s production meeting as the flow of the film was mapped out but a fun bit where Ruth Righi and Ava Kolker from Disney Channel’s Sydney to the Max give us a look at trivia from the film.
This disk has so many great featurettes that I could write a novel-length review as I talk about them.  I truly loved them all!  I will have to leave most of them for you to watch and enjoy for yourself.  My personal favorites are “The Real Fairy Godmother”, “The Magic of the Glass Slipper: A Cinderella Story”, and “In Walt’s Words: The Envisioning Of Cinderella”.
It turns out the team patterned the Fairy Godmother was patterned on Mary Alice O’Connor, the wife of Ken O’Connor, one of the film’s layout artists.  He didn’t normally create characters but I think he hit this one on the nail-head!  This featurette gives a look at Mary Alice and why she was the perfect inspiration!
“The Magic of the Glass Slipper: A Cinderella Story” is from a 2012 collaboration between Disney and shoe designer extraordinaire Christian Louboutin to design an exclusive Cinderella slipper.  The story is heartwarming and totally Disney in its use of animated characters blended into the live action story.
And finally, my third favorite is part of the Digital HD offering: “In Walt’s Words: The Envisioning Of Cinderella”.  This is the equivalent of the director’s track for a live action film.  We get to listen to a reenactment from the extensive notes and recordings taken during the production meeting talking about each scene of the film.  It gives us reasons and ideas that either made the film what it is today, an American film classic.
On a side note, while there are no visuals, the radio programs from the ’40s and ’50s are very cool to listen to.  They are totally different from the radio programs we have today.
It will take you several hours to watch (and listen to) all of the extras for this film.  If you are like me, you will love all of them.  Even if you already own a copy of the film (we owned a copy on DVD), this is one you need for your collection.
 
Directed By:

Wilfred Jackson
Hamilton Luske
Clyde Geronimi

Cast:

Ilene Woods, Eleanor Audley, Verna Felton, Rhoda Williams, James MacDonald, James MacDonald, Luis Van Rooten, Luis Van Rooten, Don Barclay, Claire DuBrey, Helene Stanley

Blu-ray Extras:

Try This Trivia on for Size – Join Ruth Righi and Ava Kolker from Disney Channel’s Sydney to the Max and put your knowledge of Cinderella to the test.

Classic Bonus Extras:

Diane Disney Miller Cinderella Film Intro – In this introduction to the animated classic, From Rags to Riches: The Making of Cinderella
The Cinderella That Almost Was
The Magic of the Glass Slipper: A Cinderella Story
The Real Fairy Godmother
Alternate Opening Sequence
Storyboard To Film Comparison: Opening Sequence
Cinderella Title Song
From Walt’s Table: A Tribute To The Nine Old Men
The Art of Mary Blair
Behind the Magic: A New Disney Princess Fantasyland

1922 Laugh-O-Grams: Cinderella
Excerpt from The Mickey Mouse Club: with Helene Stanley (Original Airdate: January 24, 1956)
Radio Programs – Original radio shows from the 1940’s/50’s

Original Cinderella Theatrical Trailers

Digital HD Extras:

In Walt’s Words: The Envisioning Of Cinderella
Try This Trivia on for Size – Join Ruth Righi and Ava Kolker from Disney Channel’s Sydney to the Max and put your knowledge of Cinderella to the test.

Classic Bonus Extras:

Diane Disney Miller Cinderella Film Intro – In this introduction to the animated classic, From Rags to Riches: The Making of Cinderella

The Real Fairy Godmother – Learn about the real-life inspiration for the Fairy Godmother: Mary Alice O’Connor, wife of Disney layout artist Ken O’Connor.

Behind the Magic: A New Disney Princess Fantasyland

The Magic of the Glass Slipper – World-famous shoe designer Christian Louboutin creates a very exclusive “Glass Slipper” in honor of a beloved Disney classic.

Specifications:
Runtime:

75 Minutes

Studio:

Walt Disney Studios Home Entertainment

Release Date:

Digital HD:

06/18/2019

Blu-ray/DVD:

06/25/2019

Region:

A/1 (U.S. and Canada only)

Website:

movies.disney.com/cinderella-1950

MPAA Rating:

G

Selig Rating:

BRAND NEW

 
Selig Rating Scale:
BRAND NEW: Should add to your DVD collection at any cost
SALE ITEM: Worth owning, but try to catch it a sale
SECOND HAND: Plan to get it, but wait to buy it used
RENTAL: Worth taking a look at, but not owning
COASTER: Pick it up at a garage sale and use it for drinks
PULL!: Makes a great Trap Shooting target

#### CINDERELLA – A DVD Review by John Strange
 

	CINDERELLA – DVD Review

	 

	John Strange

	 

	Cinderella is a live action retelling of the story of the young girl who endures such adversity and finds her prince and lives happily ever after.  In this retelling, director Kenneth Branagh tells us the story of Ella (Lily James), the beloved daughter of two wonderful parents. 

	 

	Her family has lived in the home on the estate at the edge of the woods for generations.  Ella spends a lot of time with the animals who live on the estate.  She lives a wonderful life that includes learning about life from her mother (Hayley Atwell); a life that revolves around love… and a little magic.  Her father (Ben Chaplin) makes his money as a traveling salesman going to far away countries.  He brings wonderful gifts to his daughter from each trip. 

	 

	Sadly, the wonder and goodness takes a hit when Ella’s mother falls to a sudden illness.  On her deathbed, Ella’s mother tells her, “Ella, my darling!  I want to tell you a secret.  A great secret that will see you through all the trials that life can offer.  You must always remember this, ‘have courage and be kind!’  You have more kindness in your little finger than most people possess in their whole body!  And it has power, more than you know, and magic.”

	 

	“Magic?”, asked Ella.

	 

	“Truly.”, replied her mother.

	 

	Years go by and Ella’s father tells her of the passing of one of his friends.  Her father wants Ella’s blessing to wed the gentleman’s widow and bring her and her two daughters into their home.  Of course Ella agrees.  Her greatest desire is to make her father happy.

	 

	Ella’s new stepmother (Cate Blanchett) and stepsisters (Sophie McShera as Drisella and Holliday Grainger as Anastasia) are truly horrid.  They are very egotistic, looking down upon poor Ella and the grand home she lives in.  When Ella offers to trade rooms with the sisters to give them more space, the stepmother grabs the opportunity to move Ella to the drafty attic that will allow the girls to each have their own room.  A telling scene is when Ella calls her stepmother and the woman tells her to call her Madam instead.

	 

	Again, tragedy strikes.  Ella’s father dies suddenly on the road leaving the family without someone to provide for them.  Thus we have the stage set for the classic tale. Slowly, the stepmother economizes.  She sells off the belongings of Ella’s father and turns out the help.  Ella is slowly turned from a stepdaughter into a servant.

	 

	The three ladies spare no chances to degrade and humiliate Ella.  They force her to sleep in the drafty attic and attend to their every desire.  One morning after Ella has slept beside the kitchen hearth to stay warm as she slept; she attends the ladies without realizing she has soot on her face.  One of the daughters laughs and says that she has a new name for Ells, Cinder-Ella.  The trio gets a good laugh out of this.

	 

	Ella’s only escapes are talking to her animals and riding her horse in the woods.  On one of these rides she encounters a huge stag being chased by hunters.  She encourages the stag to run.  Sadly, the stag startles Ella’s horse that bolts.  She is rescued by a young man who gives his name as Kit (Richard Madden), an apprentice at the Palace learning his trade from his father.

	 

	Kit is not just any apprentice.  He trade is politics and ruling a kingdom for he is the Prince of the land.  His father, the King (Derek Jacobi) and the Grand Duke (Stellan Skarsgård) encourage the Prince to find a bride before the King, his health declining, dies.  Kit wants Ella but does not know her name or how to find her.

	 

	The royals decide to throw a ball.  The Prince gets them to open the ball to all eligible women in the Kingdom as well as the royalty coming in from around the world.  Stepmother and the girls are thrilled!  Stepmother tells Ella to run to the village to have three dresses made immediately! Ella is also thrilled.  Until her stepmother looks down her nose and informs her that the dresses are for her and her daughters.  There is no way they could take a servant girl like Ella with them.

	 

	Ella takes one of her mother’s dresses and redoes it to fit her.  When the ladies prepare to leave for the Ball, Ella comes down in her dress to go with them.  They ridicule her and rip the dress.  They ladies take their coach to the Ball leaving a heartbroken Ella behind.

	 

	Moping in the yard after the ladies have left, Ella encounters an old crone who asks for a crust of bread or a drop of milk.  Ella immediately dips up a bowl of milk for the old lady.  Ella is surprised when the woman knows her name. 

	 

	She is even more amazed when the crone magically transforms into a beautiful Fairy Godmother.  Played by Helena Bonham Carter, the Fairy Godmother is a bit odd but in a good way.  She helps Ella to attend the ball by creating a grand coach and footmen.  And then the dress and shoes, wow, are amazing!

	 

	Cinderella arrives at the palace just after the Ball begins.  She arrives just in time to have the first dance with the Prince.  The pair dance and then take a stroll through the palace and end up at the Prince’s favorite place.  The garden is gorgeous.  The two talk and forget about everything else until the clock begins to chime midnight.

	 

	Behind the scenes we see that the Grand Duke has his own agenda   He has made a deal with a princess from a far away land.  He plans to rule the country from behind the scene after the old King passes away.  His deal is threatened by the Prince’s desire to wed the local girl.

	 

	Cinderella races through the palace to her coach and drives away from the palace grounds.  Her timing is bad and the coach returns to it original state as it races through the countryside.  She is pursued by the palace guard who want to bring her back to the Prince (or perhaps do away with her if the Grand Duke has his way).  It doesn’t matter; they fail to catch up with the young girl.

	 

	In the end, all they have to go on are their memories of what she looked like and one glass slipper that was dropped during Ella’s race from the palace.  While the Grand Duke pushes for the wedding to the Princess, the Prince is determined to find his mystery girl.

	 

	The Prince gets his way and the soldiers check out every female in the kingdom.  Unfortunately for Ella, her stepmother discovers the remaining slipper.  She confronts Ella and destroys the shoe in front of her.

	 

	The Grand Duke and the stepmother meet and a deal is truck to ensure that Ella will not be found.  The three women will be rewarded and the Grand Duke will get the marriage he wants.

	 

	But this is a fairy tale and evil does not win.  The writers give us an amazing ending with last minute saves and the bad guys getting their just desserts.  They also give us much more back story on the stepmother than I have ever seen.  We are given a story of a woman who loves the love of her life and when she remarries, finds the man she married loves his daughter and dead wife much more than he could ever love her.  The scene where she tells Ella about her feelings is absolutely wonderful.  Cate is certainly one of the few actresses who could have pulled off this performance.

	 

	This story is one that the whole family can enjoy.  Adults will see a new depth and richness in the story that previous writers/directors left out.  Kids will see a wonderfully visual tale with a young girl who gets what she deserved when she stays true to her mother’s wishes. 

	 

	Buy this film in whatever format works best for you.  Disney sent me the film using their Disney Movies Anywhere option.  It was easy to setup and easy to use.  I know collectors will want to have a disk to put on their shelf but this new format is well worth checking into!  I rate Cinderella as BRAND NEW on our scale!

	 

	 

	Directed By: Kenneth Branagh

	 

	Cast: Lily James, Richard Madden, Helena Bonham Carter, Nonso Anozie, Stellan Skarsgård, Sophie McShera, Holliday Grainger, Derek Jacobi, Ben Chaplin, Hayley Atwell, Rob Brydon, Jana Perez, Alex Macqueen, Tom Edden, Gareth Mason, Paul Hunter, Eloise Webb, Joshua McGuire, Matthew Steer, Cate Blanchett

	 

	Extras:

	 

			Alternate Opening: Ella's Childhood
		

			Frozen Fever
		

			Staging The Ball
		

			Ella's Furry Friends
		

			A Fairy Tale Comes to Life
		

			Disney Movies Anywhere Exclusive:
		

			Deleted Scenes (with introductions by Kenneth Branagh)
		

			Costume Test Fun
		

	 

	Specifications:

	 

	Runtime: 134 Minutes

	 

	Studio: Walt Disney Pictures

	 

	Release Date: 09/15/2015

	 

	Region 1

	 

	Website: http://movies.disney.com/cinderella/

	 

	MPAA Rating: PG (for mild thematic elements)

	 

	Selig Rating: BRAND NEW

	 

	Selig Rating Scale:

	 

	BRAND NEW: Should add to your DVD collection at any cost

	SALE ITEM: Worth owning, but try to catch it a sale

	SECOND HAND: Plan to get it, but wait to buy it used

	RENTAL: Worth taking a look at, but not owning

	COASTER: Pick it up at a garage sale and use it for drinks

	PULL!: Makes a great Trap Shooting target

#### CINDERELLA – A Review by Cynthia Flores
CINDERELLA – A Review by Cynthia Flores
Disney better beware. This new live-action take on the classic Cinderella fable from Amazon Studios is excellent. It proves that the mouse is not the only one out there that can make a fun family musical. 
The new film, Cinderella, is a musically driven, bold take on the classic story we all grew up with. It smartly uses reorchestrated versions of songs from Janet Jackson to Queen and everyone in between. But, of course, half the fun is guessing what song they’re singing. It is helmed by writer/director Kay Cannon. She’s the woman that brought us the hit Pitch Perfect series of films. So she is, pardon the pun, “Perfectly” suited to bring us this dance and music-filled modern take on the Cinderella story.
The heroine of our film is Cinderella (Camilla Cabello), who is an ambitious beautiful young woman. Her dream of creating fashion for the rich and famous is bigger than her world will allow. She is dutifully working for her bitter stepmother Vivian (Idina Menzel) and her self-absorbed stepsisters Anastasia (Maddie Baillio) and Drizella (Charlotte Spencer). She works all day taking care of them, and at night, she works on her designs and gowns. After a chance meeting with a disguised Prince Robert (Nicholas Galitzine), she decides to attend the ball. It’s being put on by King Rowan (Pierce Brosnan) and Queen Beatrice (Minnie Driver) to find the Prince a bride. All Cinderella wants is to make connections for her business. Still, all the Prince wants is to see the woman who has already stolen his heart. While his sister Princess Gwen (Tallulah Grieve) just wants to be taken seriously.  
Of course, Vivian thinks she can keep Cinderella at home and away from the ball. However, her Fab G (Billy Porter) has other plans. So, will Cinderella be able to persevere and make her dreams come true? Well, you will just have to see the movie to find out. 
The film’s co-producer Leo Perlman was asked why he wanted to tackle a classic. He answered with a story of its origins. Perlman said, “Like all great movie ideas, this one started with James Corden acting out a scene with a woman waking up and singing Dolly Parton’s ‘Nine to Five,'” Pearlman went on to say, “Once we finished harmonizing on ‘Nine to Five,’ he asked why is it that only Disney gets to make fairy tales. And why are fairy tales all so old-fashioned? Why is no one updating them? And that really kick-started a conversation that led to a new kind of Cinderella story.”
Cinderella’s all-star cast is led by Camila Cabello who is better known for her singing career, but that could change after this, her feature film debut, hits the screens. She does a beautiful job as the dreamer Cinderella. And, it’s great to see a woman of color in the lead for once. It lets little girls all over the world see someone that looks like them getting to be the star of a classic fable. 
I give Cinderella a 4.5-star rating. It’s a booty-shaking, fun film for the whole family to enjoy as it introduces a whole new generation to some really great songs. 
 
Directed by: Kay Cannon
Written by: Kay Cannon
Rated: PG
Selig Rating: 4.5 Stars
Running Time: 113min
Musical / Fantasy 
Limited Theatrical Release: Movie Tavern Hulen Mall 13/ Legacy 24 Plano/ Cinemark West Plano 20/ Also on Amazon Prime
Starring: Camila Cabello, Idina Menzel, Minnie Driver, Nicholas Galitzine, With Billy Porter and Pierce Brosnan
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### CINDERELLA – A Review by John Strange
CINDERELLA – A Review by John Strange
Think you know the story of Cinderella?  Maybe not!  Writer/Director Kay Cannon has taken the story we know so well and updated it in several surprising ways.  From the updated modern soundtrack to characters that bring a breath of fresh air to this fairytale, this film brings a smile to your lips and many laughs, as well.
Ella (Camila Cabello), called “Cinder”-Ella by her stepsisters because she often had cinders on her face, lives in the basement and waits on Vivian (Idina Menzel), her stepmother, and her two stepsisters Anastasia (Maddie Baillio) and Drizella (Charlotte Spencer).  The family lives in a village located in a peaceful country.
Ella lives to design dresses, a profession frowned upon by the men of the country.  Her attempts are rebuffed by pretty much everyone.  After all, men are the only people who can run a business.
Prince Robert (Nicholas Galitzine) is a do-nothing scion of King Rowan (Pierce Brosnan) and Queen Beatrice (Minnie Driver).  He runs around with his three buddies.  He does NOT want to get married and settle down to being the King-in-training, but the King and the Queen feel otherwise.
The predictable portions of the story revolve around Ella, the Prince, and the Ball.  What isn’t predictable (but oh so lovely) are some of the updates to the story.  Think of The Wiz and Wicked.  The basic story, the core, is left in place.  The enhancements to the story, include the amazing Billy Porter as Fab G, the Fabulous Godmother, and James Corden as one of the mice/footmen (he’s also a producer of the film).
The songs skillfully woven into Ella’s story range from the opening song “Rhythm Nation” to the closing’s “Let’s Get Loud”.  The filmmaker’s choices are excellent, enhancing the story immeasurably.  The voice talent is wonderful.  Camilla has a voice that will take her far!  Nicholas does a delightful rendition of Queen’s 1976 anthem “Somebody To Love”.  Idina, well we already knew she had a great set of pipes so her contributions to the film are, while wonderful, only to be expected.  And Minnie Driver has a good singing voice, something I never realized!
Cinderella is a fun film to watch.  It is just the film to help you forget about all the crap going on in the world, if only for an hour or two.
 
Director: Kay Cannon
Cast: Camila Cabello, Idina Menzel, Minnie Driver, Nicholas Galitzine, Billy Porter, Pierce Brosnan
MPAA Rating: PG (for suggestive material and language)
Selig Rating: 5 Stars
Runtime: 113 Min.
Release Date: 09/03/2021
Local Release Locations: Amazon Prime Video plus locally in these theaters: Movie Tavern Hulen Mall 13 (Fort Worth, TX), Legacy 24 (Plano, TX), and Cinemark West Plano 20 (Plano, TX)
Movie Site: CINDERELLA Website
Trailer: CINDERELLA Trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### CINDERELLA – A Review by John Strange
 

	CINDERELLA

	 

	By: John ‘Doc’ Strange

	 

	Directed by: Kenneth Branagh

	 

	Cast: Hayley Atwell, Lily James, Helena Bonham Carter, Richard Madden, Cate Blanchett, Holliday Grainger, Sophie McShera, Stellan Skarsgård

	 

	MPAA Rating: PG (for mild thematic elements)

	 

	Selig Rating: FULL PRICE

	 

	Runtime: 112 Min.

	 

	 

	The story of Cinderella has been told many times over the decades in formats ranging from animated feature films to musicals.  Cinderella has been a part of our pop culture since Walt Disney gave us that amazing animated feature in 1950.  Each re-telling has tried to give us something new to catch our imaginations.

	 

	This newest film in the lineage spends more time on the character development than some of the others.  The story of the family of Ella and her parents is one we know well.  Ella’s father (Ben Chaplin) makes his living by traveling around the world, trading in goods.  His loving wife, Ella’s mother (Hayley Atwell) takes care of the home and their daughter.  She teaches young Ella to be a sweet loving young lady who treats everyone with respect and courtesy.

	 

	When her mother dies, Ella and her father are forced to carry on.  The two of them live their lives but the loss marks them.  For Ella, she has the servants as well as the animals to keep he occupied. Her father is not so lucky.  Eventually he finds a wonderful lady with two daughters who, like him, lost the love of her life.  The two marry and the three come to live with him and Ella.

	 

	The lady is pretentious and the daughters are worse.  They look upon the fine home as almost a grovel and make hateful comments about the decorations.  Ella’s new stepmother (Cate Blanchett)’s most telling remark is when she tells Ella the she need not call her stepmother, “Madame will do.”  The stepsisters, Drisella (Sophie McShera) and Anastasia (Holliday Grainger) are petty twit whose combined worth is less than the lowliest of the animals.

	 

	Ella offers her room to the stepsisters to give them more elbow room.  The Stepmother puts Ella into the drafty attic rather than allowing her to move to one of the other bedrooms with the excuse that those rooms are top be redecorated.  Ella sucks it up and moves her belongings and most of those from her mother to the attic.  Ella’s one consolation is that her friends, the mice, live in the attic with her.

	 

	Preparing to leave on his next trip, Ella and her father discuss her mother and the love they still feel for her.  Unfortunately for Ella, the stepmother arrives in time to listen in to most of the conversation.  The look in her eyes as she realizes that she will never be number one in his heart hardens her.   Then the worst befalls Ella when her beloved father dies while abroad.

	 

	To make their funds stretch further, all of the help are let go.  The trio expects Ella to fill in the gap, cooking and cleaning and basically waiting on them hand and foot.  As the season progresses, Ella begins sleeping by the hearth in the kitchen to escape the icy drafts of the attic.  One morning she fails to catch that her face is covered in ash.  Stepmother and the girls unleash the full power of their ascorbic wits upon the poor young girl.  They finally settle upon “Cinder” Ella as their new nickname for her.

	 

	To escape their wit, Ella goes for a ride in the woods.  She is surprised by a huge stag.  It quickly becomes evident that hunters searching for the beautiful animal.  Ella tells the stag to make a run for it and she’ll throw them off the scent.  The man who rides up is a fine example of a man.  He tells her his name is Kit and he’s an apprentice at the castle.  After some more small talk, others in the hunting party arrive and Kit must go with them.

	 

	Kit is smitten but there is a small complication.  His master is the King.  Yes, he is the Prince!  The King’s health is not good.  He wants to see his son wed before he dies.  The eligible ladies of the land (and all others) are invited to a grand ball to help the Prince meet the woman he will wed.  Since Ella managed to evade giving her name, the Prince sees that invitations go out to every eligible woman in the land.

	 

	Hearing about the Ball, Ella is so excited!  She hopes to find Kit and talk to him again!  Needless to say as we all know, Stepmother puts the kibosh on that wish, going so far as to rip the dress Ella was planning to wear.

	 

	The ghastly trio ride away from the house in their coach while Ella weeps.  She comes across a crone beside the gate who asks for a few scraps of bread or a cup of milk.  As the well-bred young lady she is, Ella dips the old lady a cup of milk.  Following her refreshment the crone begins to determine what she needs to create Ella’s carriage and attendants.  Yes, she’s Ella’s Fairy Godmother (Helena Bonham Carter)!

	 

	From changing the mice into gorgeous white horses to lizards into footmen and a goose into a driver to changing a large pumpkin and gazebo into a magnificent golden carriage, the fairy godmother performs her magic.  She then transforms the tattered dress into a gorgeous jewel-encrusted gown.  She creates amazing glass shoes for her feet.  Thankfully, she remembers to give Ella the admonition that all would revert back to their original forms at the last stroke of midnight.

	 

	The Ball is amazing, the very vision of elegance and splendor.  But for the Prince, who is dreading that he might never again see the enchanting you lady from the forest, everyone disappears once his eyes alight upon Ella.  The two ignore everyone as they walk toward each other, meeting in the middle of the dance floor.

	 

	What follows is a wonderful evening followed by the expected dash for the carriage to get home before the last stoke of the bell at midnight.  We also see a Grand Duke (Stellan Skarsgård) determined to have the princess of his choice marry his liege, one he can control.

	 

	The story of the Prince’s search for the owner of the glass slipper is predictable.  We see the normal ugly, old, mean, in fact ALL of the women of the kingdom get red in the face trying to force feet into a MAGIC SLIPPER.  Sorry ladies, there is only one foot that fill fit this shoe.  Strangely enough, the very last house in the land to be tested is the home of Ella and the three ugly minded women she shares the house with.

	 

	As I said at the beginning of this story, this tale is one we all know.  We know that the two lovers are wed and live happy forever after.  The filmmakers have done an excellent job in bringing us this tale of loss, love and magic.  It is always a worthwhile use of time to watch a film that leaves you feeling a good as this one does.  My favorite scene comes when Ella forgives her stepmother.  If you were as good as our “Cinder” Ella is then you would be able to forgive her as well.

	 

	This feature is paired with a short based on the film Frozen called Frozen Fever.  It is every bit a wonderful as the feature film!

	 

	 

	Movie Site: http://movies.disney.com/cinderella/

	 

	 

	 

	The Selig Rating Scale:

	 

	FULL PRICE – Excellent movie, well worth the price

	MATINEE – Good movie

	DOLLAR – OK movie

	CABLE – No need to rush. Save it for a rainy day.

	FREEBIE – Good that I saw it on the big screen but wish I hadn't paid for it.

	COMMERCIAL TV – Commercials and cutting to the allotted time will not hurt this one.

	FORGET IT! – Bad. If you see this one, do yourself a favor and keep it to yourself.

	GET YOUR TORCHES – BAD! – Burn the script, the writer, the director and maybe even the actors!

#### Cine Las Americas Announces Film Lineup for 23rd Cine Las Americas International Film Festival (June 9-13)
BEANS
 
The Austin-based Cine Las Americas International Film Festival (CLAIFF) announced the feature films selected for next month’s hybrid presentation, taking place June 9-13, which will include an Opening Night presentation of Mariem Pérez Riera’s documentary Rita Moreno: Just a Girl Who Decided to Go for It under the stars at Meanwhile Brewing Co. (3901 Promontory Dr.). That special screening event will kick off the film festival, including showcase presentations, CLAIFF’s signature Hejo en Tejas screenings, narrative and documentary film competitions, and more continuing virtually over the next four days throughout Texas, with some titles available throughout the U.S. as well.
The 23rd edition of Cine Las Americas will once again provide a rare showcase of films and videos from Latin America (North, Central, South America, and the Caribbean) and the Iberian Peninsula. The film festival celebrates films and videos made by or about Latinx in the U.S. or the rest of the world, with films and videos by or about indigenous groups of the Americas also featured. This year’s edition of CLAIFF will also continue their efforts to feature inclusiveness in the programming among the films representing over 15 countries throughout Ibero-America. Just over 50% of all films were directed and/or produced by female filmmakers, with the majority of filmmakers people of color, including Indigenous and Afro-Latino filmmakers. The CLAIFF directors and programmers are also proud to continue its dedication to have solid representation within the LGBTQIA+ community.
Cine Las Americas Executive Director Gabriel Ornelas, said, “In format, this year will serve as a bridge from our virtual showcase during the pandemic last year to returning to the in-person screenings and events we have all been looking forward to enjoying once again. Our opening night screening under the stars is a wonderful first step in that direction, without losing the gains we have made through the virtual screenings broadening the reach of CLAIFF and bringing these great films into people’s living rooms so we can introduce them to our wonderful filmmakers.”
CLAIFF Lead Programmer Ernie Quiroz, added, “We could not be more excited by the films in our lineup this year. From dramas, comedies, and thrillers, to documentaries that will educate, illuminate, and introduce our audiences to some truly colorful characters, there is an expansive variety in the worlds presented onscreen to match the wide variety of the countries these films came from. It will be a joy to share these with our film fans.”
Co-hosted by Meanwhile Brewing Co. and Rocket Sound, Opening Night will take place on the soccer field adjacent to Meanwhile Brewing Co. (3901 Promontory Dr.) with film goers invited to bring their favorite blanket or lawn chair to watch Riera’s crowd-pleasing documentary Rita Moreno: Just a Girl Who Decided to Go for It. The film, which premiered at this year’s Sundance Film Festival, focuses on the legendary actor’s 70+ year career, as she overcame a humble upbringing and relentless racism to become one of the rare EGOT (Emmy, Grammy, Oscar, Tony) Award Winners of our time.
Cine Las Americas’ signature programming track, “Hecho en Tejas,” which showcases local filmmaking talent with varied backgrounds via films and videos shot and/or produced in Texas, will return with the previously announced showcase presentation of Lisa Molomot and Jeff Bemiss’ award-winning documentary Missing in Brooks County, as well as competition titles; Fearless, directed by Wojciech Lorenc, and Vecinos: Love Thy Neighbor, directed by Alex Avila. Fearless looks at a non-profit boxing gym in a small town in Texas which provides a space where participants have a safe, educational and encouraging place to learn their skills.  Vecinos: Love Thy Neighbor focuses on a man forced to consider his place among the changes in his neighborhood and life and the positive possibilities when a new neighbor moves into his apartment building.
Additional Showcase films include; Maisie Crow’s documentary At the Ready, which follows students at Horizon High School in El Paso, one of the region’s largest law enforcement training programs; Tracey Deer’s drama Beans, about a twelve-year-old forced to grow up fast to become the tough Mohawk warrior she needs to be during the Indigenous uprising known as The Oka Crisis in 1990; and Jorge Thielen Armand’s Fortitude (La Fortaleza), a drama about a man who retreats to the Amazon jungle which leads to him working in an illegal gold mine controlled by Colombian guerrillas. The film is based on the true story of the filmmaker’s father, who stars in the film as himself. Maximiliano Contenti’s horror film The Last Matinee follows the attempts of a projectionist’s daughter and two young people to escape a sadistic and ruthless killer who has turned a matinee into a massacre; and Miguel Mejías’s Spanish drama, The Wanderer (La Viajante). Making its North American Premiere at Cine Las Americas, the film focuses on a young woman whose life spirals out of its routine until she discovers a special interest filming insects on her mother’s camera while she deals with the unexpected and unknown impulses of her loneliness.
Among the narrative feature films in competition are; David David’s Colombian production, The Border (La Frontera), about an Andean woman, her husband, and brother who loot travelers on the border between Colombia and Venezuela until fate pushes her to the brink; Ángeles Cruz’s Nudo Mixteco, a Mexican film that interweaves three stories of people dealing with past abuse and crisis in their relationships during the patron saint’s celebration in San Mateo, a village of the Mixtec Oaxaca; and Manuel Ferrari’s Argentinian/Chilean co-production Overnight (De la Noche a la Mañana), about an architect who – faced with the surprising news that his girlfriend is pregnant, contemplates starting over in another country.
The documentary feature films in competition include; Nicole Costa’s The Journey of Monalisa (El Viaje de Monalisa), about a talented male theater director and playwright, who has transitioned to becoming a woman who now works as a prostitute on the streets of New York; Medhin Tewolde Serrano’s Negra, the story of the director’s search for what it means to be a black woman in Mexico, incorporating the story of five afro-descendant women from southern Mexico, exposing racism, resistance and processes of self-acceptance, strategies for transcending stereotypes, and the celebration of their identity; and Ashkan Soltani Stone’s Rez Metal, which follows the Navajo heavy metal band I DONT KONFORM’s remarkable journey from performing on poverty-stricken reservations to recording their debut album with Grammy-award winner producer of Metallica.
 
Short film selections, music videos, and CLAIFF’s “Emergencia” Youth Film competition selections will be announced at a later date.
For more information about Cine Las Americas, visit https://cinelasamericas.org/.
 
2021 Cine Las Americas Official Selections
 
SHOWCASE FEATURES
 
OPENING NIGHT PRESENTATION
Rita Moreno: Just a Girl Who Decided to Go for It                                                          
Director: Mariem Pérez Riera
Country: United States; Running Time: 90 min        
Over a 70+ year career, Rita Moreno defied both her humble upbringing and relentless racism to become a celebrated and beloved actor, one of the rare EGOT (Emmy, Grammy, Oscar, Tony) Award Winners of our time.  Despite becoming the first Latina actress to win an Academy Award for her role as Anita in “West Side Story” (1961), the studios continued to offer Moreno lesser roles as stereotypical ethnic minorities, ignoring her proven talent. This new documentary illuminates the humor and the grace of Moreno, as well as lesser-known struggles faced on her path to stardom, including pernicious Hollywood sexism and abuse, a toxic relationship with Marlon Brando, and serious depression a year before she emerged an Oscar winner. Moreno’s talent and resilience triumphed over adversity, as she broke barriers, fought for representation and forged the path for new generations of artists.
 
 
At the Ready                                                                                      Texas Premiere         
Director: Maisie Crow
Country: United States; Running Time: 96 min        
Home to one of the region’s largest law enforcement education programs, students at Horizon High School in El Paso train to become police officers and Border Patrol agents as they discover the realities of their dream jobs may be at odds with the truths and people they hold most dear.
 
Beans                                                                                                 Texas Premiere         
Director: Tracey Deer
Countries: Canada/United States; Running Time: 92            min
Twelve-year-old Beans is on the edge: torn between innocent childhood and delinquent adolescence; forced to grow up fast to become the tough Mohawk warrior she needs to be during the Indigenous uprising known as The Oka Crisis, which tore Quebec and Canada apart for 78 tense days in the summer of 1990.
 
Fortitude (La Fortaleza)                                                                   Texas Premiere         
Director: Jorge Thielen Armand        
Countries: Venezuela/Colombia/France/Netherlands; Running Time: 108 min       
To escape crisis in Venezuela–and his alcoholism–Roque retreats to the Amazon jungle to renovate a cabin he built during happier times. There he struggles with feverish withdrawal visions. When he goes to work in an illegal gold mine controlled by Colombian guerrillas, he is plunged into a cycle of self-destruction. Roque will need fortitude to get out and start anew. La Fortaleza is based on the true story of the filmmaker’s father, who stars in the film as himself.
 
The Ghosts (Los Fantasmas)                                                                      Regional Premiere     
Director: Sebastián Lojo        
Countries: Guatemala/Argentina; Running Time: 76 min
Koki is a young, attractive and charismatic man who makes a living in Guatemala City as a thief. He befriends tourists who are suddenly, cyclically mugged. Under cover of night, he seduces men in bars and clubs, leading them to a hotel room where they are robbed. The latter arrangement is in conjunction with Carlos, a middle aged, member of the hotel staff. Carlos moonlights as a wrestler, being briefly liberated under a thick shade of make-up. When the tables are turned and Koki is betrayed by Carlos, he finds himself pushed even further into society’s margins, forced to witness the violent effects of his actions from an almost disembodied perspective.
 
The Last Matinee                                                      
Director: Maximiliano Contenti          
Countries: Uruguay/Argentina; Running Time: 88 min         
It rains heavily in Montevideo on a Sunday in 1993. A particularly suspicious man enters the last screening of a horror film at a downtown cinema. The room, which is not very crowded due to the storm outside, slowly starts to get stained with blood. Ana, the projectionist’s daughter, who has taken her father’s place just for the night, is in charge of the show. In the darkness of the cinema, the spectators fall one by one into the hands of the killer. From the projection room, Ana begins to notice that something strange is happening. A teenager and a boy who slipped into the room meet Ana as they try to escape. Together they must face this sadistic and ruthless killer, to save their lives and avoid a massacre in the matinee.
 
New Order (Nuevo Orden)              
Director: Michel Franco         
Country: Mexico; Running Time: 88 min       
While protests rage in the streets, Marianne’s high society family prepares for her wedding. At first, only splatters of green paint and the appearance of Rolando, a former employee seeking emergency medical funds, intrude on the festivities. But soon the party is unable to keep the reckoning at bay, and what follows is a swift disintegration of law and order defined first by class lines, then by disastrous government recapitulation.
 
The Siamese Bond (Las Siamesas)                                                            Regional Premiere     
Director: Paula Hernández    
Country: Argentina; Running Time: 80 min   
Clota and Stella are mother and daughter, they live by themselves in an old family house confined by an endogenous routine. One day, Stella receives the news that her father has died and that she has inherited two small apartments located in a desolate seaside town. Stella decides to set out on a trip to discover that miracle which appears as the last possibility to finally become independent, but Clota perceives it as a surgical and terrifying separation.
 
The Wanderer            (La Viajante)                                                              North American Premiere   
Director: Miguel Mejías          
Country: Spain; Running Time: 84 min         
Angela has a life that wipes out in front of her eyes. Living in a routine which seems impossible to run away from until the moment she ventures herself on a journey through the remote lands, where she will discover a special interest filming insects on her mother’s camera while she deals with the unexpected and unknown impulses of her loneliness.
 
 
HECHO EN TEJAS
 
HET SHOWCASE
Missing in Brooks County                                                               Austin Premiere         
Directors: Jeff Bemiss, Lisa Molomot
Country: United States; Running Time: 81 min        
Missing in Brooks County follows the stories of two families searching for their loved ones who went missing in the fields of Brooks County, Texas. A gripping drama, it is also a deeply humane portrait of the human rights workers, activists, and law enforcement agents who confront the life-and-death consequences of a broken immigration system.
 
HET COMPETITION
Fearless                                                                                             Texas Premiere         
Director: Wojciech Lorenc     
Country: United States; Running Time: 89 min        
In small-town Texas, a non-profit boxing gym is the location where Nancy Wagoner and James Reyna provide a space where participants “have a safe, educational and encouraging place to learn their skills.” Dispelling the myth of lifting oneself up by one’s bootstraps, Fearless is an observational documentary focused on the difficulties facing people of color and immigrants in the United States today by unpacking the concept of American optimism and the unrealistic expectations that accompany it.
 
Vecinos: Love Thy Neighbor                                                                       Austin Premiere         
Director: Alex Avila    
Country: United States; Running Time: 88 min        
Roberto hasn’t done much changing lately, but even from his couch he’s seen his neighborhood become a place he barely recognizes. When Maria moves in down the hall from him, though, Roberto has no choice but to consider the good side of change. Vecinos reminds us that no matter how easy it is to lose your identity in a city that won’t sit still, it’s even easier to lose it when you’re the one sitting still.
 
 
NARRATIVE FEATURES COMPETITION
                                                                                                           
The Border (La Frontera)                                                                 Austin Premiere         
Director: David David
Country: Colombia; Running Time: 90 min   
Amid a political crisis, on the border between Colombia and Venezuela, an Andean woman, her husband, and brother live on looting travelers. However, fate pushes her to the brink of illusion and getting lost in mysterious dreams.
 
Chaco                                                                                                 Regional Premiere     
Director: Diego Mondaca      
Countries: Bolivia/Argentina; Running Time: 77 min
1934, Bolivia is at war with Paraguay. Liborio and Ticona and other Bolivian indigenous soldiers are under the commandment of a retired German officer fighting for the Bolivian army. They’re lost in the hell of the Chaco, looking for an enemy that they will never find. Walking like shadows, wandering forever in the middle of dust and silence.
 
Hékate                                                                                                            World Premiere        
Director: Nadia Benedicto     
Country: Argentina; Running Time: 77 min
We’re in the middle of nowhere and with my half-dead boyfriend stuck in there. -‘My boyfriend’? You call that piece of shit ‘my boyfriend’?! Helena and Kira argue on the side of the road. They don’t have a destination in mind, they don’t have a plan to follow. The journey unveils itself mile by mile, a journey that soon becomes a ritual.
 
Nudo Mixteco                                                                                     Texas Premiere         
Director: Ángeles Cruz          
Country: Mexico; Running Time: 91  
Three stories that intertwine during the patron saint’s celebration in San Mateo, a village of the Mixtec Oaxaca. María buries her mother, her father rejects her and, in uncertainty and pain, she proposes to Piedad, her childhood love, to leave with her. Esteban returns after three years to discover Chabela, his wife, is living with another man; enraged he calls the village people to prosecute her in an assembly. Toña relives her own pain in the face of the abuse of her daughter when she returns to confront her family to protect her.
 
Overnight (De la Noche a la Mañana)                                             Regional Premiere     
Director: Manuel Ferrari         
Countries: Argentina/Chile; Running Time: 88 min  
Ignacio, a 37-year-old architect, lives an ordinary life in Buenos Aires. When his girlfriend announces she is pregnant a great weight falls upon his shoulders, as his independent life seems to vanish right before his eyes. In an attempt both casual and somehow desperate, Ignacio embarks on a trip to Valparaíso. Under the pretext of a seminar that is meant to last only a few days, a new life begins to take shape for him with greater success than ever imagined. All of a sudden, he starts considering leaving behind his life in Argentina and starting over in Chile. This is the story of an unwanted escape and a life-changing decision that only Ignacio would witness.
 
 
DOCUMENTARY FEATURES COMPETITION
                                                                                                           
The Journey of Monalisa (El Viaje de Monalisa)                           Regional Premiere     
Director: Nicole Costa
Countries: Chile/United States; Running Time: 88 min        
After 17 years, Nicole Costa gets in touch with Iván Ojeda, her old Chilean friend from college. Back then he was a talented theater director and playwright, but it turns out he has reinvented himself. Iván now goes by Monalisa and works as a prostitute on the streets of New York. Intrigued by this transformation, Costa decides to follow Iván Monalisa, a “gender-neutral two-spirit,” in their tough and vulnerable life filled with fleeting sexual encounters and addiction to hard drugs. Nonetheless, Monalisa does continue to write beautiful, raw pieces about life and survival in New York.
 
Miguelito                                                                                            Texas Premiere         
Director: Sam Zubrycki         
Countries: Colombia/Puerto Rico/United States; Running Time: 95 min
In 1973 by pure chance, the eleven year old Miguelito was discovered singing in the San Juan airport by the legendary New York record producer Harvey Averne. Within the year he went from the slums of Manuel A Perez, to recording an album with some of the finest salsa musicians of the time to finally performing with Eddie Palmieri at Madison Square Garden in front of 20,000 people. And then he simply disappeared. His rise to fame was ephemeral, but no less unforgettable and to his fans his disappearance remains a myth. Featuring performances from Papo Lucca’s La Sonora Poncena, Nelson Feliciano, Maximo Torres, Malo Malo and many others, Miguelito is a film that celebrates the musical and cultural depth of the Caribbean as well as revealing a story of a once forgotten ‘Salsero’ whose album became a cult classic in a country far from his own.
 
Negra                                                                                                  Texas Premiere         
Director: Medhin Tewolde Serrano   
Country: Mexico; Running Time: 72 min       
I was about seven years old the first time someone called me “black” on the street. I turned around to see who they were talking to, until I realized it was me. That day I understood I was black, and the laughter it caused among the people nearby made me think being a black person wasn’t that great… Was this only happening to me? Or did it happen to other black women? Negra is the story of the director’s search for what it means to be a black woman in Mexico. It tells the story of five afro-descendant women from southern Mexico, exposing racism, resistance and processes of self-acceptance, strategies for transcending stereotypes, and the celebration of their identity.
 
Rez Metal (Rez Metal)                                                                       Texas Premiere         
Director: Ashkan Soltani Stone         
Countries: United States/Denmark; Running Time: 76 min  
Rez Metal follows the Navajo heavy metal band I DONT KONFORM’s remarkable journey from performing on poverty-stricken reservations to recording their debut album with Grammy-award winner producer of Metallica while telling the compelling story of the thriving heavy metal scene on the Navajo reservations.
 
River Silence                                                                                     Texas Premiere
Director: Rogério Soares
Countries: Brazil/Canada; Running Time: 90 min
A poetic journey alongside four women, River Silence is witness to the human and environmental cost of a large-scale development in Brazil’s Amazon basin. The Belo Monte hydroelectric dam is but one of many scheduled to be built in Brazil—and the characters we meet represent thousands of similarly displaced women, men and children.

#### Cine Las Americas Announces Partnership With Los Angeles Latino International Film Festival
 
On the date of what would have been the popular Austin-based Latino film festival’s opening night for its 23rd edition, Cine Las Americas announced today plans and partnerships for virtual film showcases and presentations for both May and July. The plans include a first time joint presentation and partnership with the Los Angeles Latino International Film Festival (LALIFF) later in May and July, as well as continuing CLA’s longstanding association and partnership with the Emma S. Barrientos Mexican American Cultural Center (ESB-MACC) also set for July.
CLA Executive Director Jean Anne Lauer said, “This is a day where traditionally we are putting on the finishing touches for our film festival, welcoming everyone to our opening night, and preparing for an exciting week of screenings and events celebrating the work of Latinx and Indigenous filmmakers and artists. Instead, like other arts organizations we have been working on ideas and innovations to find alternatives to support filmmakers and introduce and connect them with audiences in other ways.”
CLA Lead Program Associate Ernie Quiroz added, “During a time when a common refrain is ‘We’re All in This Together’, we are embracing that idea and looking to form and sustain alliances with organizations that share our desire to promote filmmakers’ work and of course, share our love of film with our communities. To that end, it is incredibly exciting to connect with LALIFF and start building what could become an important portal and support system between filmmakers in Austin and those based in Los Angeles.”
LALIFF recently announced a month of virtual film presentations that began yesterday on Cinco De Mayo. Co-Founder of LALIFF Edward James Olmos was a guest of honor at May 2019’s Cine Las Americas and the mutual respect between the organizations has led to the plans for CLA and LALIFF to co-promote and co-present future virtual presentations to add to the impact on behalf of their filmmakers and broaden the reach via their combined audiences and viewership. The details of those presentations will be announced at a later date.
Cine Las Americas is also currently and actively in the planning stages for virtual showcase co-presentations with the ESB-MACC. The organizations have been closely aligned and supportive in their missions and have been working together on a re-imagined series celebrating films made by and/or about Latinos or Indigenous peoples of the Americas. Details regarding those virtual screenings and events will soon follow.
Jesus Varela, the ESB-MACC Cultural and Arts Events Coordinator, said, “In the context of the new challenges presented by COVID-19, we are pleased that the ESB-MACC and Cine Las Americas will once again be able to reach families in Austin and beyond with the 2020 Virtual Showcases. Cine Las Americas and the ESB-MACC share the commitment of promoting Mexican-American and Latinx culture in Austin, which has yielded a partnership for many years now that continues to grow. We are excited to provide a platform for film lovers to experience the high-quality Cine Las Americas programming our community has come to expect, this time from the comfort of their homes.”
 
For more information, visit https://cinelasamericas.org/.

#### Cine Las Americas Announces Plans For Hybrid 2021 Film Festival
 
The Austin-based Cine Las Americas International Film Festival (CLAIFF) announced plans and new programs for a hybrid presentation of the event, taking place June 9-13, 2021, which will include an Opening Night celebration and screening under the stars at Meanwhile Brewing Co. CLAIFF also revealed this year’s poster design by Josh Stauffer.
In the film festival’s first year under the stewardship of new Executive Director Gabriel Ornelas, CLAIFF will continue its mission to showcase films and videos from Latin America (North, Central, South America, and the Caribbean) and the Iberian Peninsula. Films and videos made by or about Latinx in the U.S. or the rest of the world, as well as films and videos by or about indigenous groups of the Americas are also featured.
Cine Las Americas Lead Programmer Ernie Quiroz, said, “We are so thrilled to build on the success of last year’s Virtual Showcase to launch a hybrid edition of the 23rd Cine Las Americas International Film Festival. CLA is committed more than ever to supporting Latinx and Indigenous voices in film. We’re excited at both the prospect of returning to in-person screenings, in a safe and responsible manner but also at the idea of expanding our reach beyond the Austin city boundaries through virtual events. Both have their place and both help fulfill our mission in supporting Latinx and Indigenous filmmakers.”
Co-hosted by Meanwhile Brewing Co. and Rocket Sound, Opening Night will take place on the soccer field adjacent to Meanwhile Brewing Co. (3901 Promontory Dr.) with film goers invited guests to bring their favorite blanket or lawn chair and come out to the brewery and watch the Opening Night film under the stars. Tickets will include Cine Las Americas giveaways with each ticket and an opportunity to purchase this year’s limited edition poster. Food trucks from local Austin vendors will be on hand as well.
Regarding the inspiration for this year’s poster design, Stauffer said, “This year’s poster was inspired by the famous Texas sunrise and the festival’s expansion into virtual. It represents the start of a fun and vibrant new day. We used over exaggerated device screen shapes, placed together (as we’d all like to be), to create the sunrise effect. It’s intentionally imperfect, noisy, and free from normal.”
Cine Las Americas’ signature programming track, “Hecho en Tejas,” which showcases local filmmaking talent with varied backgrounds via films and videos shot and/or produced in Texas, will return and once again be front and center at the film festival. One of this year’s centerpieces of “Hecho en Tejas” will be a collaboration with The Film Collaborative and their Community Conversations program with a special presentation of Lisa Molomot and Jeff Bemiss’ award-winning documentary Missing in Brooks County. The film, which has won multiple awards on the film festival circuit, takes us boldly into an American border town that has been caught in the middle of the daily life and death situation created by our current immigration system. We meet two families searching for their loved ones who went missing in the fields of Brooks County, Texas, as well as vigilante ranchers, humanitarian activists, Border Patrol and others locked in an endless battle of human rights and politics.
For more information about Cine Las Americas, visit https://cinelasamericas.org/.

#### CineCina Film Festival Announces CineCina Presents: Films on the Wall To Celebrate May 15 New York State Reopening
 
The CineCina Film Festival announced CineCina Presents: Films on the Wall (#filmsonthewall), an event which will project 15-minute mashups of scenes from classic NYC-set films to celebrate the first phase of New York State’s businesses reopening from shelter in place measures on May 15. With a theme of “Victory for New York – when you can’t come to the cinema, the cinema comes to you,” the outdoor presentations will potentially take place through the end of May into June.
New York State Governor Andrew Cuomo announced that the statewide shutdown will end when the “pause” expires on Friday, May 15, marking a pivotal week in New York’s months-long fight against the coronavirus. A number of regions have met his requirements to begin reopening Friday, while others are on the cusp. Certain low-risk businesses and recreational activities will be able to resume across the state on May 15. Those include landscaping and gardening, drive-in movies and outdoor activities like tennis that are conducive to social distancing.
In celebration of the state beginning the process of reopening CineCina FF will present the projection of the 15-minute mashup of classic film scenes about New York and/or set in New York, starting with a debut on the All Saints Free Church (333 Madison Street) on the Lower East Side, with plans to expand to additional locations throughout the city from there. The initial projected presentations will take place May 15-17 starting at 9:00PM, and then return the following weekend, May 22-24 at the All Saints Free Church location. Additional locations will be announced on the organization’s website at https://cine-cina.co/. Among the films included in the 15-minute mashup projections celebrating the city of New York will be; BREAKFAST AT TIFFANY’S, CAROL, THE GODFATHER, LEON, TAXI DRIVER, and WONDERSTRUCK.
Like many arts organizations that call New York City its home, CineCina (which presents the CinaCina Film Festival and the Project Horizon Film Competition, as well as additional film screenings and events throughout the year), has been forced to postpone and reschedule planned programming as the city’s inhabitants and businesses stay on lock down. During this time, CinaCina has turned its attention to what it could do to contribute to the fight against COVID-19 beyond complying with “stay at home” restrictions to assist in flattening the curve of the people infected with the virus. Last month, the organization obtained more than 800 KN95 masks, which it donated to the New York State Department of Health.
CineCina Film Festival Founder and Director Vina Sun, said, “Each day, we join with our fellow New Yorkers in making the best of our current situation and working toward a way forward from the shut down and the health crisis caused by COVID-19. We are heartened by the progress that has been made, knowing there is so much more to do and a long road still ahead. However, it’s important to mark the successes and, as measured as it is, reaching the first phase of the reopening process is an accomplishment to be celebrated. These projections of film scenes and images reflecting the unique style and beauty of the city as depicted by these classic films seemed like an appropriate and fun way to do that.”
As described by the state of New York, the first phase will allow construction, manufacturing, wholesale supply chain businesses to reopen, as well as some retailers for curbside pickup. With regards to retail, many nonessential businesses throughout the state have already been offering curbside pickup. Businesses that cannot offer that, like retailers inside shopping malls, will not be eligible to reopen. After two weeks, state and regional officials will evaluate the outcomes of the reopening and decide whether or not various regions can move onto the next phase.
For additional information about CineCina and the Cine Cina Film Festival, please go to: https://cine-cina.co/.

#### CineCina Film Festival Donates More Than 800 KN95 Masks to the New York State Department of Health
 
As New York City and the State of New York work to combat the devastating heath crisis caused by COVID-19 with medical personnel facing dwindling supplies of personal protective supplies, CineCina has acquired and donated 810 KN95 protective masks to the New York State Department of Health.
Like many arts organizations that call New York City its home, CineCina (which presents the CinaCina Film Festival and the Project Horizon Film Competition, as well as additional film screenings and events throughout the year), has been forced to postpone and reschedule planned programming as the city’s inhabitants and businesses stay on lock down. During this time, CinaCina has turned its attention to what it could do to contribute to the fight against COVID-19 beyond complying with “stay at home” restrictions to assist in flattening the curve of the people infected with the virus.
CineCina Film Festival Founder and Director Vina Sun, added, “We have great pride in being a part of the film and film festival community of New York City. Our theme for this year’s edition of the CineCina Film Festival is “Love and Duty” and donating these masks – so needed at this time – most definitely comes from our sense of love and duty toward our beloved New York.”
For additional information about CineCina and the Cine Cina Film Festival, please go to: https://cine-cina.co/.

#### Cinedigm & Drafthouse Films Partner to Release “THE DOG”
 

	Drafthouse Films, the film distribution arm of the Alamo Drafthouse Cinema, and Cinedigm announced today the joint acquisition of North American rights to the documentary The Dog following its premieres at the Toronto International Film Festival and the New York Film Festival. The Dog chronicles the real-life story of John Wojtowicz, whose infamous attempted robbery of a Brooklyn bank to finance his male lover's sex-reassignment surgery was later immortalized by Al Pacino in the 1975 Oscar®-Nominated film Dog Day Afternoon. A theatrical and VOD release is planned for summer 2014.

	After screening Dog Day Afternoon in 2001,curiosity struck directors Allison Berg and Frank Keraudren, so they set out to locate the real man behind Pacino's iconic character and to hear his side of the story. An initial conversation with the very charismatic Wojtowicz lead to Berg and Keraudren spending the next 10 years with him amassing hours of interviews and a multitude of archival footage. The result is an immersive portrait of an eccentric nonconformist and his truth-is-stranger-than-fiction journey.

	The film has earned high praise from its international festival screenings with Eric Kohn at Indiewire calling it, "a must-see documentary for fans of Dog Day Afternoon," and Daniel Pratt for Exclaim.ca praises the film as "one of the most remarkable retellings of someone's life caught on camera in recent years." 

	"The Dog was made over the course of a decade, but we knew it was something special from day one.  The story was surreal, the characters unique.   We wanted to let them be themselves and knew that audiences would feel that authenticity, as we did," says Directors Berg and Keraudren adding, "we're thrilled to be working with Drafthouse and Cinedigm. Their enthusiasm for the film combined with their expertise and forward-thinking approach to distribution is the best we could have hoped for, and we are very excited to be "unleashing" The Dog with them in 2014."

	"Frank and Allison's comprehensive work is both a moving and hilarious one-of-a-kind portrait, serving as both a prequel and sequel to one of the greatest of all '70s American films," says Drafthouse Films Creative Director Evan Husney, "we are extremely excited for our favorite discovery from this year's Toronto International Film Festival to be our first acquisition with Cinedigm."

	"We can't wait to share this film with both fans of DOG DAY AFTERNOON and anyone interested in knowing a man who was truly one of a kind," said Vincent Scordino, Cinedigm's SVP of Theatrical Releasing, "Allison & Frank have expertly captured the energy of 1970's New York in this thoroughly entertaining portrait of an unapologetic man who lived out loud and found himself at the forefront of a pivotal time in the gay rights movement. We're thrilled to make it our first joint release with Drafthouse.

	The deal was negotiated by Emily Rothschild on behalf of Cinedigm, James Emanuel Shapiro on behalf of Drafthouse Films and Josh Braun of Submarine on behalf of the filmmakers.

#### Cinedigm Acquires Fandor – Interview with Film Historian Phil Hopkins
TheFilmDetective.tv from The Film Detective on Vimeo.
This past December CINEDIGM acquired The Film Detective and this month have acquired FANDOR highlighting a massive expansion moment in the independent film community.  The Film Detective’s founder and president Phil Hopkins is now overseeing the extensive libraries of the three entities.  Phil was awesome enough to chat with Selig Film News about his own history and about the exciting future of the indie and classic film world.

Tapping into the $4.8 billion-dollar global market for independent film, Cinedigm plans to leverage its substantial content library, technology, engineering and distribution capabilities to rapidly expand Fandor’s content offering, relaunch the service’s apps and dramatically expand distribution to Cinedigm’s global footprint of over 900 million connected devices. The Company anticipates the service could reach seven figure subscriber levels within the next 24-30 months with a focus on rapid global expansion and distribution. Cinedigm will continue to offer the service ad-free, but also plans to offer a free, ad-supported on-demand tier as well as a linear streaming channel to further broaden the service’s reach to audiences of all viewing preferences.
Historian Phil Hopkins chatted with Gadi Elkon of Selig Film News about these massive acquisitions and how they will impact the independent television and film market.  Phil was kind enough to share a brief history of his rise as a noted film historian and restoration expert.  Enjoy this enlightening look into a potential game changer for those interested in consuming indie and classic film/tv via the massive scope of Cinedigm.
Interview with Historian Phil Hopkins:
https://seligfilmnews.com/wp-content/uploads/2021/01/Phil-Hopkins.mp3
For more infomation:
CINEDIGM 
FANDOR
THE FILM DETECTIVE
 

#### Cinedigm Raises the Curtain on the New Fandor
 
Cinedigm (NASDAQ:CIDM), the leading independent streaming entertainment company super-serving enthusiast fan bases, announced today the evolution of its pioneering streaming service Fandor, named the “Netflix for Indie Film” by The Wall Street Journal, has begun.
The new-look Fandor will come with a wider footprint and with hundreds of new acquisitions from an array of rights holders and film distributors. Subscribers will have access to over 1,000 hours of independent titles, including exclusive acquisitions from international film festivals and acclaimed titles from existing partners and key providers. The updated platform features a brand-new design and an intuitive user-experience, with a continuous refresh of independent titles each month—all designed to create the ultimate celebration of Cinephile culture.
“With over a decade of experience in streaming independent cinema, we are proud to bring new life to a service so dedicated to independent filmmakers and the incredible films they create,” said Phil Hopkins, president of Fandor. “We are confident audiences will enjoy the thousands of hours of exceptional films we have carefully curated, ranging from arthouse, to grindhouse, film noir, blaxploitation, comedy, drama, LGBTQ+, J-Horror and everything in between. With the relaunch of Fandor, the message to cinephiles is ‘films’ not ‘content.’”
Originally launched at South by Southwest® in 2011, Fandor served as a pioneer in the elevation of independent film, both through its industry-leading independent streaming platform as well as through written and video editorial pieces.
Tapping into the $4.8 billion-dollar global market for independent film, the updated Fandor platform leverages Cinedigm’s innovative Matchpoint technology. This allows the service to easily and quickly deliver film and episodic titles through the industry-leading delivery system, providing the opportunity to significantly scale its offerings on the updated service.
Launching alongside the Fandor service will be Keyframe, Fandor’s digital editorial publication dedicated to the written and video exploration of independent cinema. Composed of articles, interviews, reviews, and video essays, the return of Keyframe serves as a highly anticipated community for filmmakers, writers, and film enthusiasts. Keyframe will represent one of many key initiatives by Fandor to dramatically increase its volume of original offerings. This includes editorial deep dives and tributes, such as a recent celebration of the work of director Werner Herzog, as well as monthly hand-picked featured playlists available on the Fandor service.
New to Fandor’s offerings on Keyframe is the Fandor Festival Podcast, exploring the best of independent film festivals, hosted by former Fandor executive Chris Kelly and seasoned morning radio personality Hooman Khalili, and featuring producer Bryn Nguyen. Guests include filmmakers, film festival founders, and industry leaders with engaging insights on festival films, available on Spotify, YouTube, Apple Podcasts, and Simplecast.
“The last five years have seen accelerated access to content across the streaming spectrum. Yet even with all these choices, much of independent cinema has been left behind and Cinephiles often have difficulty finding films of interest on massive streaming platforms,” said Erick Opeka, President & Chief Strategy Officer of Cinedigm. “Fandor has been a pioneer in this space and offers a haven for Cinephiles looking for deep and meaningful titles that made them fall in love with films in the first place. Cinedigm’s commitment to independent film has never been stronger and, as the Company grows into a global brand, that dedication has caught the attention of filmmakers around the world.”
The streaming channels will be refreshed monthly with content from Cinedigm’s extensive library. The Company will also continue to aggressively acquire new original content to ensure its position as one of the leading digital and streaming destinations for Indie enthusiasts. Fandor will premiere several of Cinedigm’s highly anticipated releases this fall, including the ensemble comedy Distancing Socially, which features an all-star cast led by Alan Tudyk (Resident Alien) and Sarah Levy (Schitt’s Creek); Our Father, the acclaimed 2021 SXSW Grand Jury Award nominee about two estranged sisters on a quest to find their uncle; and the daring psychological thriller Into Schrodinger’s Box, about a woman struggling with the loneliness and isolation of quarantine.
The reimagined Fandor streaming service marks the latest in a series of strategic expansions by the Company in recent months. The Company reports continued success on the Fandor Amazon Prime Channel and has sponsored or participated in recent events including South by Southwest® 2021, the North Fork TV Festival, and Festival de Cannes 2021, with plans for additional sponsorships in the coming months. The Company has also announced plans to scale the service’s availability across multiple devices, including offering a Fandor FAST channel encompassing all interests for the avid Cinephile, to be available across global OTT streaming platforms.
The Fandor streaming service will be available on iOS and Android mobile devices, web, and Roku, with ad-free access to the entire Fandor library for $4.99/month or $49.99/year. Free, ad-supported access to select titles from the Fandor library will also be available at launch and new platforms will roll out over the rest of the year.
An innovator in the digital transformation of the entertainment industry for more than two decades, Cinedigm’s core mission is to entertain the world by building the world’s best portfolio of enthusiast channels and services for the streaming generation. Through a diverse mix of premium SVOD services and dedicated AVOD and FAST channels, Cinedigm’s streaming portfolio reaches indie film (Fandor), horror (Screambox & Bloody Disgusting) and family entertainment (Dove Channel), as well as dedicated channels for iconic entertainers, led by Bob Ross (The Bob Ross Channel) and soon Elvis Presley (The Elvis Presley Channel). Cinedigm’s ultimate goal is to build destinations that immerse viewers in films they love while staying at the forefront of technology as the streaming industry continues to evolve.
For more information, visit https://www.fandor.com/.
 

#### CineLife Entertainment and Reel Plan Debuts Big Screen Shorts at Select Theaters in U.S.
 
CineLife Entertainment, the event cinema division of Spotlight Cinema Networks, has teamed with Reel Plan to bring Big Screen Shorts, a four-part series of curated short films from around the world, to select theatre across the country beginning March 15.
Big Screen Shorts will include documentaries, comedies, dramas, and animated short films. The inaugural U.S.-based theatrical release showcase features eight selected shorts, that range from a Cuban comedy, to a touching tale of loss, to an adrenaline-filled look at an inner-city police officer’s evening.
Each shorts series will have a thematic bent, working to unify the films as part of a single cohesive showcase, with several films having won awards at film festivals around the world, as well as some films having been Oscar shortlisted. In addition, each program of short films will also be introduced by a noted film critic, journalist, or luminary. The first showcase will be presented by Ann Hornaday, chief film critic at The Washington Post, and author of Talking Pictures: How to Watch Movies.
Big Screen Shorts is created and curated by veteran film festival programmer and taste maker, Jon Gann, Executive Producer, Reel Plan, and founder of DC Shorts Film Festival.
Gann said, “Film going audiences are constantly in search of something they have not seen before – something rare, something exciting, something that captures their imaginations. Short films have long been a thriving part of the film festival ecosystem, so much so that more and more festivals devoted solely to the screening of shorts are popping up each year. Big Screen Shorts will feed that hunger for entertainment that goes beyond the typical feature film format. It fuses great storytelling with the immediate rewards of the short subject. It takes the thrill of something that grabs us on YouTube making it go viral to a big screen presentation. We see a hunger out there for these films, and we seek to feed that hunger.”
“We are thrilled to partner with Jon Gann and bring the four-part series of award-winning shorts to the U.S. theaters,” said Mark Rupp, SVP, Programming & Acquisitions, CineLife Entertainment. “Jon is well-known across the film festival world and has helped us develop an amazing lineup of short films that fit together as a cohesive program and meet the demand of moviegoers across the country.”
Big Screen Shorts kicks off in several markets, including; Alabama (Prattville); Florida (Fleming Island and Miramar Beach); Illinois (Bloomington and North Pekin); New Jersey (Cranford); Ohio (Columbus); Pennsylvania (Allentown and York); and Wisconsin (Fitchburg).
Showcase 1 for Big Screen Shorts includes;
Maeve Jackson’s THE BEAUTIFUL: THE STORIES SHE TELL – a personal film where a young woman removes her head wrap, provoking questions of identity and culture.
Charlie Lynn’s FISH STORY, which won Best Documentary Short at the Denver Film Festival, as well as taking the Audience Award at AFI DOCS, is about a gathering on the Welsh island of Anglesey, which was attended exclusively by people with fish surnames – or so the story goes.
Narrative comedies within the program are;
Aldofo Menas Cejas’ THE MACHINE, winner of the London Eye International Film Festival’s Best Narrative Film Award, which focuses on a Cuban woman who decides to leave for America after learning she has just won the American Visa Lottery – even if it means abandoning her family.
Frédéric Hambalek’s MOUNTAIN FEVER, which takes a comic look at an alpine team conducting a hazardous search during an apocalyptic snow storm, when one of the team’s members goes missing.
Greg Chwerchak’s SAC DE MERDE – an award winner at Atlanta ShortsFest, NOVA Festival, and Chicago International RREL Shorts Film Festival. The film follows an unlucky-in-love, yet irrationally optimistic New Yorker who thinks she just spent the night with the man of her dreams – unless he’s just full of crap.
Dramas include;
Amanda Renee Knox’s NIGHT CALL, which takes us on a routine patrol, where an accomplished L.A. police officer is forced to make a life-altering decision at one of her stops. The film was a winner at the Bermuda Film festival, the Hamptons International Film Festival, and a Directors Guild of America West Region Jury winner,
Ilay Mevorach’s OPEN YOR EYES – a dramatic short about an Israeli woman whose prejudices are challenged during a critical eye care appointment.
Erica Milsom’s SO MUCH YELLOW – another winner of multiple awards, including jury awards from the Ashland Film Festival (Best Short) and Deep in the Heart Film Festival (Best Writing for a Short Film), as well as the Audience Award from the Austin Film Festival). The film follows a little girl whose world is changed forever during what seems to be an uneventful family road trip.

#### CINEMA ANGEL – A Review By Nick Askam
 

	I honestly don’t know where to start with this film. It’s smart, funny, and entertaining. The characters are well developed and it’s a pseudo retelling of the history of this closing theater in Japan. It provides worthwhile commentary on the movie theater industry and chasing your dreams in general. There’s this dream metaphor that they go back to that’s so well done, and apart from a few editing problems and pacing issues, I truly enjoyed the film.

	The plot of the film is straightforward. A movie theater, Daikokuza, is shutting its doors after being open for over 120 years. Asuka (Reiko Fujiwara) works at the theater and teases her childhood friend Akira (Kanata Hongo) because he has a crush on her and shows it by asking her if she wants to be in his movies. What movies does he make? Well, none. He can’t find the passion for writing a screenplay. The movie is separated into chapters in a novel that Akira is reading about screenwriting while he tends a bar that the movie theater employees frequent. While this is happening, a director, Niimi (Junpei Yasui), is interviewing the current owner of the theater, Fujimoto (Eri Ishida), about the theater’s history. The director discovers an old man (Mickey Curtis) in all of the old photos. Also, Takei (Futoshi Suetake), an upper-level employee, is struggling with the reality of his workplace closing.

	I think the main positive of the film is that it balances its plot points so well. There was never a time that I wished a character would be focused more or I didn’t understand why I character would do something different. I think Hideyuki Tokigawa, the director and writer, should be given huge props for this achievement. I also enjoyed that the theater itself was a character. Asuka mentions early on that it’s basically a maze because of how it expanded, and there are several references to how a lot of doors haven’t been opened in years and people get lost frequently. Side characters like Nakazawa (Roppei Takao), Toyoshita (Jire Okazaki) and Okubo (Kai Ato) feel like people that we’ve known for years, despite just getting introduced to them 10-15 minutes prior. The dialogue throughout the movie feels fluid and realistic. I think that’s why each character is fully formed and so intricate in their own ways.

	My favorite part of the film was the dream pool on the roof of the cinema. Asuka, Fujimoto, and Akira each visit it and meets Sennin (Yuji Yokoyama) and Sennin’s assistant (Nao Oikawa) who claim to answer any and all questions, which they never seem to do. I loved this part because it showed what the characters wanted and how they think. For example, Asuka’s first question is “are there aliens out there?” This tells the audience that she’s got a wide imagination and thinks about life a little differently. In comparison to Fujimoto who just immediately asks the correct question with authority. She acts like the boss even in her dreams. Finally, Akira can’t start to process what he wants to ask given such a vast opportunity which fits in with his inability to write. When each character finally asks their actual question, they get prodded by Sennin and his assistant until they come up with the question themselves. Also, they’re both hilarious and keep the tone very light. But I think this is what really told the audience the most about each character.

	This film has an incredible amount of heart. Each time the old man is on screen, he commands the screen and almost dominates Asuka, but it feels like it should be as Asuka hasn’t worked at the theater for a long time and the old man practically lived his entire life in the theater. The inherent hierarchy between characters was well addressed. The visitation to the old man’s room is probably a scene I will never forget. There was so much suspense and the payoff was so rewarding. There are also numerous shots of the writing on the walls. Which signals the end of the theater like in the Bible, but it also shows how much the people of the town will miss it. There’s a conversation the latter half of the film with Asuka, Nakazawa, and Takei about why Nakazawa wears a certain watch and why he keeps coming back that left me in tears. The connections to the theater are palpable. The last scene also felt like Asuka and Akira connected in a different way that you don’t normally see in American movies. It was refreshing and passionate.

	Overall, this film was phenomenal. I could seriously recommend it to almost everyone. The editing jumps randomly sometimes and the ending feels like it’s a long time coming but other than that, I didn’t honestly have that many more problems. It’s well put together and authentic. The characters are so likable and funny. I was rooting for each one throughout the film. The metaphors that they relied on felt genuine and were well thought out. I never felt like the movie bent reality either which was surprising. I also enjoyed the commentary on the movie theater business. Many tears were shed and I was immediately wishing I could watch it again.

	 

	Score: 9 out of 10

#### Cinema St. Louis Announces Move to Virtual Festivals in 2020
Source: Facebook
 
Because of the ongoing world health crisis, Cinema St. Louis (CSL) will move all of the organization’s 2020 film festivals and events online. This includes CSL’s signature event in November, the 29th Annual Whitaker St. Louis International Film Festival.
When the Covid-19 pandemic began, CSL originally moved its spring events to summer with the hope that the virus would have abated and in-person theatrical screenings could resume in some form. Even though the U.S. has begun to loosen restrictions on some activities, it has become clear to CSL that holding traditional film festivals would be impossible. To protect the health and safety of our patrons and volunteers, and to ensure that the organization can deliver the highest-quality festival experience possible, CSL has decided that a virtual approach to our events is the prudent and most responsible course of action.
CSL will be partnering with Eventive (watch.eventive.org) to present its festivals online. In a few instances, films will only be available at a specific time and date, but patrons will be able to stream the majority of films, shorts programs, and special events at any time during the run of a festival, similar to the video-on-demand approach of cable services and such platforms as Amazon Prime, YouTube, or Vudu. Once a program is started, viewers will have 24 hours to watch the stream. Programs can be paused, rewound, and fast-forwarded. Films will be accessible on most computers and tablets, and on televisions via services such as Roku or Chromecast. Full information will be available on the CSL website as festivals are announced.
Patrons will be able to purchase individual films — $10 general, $8 for CSL members, students, and ARTS Card holders — but passes will also be available for the various festivals. CSL remains committed to making its events as accessible as possible, so select programs will continue to be offered for free.
To retain as much of the festival experience as possible, many of the films will feature accompanying conversations with filmmakers, documentary subjects, critics, academics, or experts on the subjects addressed in a film. Most conversations will be recorded, but live Q&As, master classes, and seminars will also occur. In addition, recordings of all such conversations and events will be available for free on the CSL website.
 
The following CSL festivals will be offered online:
QFest St. Louis: CSL’s annual LGBTQ-focused festival will now take place virtually from June 19-28.
St. Louis Filmmakers Showcase: The event will take place virtually from July 10-19.
Classic French Film Festival: Because films in this event are older works, many of the originally scheduled programs were unavailable for online presentation, but a smaller-scale virtual fest will include three of the selected films — “India Song,” “Olivia,” and “Rider on the Rain” — from July 17-23. Experts will still offer recorded intros, and CSL will record Q&As with the presenters that will play after the films.
St. Louis International Film Festival: CSL’s premier event will take place virtually in November, with specific dates to be announced. Originally scheduled to take place Nov. 5-15, SLIFF will likely increase the length of its run by several days.
Three CSL co-presentations are still in flux, and announcements will be made when CSL’s partners make decisions on how to proceed:
St. Louis Science Fiction and Fantasy Short Film Festival: CSL is a co-presenter of this event with the Saint Louis Science Center. The fest was originally scheduled for May 1. The Science Center hopes to reschedule the event for later in the summer, but a virtual presentation remains an option.
SLIFF Best of Shorts: CSL is co-presenter of this event — a selection of the best shorts from the 2019 SLIFF at the Public Media Commons — with St. Louis Public Radio. The event was originally scheduled for June. St. Louis Public Radio hopes to reschedule the event for later in the summer, but a virtual presentation remains an option.
Filmmaking Camps: CSL partners with local libraries and schools to present free filmmaking camps. Because these events are not able to be presented virtually, many of the camps have already been cancelled, including all St. Louis Public Library camps. The Community School and the University City Library have cancelled camps through June, but the possibility of camps later in the summer remains open at present.
Finally, here are updates on two other CSL events in 2020:
I Love Movies Trivia Night: This fundraiser, originally scheduled for June 5, will now be held online in a new format. Details will be announced soon.
Golden Anniversaries: Films of 1970: The six-film fest is currently slated for Aug. 22-23, Aug. 29-30, and Sept. 5-6 at the St. Louis Public Library’s Central Library. If the library is not able to hold public events during these dates, the screenings will be cancelled, but CSL will hold Zoom conversations on the scheduled films in a format similar to CSL’s Movie Club, with people watching the films on their own but gathering virtually to discuss them.

#### Cinema St. Louis’ Golden Anniversaries: Films of 1970, A Discussion Series, Runs Virtually from Aug. 10-Oct. 26
 
Golden Anniversaries, which is co-presented by Cinema St. Louis (CSL) and the St. Louis Public Library, features classic films celebrating their 50th anniversaries. This third edition of the event will highlight 14 films from 1970, including two double bills.
Because in-person screenings remain problematic during the pandemic, Cinema St. Louis will hold free online conversations on the films, with people watching the films on their own but gathering virtually to discuss them.
Film critics, film academics, and filmmakers will offer introductory remarks and then participate in discussions about the films. Those conversations will be offered as free live streams at 7:30 PM every Monday from Aug. 10-Oct. 26. Participants will need to register for the live streams on the CSL website.
In addition to a fine selection of St. Louis critics, Golden Anniversaries will feature a quartet of experts from elsewhere, including David Edelstein, chief film critic of New York magazine (“M*A*S*H” on Aug. 10); AJ Schnack, director of such documentaries as “Gigantic (A Tale of Two Johns),” “Kurt Cobain About a Son,” “We Always Lie to Strangers,” and the recent “Long Gone Summer” (double bill of “Gimme Shelter” and “Woodstock” on Sept. 7); Charles Taylor, author of “Opening Wednesday at a Theater or Drive-In Near You: The Shadow Cinema of the American ’70s” (“Beyond the Valley of the Dolls” on Sept. 21); and Novotny Lawrence, author of “Blaxploitation Films of the 1970s: Blackness and Genre” (double bill of “Cotton Comes to Harlem” and “The Watermelon Man” on Sept. 28).
The discussions with the presenters will be facilitated by Cliff Froehlich, CSL’s executive director. Audience members will be able to ask questions and make observations on the films through the chat function of the live stream; those queries and comments will be relayed to the presenter by CSL.
The introductions and discussions will also be recorded and archived on CSL’s YouTube channel. Essays on many of the films will appear on The Lens, CSL’s blog.
For more information, please visit cinemastlouis.org/golden-anniversaries.
 
FILMS
For full info on films, see CSL’s website.
 
7:30 PM Monday, Aug. 10
M*A*S*H
Robert Altman, U.S., 1970, 116 min.
Intro and discussion by David Edelstein, chief film critic for New York magazine (currently on furlough), commentator on “CBS Sunday Morning,” and former film critic for NPR’s “Fresh Air,” Slate, New York Post, Village Voice, and Boston Phoenix.
 
7:30 PM Monday, Aug. 17
Patton
Franklin J. Schaffner, U.S., 1970, 172 min.
Intro and discussion by Andrew Wyatt, editor of and film critic for Cinema St. Louis’ blog, The Lens.
 
7:30 PM Monday, Aug. 24
Husbands
John Cassavetes, U.S., 1970, 131 min.
Intro and discussion by Lynn Venhaus, film critic for the Webster-Kirkwood Times and KTRS (550 AM).
 
7:30 PM Monday, Aug. 31
The Conformist
Bernardo Bertolucci, Italy, 1970, 113 min., Italian
Intro and discussion by Diane Carson, professor emerita of film at St. Louis Community College at Meramec and film critic for KDHX (88.1 FM).
 
7:30 PM Monday, Sept. 7
Gimme Shelter
Albert Maysles, David Maysles & Charlotte Zwerin, U.S., 1970, 91 min.
Woodstock: The Director’s Cut
Michael Wadleigh, U.S., 1970, 224 min.
Intro and discussion by AJ Schnack, director of the documentaries “Gigantic (A Tale of Two Johns),” “Kurt Cobain About a Son,” “We Always Lie to Strangers,” and “Long Gone Summer.”
 
7:30 PM Monday, Sept. 14
Claire’s Knee
Eric Rohmer, France, 1970, 105 min., French
Intro and discussion by Robert Garrick, attorney and former contributor to the davekehr.com film blog.
 
7:30 PM Monday, Sept. 21
Beyond the Valley of the Dolls
Russ Meyer, U.S., 1970, 109 min.
Intro and discussion by Charles Taylor, author of “Opening Wednesday at a Theater or Drive-In Near You: The Shadow Cinema of the American ’70s” and former film critic for Salon.
 
7:30 PM Monday, Sept. 28
Cotton Comes to Harlem
Ossie Davis, U.S., 1970, 97 min.
The Watermelon Man
Melvin van Peebles, U.S., 1970, 100 min.
Intro and discussion by Novotny Lawrence, associate professor at Iowa State University, author of “Blaxploitation Films of the 1970s: Blackness and Genre,” editor of “Documenting the Black Experience,” and co-editor of “Beyond Blaxploitation.”
 
7:30 PM Monday, Oct. 5
Five Easy Pieces
Bob Rafelson, U.S., 1970, 98 min.
Intro and discussion by Calvin Wilson, theater critic and former film critic for the St. Louis Post-Dispatch.
 
7:30 PM Monday, Oct. 12
The Traveling Executioner
Jack Smight, U.S., 1970, 95 min.
Intro and discussion by Kayla McCulloch, film critic for Cinema St. Louis’ blog, The Lens.
 
7:30 PM Monday, Oct. 19
Wanda
Barbara Loden, U.S., 1970, 102 min.
Intro and discussion by Cait Lore, film critic for Cinema St. Louis’ blog, The Lens.
 
7:30 PM Monday, Oct. 26
Performance
Donald Cammell & Nicolas Roeg, U.K., 1970, 105 min.
Intro and discussion by Robert Hunt, former film critic for The Riverfront Times.

#### Cinema St. Louis’ Golden Anniversaries: Films of 1971, a Free Discussion Series, Runs Virtually Throughout 2021
SHAFT (1971)
 
Golden Anniversaries, which is co-presented by Cinema St. Louis (CSL) and the St. Louis Public Library, features classic films celebrating their 50th anniversaries. This fourth edition of the event will highlight films from 1971.
Because in-person screenings remain problematic during the pandemic, Cinema St. Louis will hold free online conversations on the films, with people watching the films on their own but gathering virtually to discuss them.
Film critics, film academics, and filmmakers will offer introductory remarks and then participate in discussions about the films. In addition to a fine selection of St. Louis critics, Golden Anniversaries will feature several experts from elsewhere.
The conversations will be offered as free livestreams at 7:30 PM on the second Monday of every month in 2021 except November, when the St. Louis International Film Festival (SLIFF) hopes to feature several in-person Golden Anniversaries selections.
The first four discussions are already scheduled:
 

Jan. 11: Peter Bogdanovich’s “The Last Picture Show” with Joshua Ray, film critic for The Lens, CSL’s film blog
Feb. 8: Gordon Park’s “Shaft” with Novotny Lawrence, author of “Blaxploitation Films of the 1970s: Blackness and Genre”
March 8: Robert Altman’s “McCabe” and Mrs. Miller” with Charles Taylor, author of “Opening Wednesday at a Theater or Drive-In Near You: The Shadow Cinema of the American ’70s”
April 12: Ted Kotcheff’s “Wake in Fright” with Andrew Wyatt, editor of and film critic for The Lens

 
In addition, two programs are confirmed but not yet scheduled: a double bill of Werner Herzog’s “Fata Morgana” and “Land of Silence and Darkness” with Pete Timmermann, director of the Webster University Film Series, and Joseph Losey’s “The Go-Between” with Cait Lore, film critic for The Lens.
The remaining discussions — which will take place on May 10, June 14, July 12, Aug. 9, Sept. 13, Oct. 11, and Dec. 13 — will be announced in February on the CSL website.
Among the other potential selections are Mike Nichols’ “Carnal Knowledge,” Stanley Kubrick’s “A Clockwork Orange,” Don Siegel’s “Dirty Harry,” William Friedkin’s “The French Connection,” Alan J. Pakula’s “Klute,” and Elaine May’s “A New Leaf.”
The discussions with the presenters will be facilitated by Cliff Froehlich, CSL’s executive director. Audience members will be able to ask questions and make observations on the films through the chat function of the livestream.
Participants will need to register for Golden Anniversaries livestreams on the CSL website. The introductions and discussions will also be recorded and archived on CSL’s YouTube channel. Essays on many of the films will appear on The Lens, CSL’s blog.
The Classic French Film Festival — currently slated for in-person presentation in August 2021 — will also feature several 1971 films. Candidates include Claude Jutra’s “Mon Oncle Antoine,” Louis Malle’s “Murmur of the Heart,” and François Truffaut’s “Two English Girls.”
SLIFF — scheduled for in-person presentation from Nov. 4-14, 2021 — will also include a selection of 1971 films. Likely contenders include Jan Troell’s “The Emigrants,” Sam Peckinpah’s “Straw Dogs,” Melvin Van Peebles’ “Sweet Sweetback’s Badasssss Song,” and Monte Hellman’s “Two-Lane Blacktop.”
For more information, please visit cinemastlouis.org/golden-anniversaries.

#### Cinema with the Right Stuff Marks 2013 National Film Registry
 

	Heroes of the space race, a pop cult classic; the age-old battle between the sexes; and a record of Native-American traditions are among a cadre of films being recognized as works of great cultural, historic or aesthetic significance to the nation’s cinematic heritage. The Librarian of Congress, James H. Billington, announced today the annual selection of 25 motion pictures to join the National Film Registry of the Library of Congress. They will be preserved as cinematic treasures for generations to come.

	"The National Film Registry stands among the finest summations of more than a century of extraordinary American cinema," said Billington. "This key component of American cultural history, however, is endangered, so we must protect the nation’s matchless film heritage and cinematic creativity."

	Spanning the period 1919-2002, the films named to the registry include Hollywood classics, documentaries, silent films, independent and experimental motion pictures. This year’s selections bring the number of films in the registry to 625, a small part of the Library’s vast moving-image collection of 1.2 million items.

	The 2013 registry list includes such movie classics as "Mary Poppins," featuring Julie Andrews’ Academy Award-winning performance, and John Ford’s "The Quiet Man," starring John Wayne and Maureen O’Hara. Films that catapulted the cinematic careers of their directors include Quentin Tarantino’s "Pulp Fiction," a fusion of film noir and hardboiled crime storytelling; and Mike Nichols’ "Who’s Afraid of Virginia Woolf?" which starred Elizabeth Taylor and Richard Burton, then married, as an explosively espoused couple.

	The list also includes "Forbidden Planet," one of the seminal science-fiction films of the 1950s; "The Right Stuff," an epic tribute to the pioneers of the space program; and "Judgment at Nuremberg," which earned actor Maximilian Schell and screenwriter Abby Mann Academy Awards.

	Among the documentaries named to the registry are "Roger and Me," Michael Moore’s advocacy film about the human effects of the failing auto industry; "Cicero March," the confrontation between blacks and whites on the streets of an Illinois town in 1966; "Decasia," which was created from scraps of decades-old, decomposing film; and female filmmaker Lee Dick’s "Men and Dust."

	The silent films tapped for preservation are "Daughter of Dawn," featuring an all-Native-American cast of Comanches and Kiowas; "A Virtuous Vamp," starring Constance Talmadge, from 1919; and the 1926 Cinderella story, "Ella Cinders." The Library of Congress recently released a report that conclusively determined that 70 percent of the nation’s silent feature films have been lost forever and only 14 percent exist in their original 35 mm format.

	Under the terms of the National Film Preservation Act, each year the Librarian of Congress names 25 films to the National Film Registry that are "culturally, historically or aesthetically" significant. The films must be at least 10 years old. The Librarian makes the annual registry selections after reviewing hundreds of titles nominated by the public and conferring with Library film curators and the distinguished members of the National Film Preservation Board (NFPB). The public is urged to make nominations for next year’s registry at the NFPB’s website (www.loc.gov/film).

	For each title named to the registry, the Library of Congress Packard Campus for Audio Visual Conservation works to ensure that the film is preserved for future generations, either through the Library’s motion-picture preservation program or through collaborative ventures with other archives, motion-picture studios and independent filmmakers. The Packard Campus is a state-of-the-art facility where the nation’s library acquires, preserves and provides access to the world’s largest and most comprehensive collection of films, television programs, radio broadcasts and sound recordings (www.loc.gov/avconservation).

	The Packard Campus is home to more than 7 million collection items. It provides staff support for the Library of Congress National Film Preservation Board, the National Recording Preservation Board and the National Registries for film and recorded sound.

	Founded in 1800, the Library of Congress is the nation’s oldest federal cultural institution. It seeks to spark imagination and creativity and to further human understanding and wisdom by providing access to knowledge through its vast collections, programs and exhibitions. Many of the Library’s rich resources can be accessed through its website at www.loc.gov.

	2013 National Film Registry

	Bless Their Little Hearts (1984)
	Part of the vibrant New Wave of independent African-American filmmakers to emerge in the 1970s and 1980s, Billy Woodberry became a key figure in the movement known as the L.A. Renaissance. Woodberry crafted his UCLA thesis film, "Bless Their Little Hearts," which was theatrically released in 1984. The film features a script and cinematography by Charles Burnett. This spare, emotionally resonant portrait of family life during times of struggle blends grinding, daily-life sadness with scenes of deft humor. Jim Ridley of the "Village Voice" aptly summed up the film’s understated-but- real virtues: "Its poetry lies in the exaltation of ordinary detail."

	Brandy in the Wilderness (1969)
	This introspective "contrived diary" film by Stanton Kaye features vignettes from the relationship of a real-life couple, in this case the director and his girlfriend. An evocative 1960s time capsule—reminiscent of Jim McBride’s "David Holzman’s Diary"—this simulated autobiography, as in many experimental films, often blurs the lines between reality and illusion, moving in non-linear arcs through the ever-evolving and unpredictable interactions of relationships, time and place. As Paul Schrader notes, "it is probably quite impossible (and useless) to make a distinction between the point at which the film reflects their lives, and the point at which their lives reflect the film." "Brandy in the Wilderness" remains a little-known yet key work of American indie filmmaking.

	Cicero March (1966)
	During the summer of 1966, the Chicago Freedom Movement, led by Dr. Martin Luther King, Jr., targeted Chicago in a drive to end de facto segregation in northern cities and ensure better housing, education and job opportunities for African Americans. After violent rioting and a month of demonstrations, the city reached an agreement with King, in part to avoid a threatened march for open housing in the neighboring all-white town of Cicero, Ill., the scene of a riot 15 years earlier when a black couple tried to move into an apartment there. King called off further demonstrations, but other activists marched in Cicero on Sept. 4, an event preserved on film in this eight-minute, cinema-vérité-styled documentary. Using lightweight, handheld equipment, the Chicago-based Film Group, Inc. filmmakers situated themselves in the midst of confrontations and captured for posterity the viciousness of northern reactions to civil-rights reforms.

	Daughter of Dawn (1920)
	A fascinating example of the daringly unexpected topics and scope showcased by the best regional, independent filmmaking during the silent era, "Daughter of Dawn" features an all-Native-American cast of Comanches and Kiowas. Although it offers a fictional love-story narrative, the film presents a priceless record of Native-American customs, traditions and artifacts of the time. The Oklahoma Historical Society recently rediscovered and restored this film with a grant from the National Film Preservation Foundation.

	Decasia (2002)
	Errol Morris, the director of such highly acclaimed documentary features as "The Thin Blue Line," "Fast, Cheap and Out of Control" and "Mr. Death," is noted to have sat drop-jawed watching "Decasia" and stammering, "This may be the greatest movie ever made." Created from scraps of decades-old decomposing "found film," "Decasia" hypnotizes and teases with images that fade and transform themselves right before the viewer’s eyes. Culling footage from archives across the country, filmmaker Bill Morrison collected nitrate film stock on the very brink of disappearance and distilled it into a new art form capable of provoking "transports of sublime reverie amid pangs of wistful sorrow," according to New York Times writer Lawrence Weschler. Morrison wedded images to the discordant music of composer Michael Gordon—a founding member of the Bang on a Can Collective—into a fusion of sight and sound that Weschler called "ravishingly, achingly beautiful."

	Ella Cinders (1926)
	With her trendsetting Dutch bob haircut and short skirts, Colleen Moore brought insouciance and innocence to the flapper image, character and aesthetic. By 1926, however, when she appeared in "Ella Cinders," Moore’s interpretation of the flapper had been eclipsed by the more overtly sexual version popularized by Clara Bow or Joan Crawford. In "Ella Cinders," Ella (Colleen Moore) wins a beauty contest sponsored by a movie magazine and is awarded a studio contract. New York Times reviewer Mordaunt Hall observed that the film was "filled with those wild incidents which are seldom heard of in ordinary society," and noted "Miss Moore is energetic and vivacious." The film is an archetype of 1920s comedy, featuring a star whose air of emancipation inspired her generation.

	Forbidden Planet (1956)
	Directed by Fred M. Wilcox, MGM’s "Forbidden Planet" is one of the seminal science-fiction films of the 1950s, a genre that found itself revitalized and empowered after World War II and within America’s newly created post-nuclear age. Loosely based upon William Shakespeare’s "The Tempest," "Forbidden Planet" is both sci-fi saga and allegory, a timely parable about the dangers of unlimited power and unrestrained technology. Since its production, the movie has proved inspirational to generations of speculative fiction visionaries, including Gene Roddenberry. Along with its literary influence, highly influential special effects and visual style, the film also pushed the boundaries of cinematic science fiction. For the first time, all action happened intergalatically (not on Earth) and humans are depicted as space travelers, regularly jetting off to the far reaches of the cosmos. Additionally, "Forbidden Planet" is remembered for its innovative score—or lack thereof. No music exists on the film’s soundtrack; instead, all ambient sounds are "electronic tonalities" created by Louis and Bebe Barren. Walter Pidgeon, Leslie Nielsen, Anne Francis and, in his debut, Robbie the Robot make up the film’s cast.

	Gilda (1946)
	With the end of World War II came a dark edge in the American psyche and a change in the films it produced. Film noir defined the 1940s and "Gilda" defined the Hollywood glamorization of film noir—long on sex appeal but short on substance. Director Charles Vidor capitalizes on the voyeuristic and sadomasochistic angles of film noir—and who better to fetishize than Rita Hayworth, poured into a strapless black satin evening gown and elbow-length gloves, sashaying to "Put the Blame on Mame." George Macready and Glenn Ford round out the tempestuous triangle, but "Gilda" was and, more than 65 years later, still is all about Hayworth.

	The Hole (1962)
	With "The Hole," legendary animators John and Faith Hubley created an "observation," as the opening title credits state, a chilling Academy Award-winning meditation on the possibility of an accidental nuclear catastrophe. Jazz great Dizzy Gillespie and actor George Mathews improvised a lively dialogue that the Hubleys and their animators used as the voices of two New York construction workers laboring under Third Avenue. Earlier in his career, while he worked as an animator in the Disney studios, John Hubley viewed a highly stylized Russian animated film—brought to his attention by Frank Lloyd Wright—that radically influenced his ideas about the possibilities of animation. With his new vision realized in this film, the Hubleys ominously, yet humorously, commented on the fears of nuclear devastation ever-present in cold war American culture during the year that the Cuban Missile crisis unfolded.

	Judgment at Nuremberg (1961)
	Selecting as its focus the "Justices Trial" of the post-World War II Nuremberg war crimes tribunal, rather than the more publicized trials of major Nazi war criminals, "Judgment at Nuremberg" broadened its scope beyond the condemnation of German perpetrators to interrogate the concept of justice within any modern society. Conceived by screenwriter Abby Mann during the period of McCarthyism, the film argues passionately that those responsible for administering justice also have the duty to ensure that human-rights norms are preserved even if they conflict with national imperatives. Mann’s screenplay, originally produced as a Playhouse 90 teleplay, makes "the value of a single human being" the defining societal value that legal systems must respect. "Judgment at Nuremberg" startled audiences by including in the midst of its narrative seven minutes of film footage documenting concentration camp victims, thus using motion-picture evidence to make its point both in the courtroom and in movie theaters. Mann and actor Maximilian Schell received Academy Awards and the film boasted fine performances from its all-star cast.

	King of Jazz (1930)
	A sparkling example of a musical in the earliest days of two-color Technicolor, "The King of Jazz" is a fanciful revue of short skits, sight gags and musical numbers, all with orchestra leader Paul Whiteman—the self-proclaimed "King of Jazz" — at the center. Directed by John Murray Anderson and an uncredited Paul Fejos, it attempted to deliver "something for everyone" from a Walter Lantz cartoon for children to scantily-clad leggy dancers and contortionists for the male audience to the crooning of heartthrob Bing Crosby in his earliest screen appearance. "King of Jazz" also featured an opulent production number of George Gershwin's "Rhapsody in Blue."

	The Lunch Date (1989)
	Adam Davidson’s 10-minute Columbia University student film examines the partial erosion of haughty self-confidence when stranded outside one’s personal comfort zone. A woman has a slice-of-life, train-station chance encounter with a homeless man, and stumbles through several off-key reactions when they share a salad she believes is hers. Winner of a 1990 Student Academy Award, "The Lunch Date" stands out as a simple, yet effective, parable on the vicissitudes and pervasiveness of perception, race and stereotypes.

	The Magnificent Seven (1960)
	The popularity of this Western, based on Akira Kurosawa’s "Seven Samurai" (1954), has continued to grow since its release due in part to its role as a springboard for several young actors on the verge of successful careers: Steve McQueen, Charles Bronson, James Coburn, Robert Vaughn and Horst Buchholz. The film also gave a new twist to the career of Yul Brynner. Brynner bought the rights to Kurosawa’s original story and hand-picked John Sturges as its director. Sturges had earned a reputation as a solid director of Westerns such as "Bad Day at Black Rock" (1955) and "Gunfight at the O.K. Corral" (1957). Transporting the action from Japan to Mexico, where it was filmed on location, the story portrays a gang of paid gunslingers hired by farmers to rout the bandits pillaging their town. Contributing to the film’s popular appeal through the decades is Elmer Bernstein’s vibrant score, which would go on to become the theme music for Marlboro cigarette commercials from 1962 until cigarette advertising on television was banned in 1971.

	Martha Graham Early Dance Films (1931-1944)
	("Heretic," 1931; "Frontier," 1936; "Lamentation," 1943; "Appalachian Spring," 1944)
	Universally acknowledged as the preeminent figure in the development of modern dance and one of the most important artists of the 20th century, Martha Graham formed her own dance company in 1926. It became the longest continuously operating school of dance in America. With her company’s creation, Graham codified her revolutionary new dance language soon to be dubbed the "Graham Technique." Her innovations would go on to influence generations of future dancers and choreographers, including Twyla Tharp and Merce Cunningham. This quartet of films, all silent and all starring Graham herself, document four of the artist’s most important early works. They are "Heretic," with Graham as an outcast denounced by Puritans; "Frontier," a solo piece celebrating western expansion and the American spirit; "Lamentation," a solo piece about death and mourning; and "Appalachian Spring," a multi-character dance drama, the lyrical beauty of which is retained even without the aid of Aaron Copland’s famous and beloved music.

	Mary Poppins (1964)
	Alleged to be Walt Disney’s personal favorite from all of his many classic films, "Mary Poppins" is based upon a book by P.L. Travers. With Travers’ original tale as a framework, screenwriters Bill Walsh and Don DaGradi, with the aid of songwriters the Sherman Brothers (Richard M. and Robert B.), fashioned an original movie musical about a most unusual nanny. Weaving together a witty script, an inventive visual style and a slate of classic songs (including "A Spoonful of Sugar" and "Chim Chim Cher-ee"), "Mary Poppins" is a film that has enchanted generations. Equal parts innocent fun and savvy sophistication, the artistic and commercial success of the film solidified Disney’s knack for big-screen, non-cartoon storytelling and invention. With its seamless integration of animation with live action, the film prefigured thousands of later digital and CGI-aided effects. With its pitch-perfect cast, including Julie Andrews, Dick Van Dyke, Jane Darwell, Glynis Johns and Ed Wynn, "Mary Poppins" has remained a "supercalifragilisticexpialidocious" achievement.

	Men and Dust (1940)
	Produced and directed by Lee Dick—a woman pioneer in the field of documentary filmmaking—and written and shot by her husband Sheldon, this labor advocacy film is about diseases plaguing miners in Kansas, Missouri and Oklahoma. Sponsored by the Tri-State Survey Committee, "Men and Dust" is a stylistically innovative documentary and a valuable ecological record of landscapes radically transformed by extractive industry.

	Midnight (1939)
	Claudette Colbert, Don Ameche and John Barrymore light up the screen in this Mitchell Leisen romantic comedy. Liesen is often described as a "studio contract" director—a craftsman with no particular aesthetic vision or social agenda who is efficient, consistent, controlled, with occasional flashes of panache. Leisen’s strength lay in his timing. He claimed he established the pace of a scene by varying the tone and cadence of his voice as he called "ready…right…action!" This technique served to give the actors a proper "beat" for the individual shot. In addition to Leisen’s timing, "Midnight" also boasts a screenplay by the dynamic duo of Billy Wilder and Charles Brackett. Hilarity ensues when penniless showgirl Colbert impersonates a Hungarian countess, aided by the aristocratic Barrymore, until, despite her best efforts, she falls for a lowly taxi driver (Ameche) —all this amidst a Continental sumptuousness abundant in Paramount pictures of that era. The staggering number of exceptional films released in 1939 has caused this little gem to be overlooked. However, in its day, the New York Times called "Midnight" "one of the liveliest, gayest, wittiest and naughtiest comedies of a long hard season." Reportedly unhappy with Leisen’s script changes, Wilder found the motivation to assert more creative control by becoming a director himself.

	Notes on the Port of St. Francis (1951)
	When Frank Stauffacher introduced the Art in Cinema film series at the San Francisco Museum of Art in 1947, he was on his way to becoming a significant influence on a generation of West Coast filmmakers. Through the series, he cultivated his knowledge of San Francisco surrealist films of the 1940s as well as the "city symphonies" produced by European filmmakers in the 1920s and 1930s. "Notes on the Port of St. Francis" is the natural progression of Stauffacher’s appreciation for the abstract synthesis of film and place. Impressionistic and evocative, the film is shaped by the director’s organization of iconic imagery, such as seascapes and city scenes, and by the juxtaposition of these visuals and the soundtrack comprised both of music and narration by Vincent Price of excerpts from Robert Louis Stevenson's 1882 essay on San Francisco. Independent film scholar Scott MacDonald speculated that the "notes" in the film’s title may refer to "both the informality of his visuals and his care with sound that may have been a subtle way of connecting his film with the European city symphonies of the twenties." Throughout the film, Macdonald observed, Stauffacher echoes Stevenson’s theme of the "City of Contrasts" by shooting from both San Francisco Bay and from the hills.

	Pulp Fiction (1994)
	By turns utterly derivative and audaciously original, Quentin Tarantino’s mordantly wicked Möbius strip of a movie influenced a generation of filmmakers and stands as a milestone in the evolution of independent cinema in the United States, making it one of the few films on the National Film Registry as notable for its lasting impact on the film industry as its considerable artistic merits. Directed by Tarantino from his profane and poetic script, "Pulp Fiction" is a beautifully composed tour-de-force, combining narrative elements of hardboiled crime novels and film noir with the bright widescreen visuals of Sergio Leone. The impact is profound and unforgettable.

	The Quiet Man (1952)
	Never one to shy away from sentiment, director John Ford used "The Quiet Man" with unadulterated adulation to pay tribute to his Irish heritage and the grandeur of the Emerald Isle. With her red hair ablaze against the enveloping lush green landscapes, Maureen O’Hara embodies the mystique of Ireland, as John Wayne personifies the indefatigable American searching for his ancestral roots, with Victor Young’s jovial score punctuating their escapades. The film and the locale are populated with characters bordering on caricature. Sly, whiskey-loving matchmaker Michaleen O’Flynn (Barry Fitzgerald), the burly town bully Will Danaher (Victor McLaglen) and the put-upon but patient Widow Tillane (Mildred Natwick) are the most vivid. Beautifully photographed in rich, saturated Technicolor by Winton C. Hoch, with picturesque art direction by Frank Hotaling, "The Quiet Man" has become a perennial St. Patrick’s Day television favorite.

	The Right Stuff (1983)
	At three hours and 13 minutes, Philip Kaufman’s adaptation of Tom Wolfe’s novel is an epic right out of the Golden Age of Hollywood, but thanks to its assortment of characters and human drama, it rarely drags. Director/screenwriter Kaufman ambitiously attempts to boldly go where few epics had gone before as he recounts the nascent Space Age. He takes elements of the traditional Western, mashes them up with sophisticated satire and peppers the concoction with the occasional subversive joke. As a result, Kaufman (inspired by Wolfe) creates his own history, debunking a few myths as he creates new ones. At its heart, "The Right Stuff" is a tribute to the space program’s role in generating national pride and an indictment of media-fed hero worship. Remarkable aerial sequences (created before the advent of CGI) and spot-on editing team up to deliver a movie that pushes the envelope.

	Roger & Me (1989)
	After decades of product ascendancy, American automakers began facing stiff commercial and design challenges in the late 1970s and 1980s from foreign automakers, especially the Japanese. Michael Moore’s controversial documentary chronicles the human toll and hemorrhaging of jobs caused by these upheavals, in this case the firing of 30,000 autoworkers by General Motors in Moore’s hometown of Flint, Michigan. As a narrative structure, Moore uses a comic device sometimes found in political campaign commercials, weaving a message around trying to find the person responsible for a wrong, in this case General Motors Chairman Roger Smith. "Roger & Me" is take-no-prisoners, advocacy documentary filmmaking, and Moore makes no apologies for his brazen, in-your-face style—he would argue the situation demands it. The themes of unfairness, inequality and the unrealized attainment of the American Dream resonate to this day, while the consequences of ferocious auto-sector competition continue, playing a key long-term role in the city of Detroit’s recent filing for bankruptcy protection.

	A Virtuous Vamp (1919)
	Employing a title suggested by Irving Berlin, screenwriter Anita Loos, working with husband John Emerson, crafted this charming spoof on romance in the workplace that catapulted Constance Talmadge, the object of Berlin’s unrequited affection, into stardom. During the silent era, women screenwriters, directors and producers often modified and poked fun at stereotypes of women that male filmmakers had drawn in harsher tones. The smiles of Loos’ "virtuous vamp"—as embodied by Talmadge—lead to havoc in the office, but are not life-threatening, as were the hypnotizing stares of Theda Bara’s iconic caricature that defined an earlier era. In this satire of male frailties, the knowing innocence of Loos’ character captured the imagination of poet Vachel Lindsay, who deemed the film "a gem" and called Talmadge "a new sweetheart for America."

	Who’s Afraid of Virginia Woolf? (1966)
	Edward Albee’s 1962 stage triumph made a successful transfer to the screen in this adaption written by Ernest Lehman. The story of two warring couples and their alcohol-soaked evening of anger and exposed resentments stunned audiences with its frank, code-busting language and depictions of middle-class malaise-cum-rage. Elizabeth Taylor and Richard Burton—who were both Academy Award nominees for their work (with Taylor winning)—each achieved career high-points in their respective roles as Martha and George, an older couple who share their explosive evening opposite a younger husband and wife, portrayed by George Segal and Sandy Dennis. "Woolf’s" claustrophobic staging and stark black-and-white cinematography, created by Haskell Wexler, echoed its characters’ rawness and emotionalism. Mike Nichols began his auspicious screen directing career with this film, in which he was already examining the absurdities and brutality of modern life, themes that would become two of his career hallmarks.

	Wild Boys of the Road (1933)
	Historians estimate that more than 250,000 American teens were living on the road at the height of the Great Depression, criss-crossing the country risking life, limb and incarceration while hopping freight trains. William Wellman’s "Wild Boys of the Road" portrays these young adults as determined kids matching wits and strength in numbers with railroad detectives as they shuttle from city to city unable to find work. Wellman’s "Wild Bill" persona is most evident in the action-packed train sequences. Strong performances by the young actors, particularly Frankie Darrow, round out this exemplary model of the gritty "social conscience" dramas popularized by Warner Bros. in the early 1930s.

	Films Selected for the 2013 National Film Registry

		Bless Their Little Hearts (1984)
	

		Brandy in the Wilderness (1969)
	

		Cicero March (1966)
	

		Daughter of Dawn (1920)
	

		Decasia (2002)
	

		Ella Cinders (1926)
	

		Forbidden Planet (1956)
	

		Gilda (1946)
	

		The Hole (1962)
	

		Judgment at Nuremberg (1961)
	

		King of Jazz (1930)
	

		The Lunch Date (1989)
	

		The Magnificent Seven (1960)
	

		Martha Graham Early Dance film (1931-44)
	

		Mary Poppins (1964)
	

		Men & Dust (1940)
	

		Midnight (1939)
	

		Notes on the Port of St. Francis (1951)
	

		Pulp Fiction (1994)
	

		The Quiet Man (1952)
	

		The Right Stuff (1983)
	

		Roger & Me (1989)
	

		A Virtuous Vamp (1919)
	

		Who’s Afraid of Virginia Woolf (1966)
	

		Wild Boys of the Road (1933)

#### CINEMARK LAUNCHES BEST MOVIE FEST EVER WITH NEWLY RESTORED OKLAHOMA! AND CLASSIC HOLLYWOOD MUSICALS
 

	Cinemark Holdings, Inc, one of the world’s largest motion picture exhibitors, is pleased to announce a partnership with Best Movie Fest Ever to present the first of its monthly film series at ten Cinemark theatre locations across the country. “My Favorite Musicals,” featuring three award-winning musical classics, will take place on Saturday, July 26th and Tuesday, July 29th.

	This mini film festival, which is being launched in partnership with Twentieth Century Fox, features all-time classic movies digitally re-mastered for the big screen; including a newly restored version of the beloved Academy Award® winning musical, Rodgers & Hammerstein’s Oklahoma! (1955). Other classic screenings include Moulin Rouge! (2001), Director Baz Luhrmann’s Oscar®-winning drama starring Nicole Kidman, Ewan McGregor and John Leguizamo; and Hello, Dolly! (1969), the Academy Award-winning romantic comedy directed by Gene Kelly starring Barbra Streisand and Walter Matthau.

	“We are excited to present these spectacular films as they were intended to be seen on the big screen and to create a fun, affordable event for everyone” Steve Bunnell, Executive Vice President of Global Content at Cinemark said.

	The special 4K restoration of Oklahoma! will be screened at 30 frames per second — an identical frame rate as the film’s original release in 1955. Meticulously restored from 65mm Todd-AO elements by Twentieth Century Fox, Twentieth Century Fox Home Entertainment, and Fotokem, this stunning presentation captures as much detail from the film as possible. The beautiful images showcase the majesty of the frontier in a way never-before-seen and further magnified by the big screen!

	John Hegeman, President of Distant Corners Entertainment, and founder of Best Movie Fest Ever, added:  “It’s fantastic that companies like Cinemark and Fox are committed to bringing new audiences to these classic titles and to providing an inexpensive summer experience that makes people feel good and leave with a smile.” 

	The price to see all three films is just $15. That includes special guest introductions, in theatre promotions and giveaways, concession stand discounts, and a coupon good for savings on Twentieth Century Fox Home Entertainment purchases.

	“My Favorite Musicals” will be presented at the following Cinemark Theatres:

	Century Huntington Beach and XD, Huntington Beach, CA                         Century Evanston and XD, Evanston, IL

	Century Pleasant Hill 16 and XD, Pleasant Hill, CA                                        Century Rio and XD, Albuquerque, NM         

	Century Stadium Sacramento, Sacramento, CA                                            Century South Point and XD, Las Vegas, NV

	Century San Francisco Centre and XD, San Francisco, CA                             Cinemark Tinseltown 20 and XD, Oklahoma City, OK

	Cinemark Palace and XD, Boca Raton, FL                                                         Cinemark West Plano and XD, Plano, TX        

	               

	The schedule of films will be as follows:

	 

	Saturday, July 26, 2014:

		Hello Dolly – 11:15 AM
	

		Moulin Rouge – 2:20 PM
	

		Oklahoma! – 5:00 PM
	

	 

	Tuesday, July 29, 2014:

		 Hello Dolly – 1:00 PM
	

		 Moulin Rouge – 4:15 PM
	

		 Oklahoma! – 7:00 PM
	

	To purchase group and advance tickets, and for more information about additional in-theatre offerings, visit the participating theatre box office or www.Cinemark.com.

	 

	About Cinemark Holdings, Inc.

	Cinemark is a leading domestic and international motion picture exhibitor, operating 486 theatres with 5,595 screens in 40 U.S. states, Brazil, Argentina and 11 other Latin American countries as of March 31, 2014. For more information go to investors.cinemark.com.

	 

	Moulin Rouge!

	Moulin Rouge! is a 2001 Australian–American romantic pastiche-jukebox musical film directed, produced, and co-written by Baz Luhrmann. It tells the story of a young English poet/writer, Christian (Ewan McGregor), who falls in love with the terminally-ill star of the Moulin Rouge, cabaret actress and courtesan Satine (Nicole Kidman). It uses the musical setting of the Montmartre Quarter of Paris, France. At the 74th Academy Awards, the film was nominated for eight Oscars, including Best Picture and Best Actress for Nicole Kidman, winning two: for Best Art Direction and Best Costume Design. It was the first musical nominated for Best Picture in 10 years, following Disney's Beauty and the Beast (1991).

	Oklahoma!

	Oklahoma! is a 1955 musical film based on the 1943 stage musical Oklahoma!, written by composer Richard Rodgers and lyricist/librettist Oscar Hammerstein II and starring Gordon MacRae, Shirley Jones (in her film debut), Rod Steiger, Charlotte Greenwood, Gloria Grahame, Gene Nelson, James Whitmore and Eddie Albert. The production was the only musical directed by Fred Zinnemann. Oklahoma! was the first feature film photographed in the Todd-AO 70 mm widescreen process.

	Hello, Dolly!

	Hello, Dolly! is a musical with lyrics and music by Jerry Herman and a book by Michael Stewart, based on Thornton Wilder's 1938 farce The Merchant of Yonkers, which Wilder revised and retitled The Matchmaker in 1955.

	Hello, Dolly! was first produced on Broadway by David Merrick in 1964, winning a record 10 Tony Awards, including Best Musical, a record held for 35 years. The show album Hello, Dolly! An Original Cast Recording was inducted into the Grammy Hall of Fame in 2002. The album reached number one on the Billboard album chart on June 6, 1964 and was replaced the next week by Louis Armstrong's album "Hello, Dolly!"

	The show has become one of the most enduring musical theatre hits, enjoying three Broadway revivals and international success. It was also made into a 1969 film that was nominated for seven Academy Awards.

	 

#### CINEMARK PRESENTS FALL CLASSIC FILMS SERIES
Cinemark Holdings, Inc. (NYSE: CNK), the world’s highest attended motion picture exhibitor, is pleased to announce that the “Fall Classics Series,” featuring six legendary Hollywood movies, will  take place in over 150 Cinemark theatres across the country.  All of these digitally restored movies will be scheduled to play each Thursday, during the months of August and September, at two separate show times, 2 pm and 7pm.
	“Cinemark’s Classic Film Series has proven to be a fan favorite for movie lovers of all ages,” states James Meredith, VP of Marketing & Communications for Cinemark. “Customers are taking advantage of this great opportunity to see some of Hollywood’s legendary films in crystal clear digital projection and incredible surround sound. Some of our locations will be featuring these titles on our Cinemark XD Extreme Digital Cinema screen!”
	Cinemark has selected six titles that were visionary films at their time of release, and still stand as true “classics” in every sense of the word. The list of films and dates of their presentation are:
	August 23             Jaws (1975)                                                   Rated PG
	August 30             High Noon (1952)                                         Not Rated
	September 6        Doctor Zhivago (1965)                                Rated PG-13
	September 13      Chinatown (1974)                                        Rated R
	September 20      The Bridge on the River Kwai (1957)       Rated PG
	September 27      The African Queen (1951)                          Not Rated
	Cinemark takes pride in creating the best entertainment experience in the industry.  In order to make movie-going as easy and enjoyable as possible, Cinemark focuses on offering more choices to their customers.  For example, “Print at Home” ticketing, available at www.cinemark.com, makes it easy for patrons to purchase tickets in advance from the comfort of their home or office.  Customers can bypass lines at the box office and go directly to a kiosk in the theatre lobby.  Also, guests can download and purchase tickets through Cinemark’s mobile applications that are available for iPhone and Android phones.  Finally, to stay connected, customers can sign up online to receive free, weekly showtime e-mailers that contain online coupons for discounts at the concession stand and other weekly special offers.

	A full list of participating Cinemark locations, advance ticket purchases and show time information can be found at www.cinemark.com.
	About Cinemark Holdings, Inc.
	Cinemark is a leading domestic and international motion picture exhibitor, operating 459 theatres with 5,181 screens in 39 U.S. states, Brazil, Mexico, Argentina and 10 other Latin American countries as of March 31, 2012. For more information go to investors.cinemark.com.

#### Cinematic Firsts Enshrined in 2012 Film Registry
December 19, 2012
2012 National Film Registry Picks in A League of Their Own
NFL Film, “A Christmas Story,” “Uncle Tom’s Cabin” Among Registry Additions
The excitement of national football; the first black star of an American feature-length film; the visionary battle between man and machine; and an award-winning actress born yesterday are part of a kaleidoscope of cinematic moments captured on film and tapped for preservation. The Librarian of Congress James H. Billington today named 25 motion pictures that have been selected for inclusion in the National Film Registry of the Library of Congress. These cinematic treasures represent important cultural, artistic and historic achievements in filmmaking.
“Established by Congress in 1989, the National Film Registry spotlights the importance of preserving America’s unparalleled film heritage,” said Billington. “These films are not selected as the ‘best’ American films of all time, but rather as works of enduring importance to American culture. They reflect who we are as a people and as a nation.”
Spanning the period 1897-1999, the films named to the registry include Hollywood classics, documentaries, early films, and independent and experimental motion pictures. This year’s selections bring the number of films in the registry to 600.
The films include such movie classics as “Born Yesterday,” featuring Judy Holliday’s Academy Award-winning performance; and Truman Capote’s “Breakfast at Tiffany’s,” starring Audrey Hepburn. Among the documentaries named to the registry are “The Times of Harvey Milk,” a revealing portrait of San Francisco’s first openly gay elected official; “One Survivor Remembers,” an Academy Award-winning documentary short about Holocaust survivor Gerda Weissmann Klein; and Ellen Bruno’s documentary about the struggle of the Cambodian people to rebuild in the aftermath of Pol Pot’s killing fields.
The creative diversity of American filmmakers is evident in the selections of independent and experimental films, which include Nathaniel Dorsky’s “Hours for Jerome,” Richard Linklater’s “Slacker” and the Kodachrome Color Motion Picture Test film of 1922. Among the cinema firsts are “They Call It Pro Football,” which has been described as the “Citizen Kane” of sports movies; and the 1914 version of “Uncle Tom’s Cabin,” which features the first black actor to star in a feature-length American film. The actor Sam Lucas made theatrical history when he also appeared in the lead role in the stage production of “Uncle Tom’s Cabin” in 1878.
Under the terms of the National Film Preservation Act, each year the Librarian of Congress names 25 films to the National Film Registry that are “culturally, historically or aesthetically” significant. The films must be at least 10 years old. The Librarian makes the annual selections to the registry after reviewing hundreds of titles nominated by the public and conferring with Library film curators and the distinguished members of the National Film Preservation Board (NFPB). The public is urged to make nominations for next year’s registry at the NFPB’s website (www.loc.gov/film/).
For each title named to the registry, the Library of Congress Packard Campus for Audio Visual Conservation works to ensure that the film is preserved for future generations, either through the Library’s motion picture preservation program or through collaborative ventures with other archives, motion picture studios and independent filmmakers. The Packard Campus is a state-of-the-art facility where the nation’s library acquires, preserves and provides access to the world’s largest and most comprehensive collection of films, television programs, radio broadcasts and sound recordings (www.loc.gov/avconservation/).
The Packard Campus is home to more than 6 million collection items. It provides staff support for the Library of Congress National Film Preservation Board, the National Recording Preservation Board and the National Registries for film and recorded sound.
Founded in 1800, the Library of Congress is the nation’s oldest federal cultural institution. It seeks to spark imagination and creativity and to further human understanding and wisdom by providing access to knowledge through its vast collections, programs and exhibitions. Many of the Library’s rich resources can be accessed through its website at www.loc.gov.
 
2012 National Film Registry
 
3:10 to Yuma (1957)
Considered to be one of the best westerns of the 1950s, “3:10 to Yuma” has gained in stature since its original release as audiences have recognized the progressive insight the film provides into the psychology of its two main characters that becomes vividly exposed during scenes of heightened tension. Frankie Laine sang the film’s popular theme song, also titled “3:10 to Yuma.” Often compared favorably with “High Noon,” this innovative western from director Delmer Daves starred Glenn Ford and Van Heflin in roles cast against type and was based on a short story by Elmore Leonard.
Anatomy of a Murder (1959)
Director Otto Preminger brought a new cinematic frankness to film with this gripping crime-and-trial movie shot on location in Michigan’s Upper Peninsula where the incident on which it was based had occurred. Controversial in its day due to its blunt language and willingness to openly discuss adult themes, “Anatomy”—starring James Stewart, Ben Gazzara and Lee Remick—endures today for its first-rate drama and suspense, and its informed perspective on the legal system. The film includes an innovative jazz score by Duke Ellington and one of Saul Bass’s most memorable opening title sequences.
The Augustas (1930s-1950s)
Scott Nixon, a traveling salesman based in Augusta, Ga., was an avid member of the Amateur Cinema League who enjoyed recording his travels on film. In this 16-minute silent film, Nixon documents some 38 streets, storefronts and cities named Augusta in such far-flung locales as Montana and Maine. Arranged with no apparent rhyme or reason, the film strings together brief snapshots of these Augustas, many of which are indicated at pencil-point on a train timetable or roadmap. Nixon photographed his odyssey using both 8mm and 16mm cameras loaded with black-and-white and color film, amassing 26,000 feet of film that now resides at the University of South Carolina. While Nixon’s film does not illuminate the historical or present-day significance of these towns, it binds them together under the umbrella of Americana. Whether intentionally or coincidentally, this amateur auteur seems to juxtapose the name’s lofty origin—‘august,’ meaning great or venerable—with the unspectacular nature of everyday life in small-town America.
Born Yesterday (1950)
Judy Holliday’s sparkling lead performance as not-so-dumb “dumb blonde” Billie Dawn anchors this comedy classic based on Garson Kanin’s play and directed for the screen by George Cukor. Kanin’s satire on corruption in Washington, D.C., adapted for the screen by Albert Mannheimer, is full of charm and wit while subtly addressing issues of class, gender, social standing and American politics. Holliday’s work in the film (a role she had previously played on Broadway) was honored with the Academy Award for Best Actress and has endured as one of the era’s most finely realized comedy performances.
Breakfast at Tiffany’s (1961)
Truman Capote’s acclaimed novella—the bitter story of self-invented Manhattan call girl Holly Golightly—arrived on the big screen purged of its risqué dialogue and unhappy ending. George Axelrod’s screenplay excised explicit references to Holly’s livelihood and added an emotionally moving romance, resulting, in Capote’s view, in “a mawkish valentine to New York City.” Capote believed that Marilyn Monroe would have been perfect for the film and judged Audrey Hepburn, who landed the lead, “just wrong for the part.” Critics and audiences, however, have disagreed. The Los Angeles Times stated, “Miss Hepburn makes the complex Holly a vivid, intriguing figure.” Feminist critics in recent times have valued Hepburn’s portrayals of the period as providing a welcome alternative female role model to the dominant sultry siren of the 1950s. Hepburn conveyed intelligent curiosity, exuberant impetuosity, delicacy combined with strength, and authenticity that often emerged behind a knowingly false facade. Critics also have lauded the movie’s director Blake Edwards for his creative visual gags and facility at navigating the film’s abrupt changes in tone. Composer Henry Mancini’s classic “Moon River,” featuring lyrics by Johnny Mercer, also received critical acclaim. Mancini considered Hepburn’s wistful rendition of the song on guitar the best he had heard.
A Christmas Story (1983)
Humorist Jean Shepherd narrates this memoir of growing up in Hammond, Ind., during the 1940s when his greatest ambition was to receive a Red Ryder BB gun for Christmas. The film is based in part on Shepherd’s 1966 compilation of short stories titled “In God We Trust, All Others Pay Cash,” which originated on his radio and television programs. Writer-director Bob Clark had long dreamed of making a movie based on Shepherd’s work and his reverence for the material shows through as detail after nostalgic detail rings true with period flavor. Dozens of small but expertly realized moments reflect an astute understanding of human nature. Peter Billingsley—with his cherubic cheeks, oversized glasses and giddy grin—portrays Shepherd as a boy. Darren McGavin and Melinda Dillon are his harried-yet-lovable parents.
The Corbett-Fitzsimmons Title Fight (1897)
Independently produced motion picture recordings of famous boxing contests were a leading factor in establishing the commercial success of movies in the late 19th century. Championship boxing matches were the most widely popular sporting contests in America in that era, even though the sport was banned in many states in the 1890s. Soon after Nevada legalized boxing in 1897, the Corbett-Fitzsimmons title fight was held in that state in Carson City on St. Patrick’s Day of that year. The film recorded the introductions of famous personalities in attendance and all 14 of the fight’s three-minute rounds, plus the one-minute breaks between rounds. With a running time of approximately 100 minutes, “The Corbett-Fitzsimmons Title Fight” was the longest movie produced at that time. Films of championship matches before 1897 had been unsuccessful because they ended too quickly with knockouts, leaving movie audiences unwilling to pay high-ticket prices to see such short films. “Corbett-Fitzsimmons” was a tremendous commercial success for the producers and contestants James J. Corbett and Bob Fitzsimmons (the victor), generating an estimated $750,000 in income during the several years that it remained in distribution. This film also is deserving of a footnote in the technical history of motion pictures. Producers of early boxing films protected their films from piracy by engineering film printers and projectors that could only accept film stock of a proprietary size. The film prints of the fight were manufactured in a unique 63mm format that could only be run on a special projector advertised as “The Veriscope.”
Dirty Harry (1971)
Clint Eastwood’s role as rogue police officer Harry Callahan in director Don Siegel’s action-packed, controversial paean to vigilante justice marked a major turning point in Eastwood’s career. A top 10 box-office hit after its release, “Dirty Harry” struck a nerve in the era’s politically polarized atmosphere with those who believed that concern over suspects’ rights had gone too far. While a number of critics characterized the film as “fascistic,” Eastwood countered that Harry, who disregards police procedure and disobeys his superiors, represents “a fantasy character” who “does all the things people would like to do in real life but can’t.” “Dirty Harry,” he stated later, was ahead of its time, putting the “rights of the victim” above those of the accused. The film’s kinesthetic direction and editing laid the aesthetic groundwork for many of the 1970s’ gritty, realistic police dramas.
Hours for Jerome: Parts 1 and 2 (1980-82)
Nathaniel Dorsky shot the footage for what would become his silent tone poem, “Hours for Jerome,” between 1966 and 1970. He edited that footage over a two-year period. The film’s title evokes the liturgical “Book of Hours,” a medieval series of devotional prayers recited at eight-hour intervals throughout the day. Dorsky’s personal devotional loosely records the daily events of the filmmaker and his partner as an arrangement of images, energies and illuminations. The camera intimately surveys the surroundings, from the pastoral to the cosmopolitan, as fragments of light revolve around the four seasons. “Part 1” presents spring through summer and “Part 2” looks at fall and winter—a full year in 45 minutes. Named filmmaker of the decade in 2010 by Film Comment magazine, Dorsky creates his works to be projected at silent speed, between 17 and 20 frames per second instead of the usual 24 frames per second for sound film. Projecting his films at sound film speed, he writes, “is to strip them of their ability to open the heart and speak properly to their audience. Not only is the specific use of time violated, but the flickering threshold of cinema’s illusion—a major player in these works—is obscured.”
The Kidnappers Foil (1930s-1950s)
For three decades, Dallas native Melton Barker and his company traveled through the southern and central sections of the United States filming local children acting, singing and dancing in two-reel narrative films, all of which Barker titled “The Kidnappers Foil.” Barker recognized that many people enjoyed seeing themselves, their children and their communities on film. Since home movies were an expensive hobby, he developed a business to provide them. Other itinerant filmmakers produced similar fare, but Barker appears to have been the most prolific. Enlisting local movie theaters and newspapers to sponsor and promote the productions, Barker auditioned children and offered “acting lessons” to the most promising for a fee of a few dollars. He then assembled 50 to 75 would-be Shirley Temples and Jackie Coopers, ages 3 to 12, to act out the melodramatic story: a young girl is kidnapped from her birthday party and eventually rescued by a search party of local kids. After the “rescue,” the relieved townsfolk would celebrate with a party where the budding stars showcased their musical talents. A few weeks after filming, the town would screen the 15- to 20-minute picture to the delight of the local audience. Most prints of these films no longer exist, although some have been discovered in vintage movie houses or local historical societies. The Texas Archive of the Moving Image holds a collection of these itinerant films and hosts Internet resources for those who appeared in them as children.
Kodachrome Color Motion Picture Tests (1922)
This two-color (green-blue and red) film was produced as a demonstration reel at the Paragon Studios in Fort Lee, New Jersey, under the direction of Kodak scientist John Capstaff. It features leading actresses, including Mae Murray, Hope Hampton, and Mary Eaton, posing and miming for the camera to showcase the capability of the complex Kodachrome process to capture their translucent movie star complexions and colorful, high-fashion clothing. Hampton wears costumes designed for “The Light in the Dark,” the first commercial feature film to incorporate scenes filmed with the Kodachrome process. During the first three decades of motion picture history, the most practical methods for adding colors to 35mm prints filmed on black-and-white film stock had been through laborious processes by which separate colors were either painted on individual film frames by hand or added by overlaying mechanically produced stencils on prints and applying colors in sequence. While aesthetically pleasing, these color additive methods were complicated and costly. Soon after 1900, inventors in several countries began experimenting with ways to advance the chemistry of color movies and create film stocks capable of reproducing the true colors of nature. Leading the way in the U.S. were Technicolor in 1912 and Eastman Kodak, starting in 1914. The Kodachrome Color Motion Picture Tests of 1922 was the first publicly demonstrated color film to attract the general interest of the American film industry. Many feature films produced by major studios incorporated two-color sequences using Kodachrome and the rival Technicolor film stocks until three-strip Technicolor became the industry standard in the late 1930s.
A League of Their Own (1992)
Director Penny Marshall used the real-life All-American Girls Professional Baseball League (1943-1954) as a backdrop for this heartfelt comedy-drama. “A League of Their Own,” featuring an ensemble cast that includes Geena Davis, Tom Hanks, Madonna and Rosie O’Donnell, not only illuminates this fascinating, under-reported aspect of American sports history, but also effectively examines women’s changing roles during wartime. Rich with period detail and equally complex performances—especially Davis as a team ringer and Hanks as the down-on-his-luck coach—Marshall and her company delivered an enjoyably nostalgic film about women’s choices and solidarity during World War II that was both funny and feminist.
The Matrix (1999)
A visionary and complex film, the science-fiction epic “The Matrix” employed state-of-the-art special effects, production design and computer-generated animation to tell a story—steeped in mythological, literary, and philosophical references—about a revolt against a conspiratorial regime. The film’s visual style, drawing on the work of Hong Kong action film directors and Japanese anime films, altered science fiction filmmaking practices with its innovative digital techniques designed to enhance action sequences. Directors Andy and Lana Wachowski and visual effects supervisor John Gaeta (who received an Academy Award for his efforts) expertly exploited a digitally enhanced simulation of variable-speed cinematography to gain ultimate control over time and movement within images. The film’s myriad special effects, however, do not undermine its fundamentally traditional, if paranoid, story of man against machine.
The Middleton Family at the New York World’s Fair (1939)
Produced by Westinghouse for the 1939 World’s Fair, this industrial film is a striking hour-long time capsule that documents that historic event within a moralistic narrative. Shot in Technicolor, the film follows a fictional Indiana family of five (mom, dad, son, daughter and grandma) as they venture from grandma’s quaint house in Long Island to the fair’s popular pavilions. The whole family enjoys the gleaming sights, especially the futuristic technologies located in the Westinghouse Pavilion (including something called “television”). While the entire family is affected by the visit, none are changed so much as daughter Babs (played by a young Marjorie Lord), who eventually sours on her foreign-born, anti-capitalistic boyfriend in favor of a hometown electrical engineer who works at the fair. Both charming and heavy-handed, “The Middleton Family” provides latter-day audiences with a vibrant documentary record of the fair’s technological achievements and the heartland values of the age.
One Survivor Remembers (1995)
In this Academy Award-winning documentary short film by Kary Antholis, Holocaust survivor Gerda Weissmann Klein recounts her six-year ordeal as a victim of Nazi cruelty. At age 16, her comfortable life was shattered by the Nazi invasion of Poland. She and her family were sent to concentration and slave labor camps. She alone survived. Mixing footage shot in contemporary Europe at key locations of Klein’s story with interviews and personal photographs, “One Survivor Remembers” explores the effects that her experience had on the rest of her life. It is told with a simple yet powerful eloquence that “approaches poetry,” the Chicago Tribune observed.
Parable (1964)
In the 1930s, a number of Protestant groups, concerned about the perceived meretricious effects of Hollywood films, began producing non-theatrical motion pictures to spread the gospel of Jesus. “Parable” followed a filmmaking tradition that has not very often been recognized in general accounts of American film history. One of the most acclaimed and controversial films in this tradition, “Parable” debuted at the New York World’s Fair in May 1964 as the main attraction of the Protestant and Orthodox Center. Without aid of dialogue or subtitles, the film relies on music and an allegorical story that represents the “Circus as the World,” in the words of Rolf Forsberg, who wrote and co-directed the film with Tom Rook for the Protestant Council of New York. “Parable” depicts Jesus as an enigmatic, chalk-white, skull-capped circus clown who takes on the sufferings of oppressed workers, including women and minorities. The film generated controversy even before its initial screening. The fair’s president Robert Moses sought to have it withdrawn. Other fair organizers resigned with one exclaiming, “No one is going to make a clown out of my Jesus.” A disgruntled minister threatened to riddle the screen with shotgun holes if the film was shown. Undaunted, viewers voted overwhelmingly to keep the film running, and it became one of the fair’s most popular attractions. Newsweek proclaimed it “very probably the best film at the fair” and Time described it as “an art film that got religion.” The Fellini- and Bergman-inspired film received the 1966 Religious Film Award of the National Catholic Theatre Conference, along with honors at the 1966 Cannes, Venice and Edinburgh film festivals. It subsequently became a popular choice for screenings in both liberal and conservative churches.
Samsara: Death and Rebirth in Cambodia (1990)
International relief worker Ellen Bruno’s master’s thesis at Stanford University, “Samsara,” documents the struggle of the Cambodian people to rebuild a shattered society in the aftermath of Pol Pot’s killing fields. “Samsara” is a Sanskrit term that literally means “circle” or “wheel,” and is commonly translated as “cycle of existence.” Bruno fleshes out this concept by using ancient Buddhist teachings and folklore to provide a context for Cambodia’s struggle. Described as poetic, heartbreaking and evocative, the film brings a humanistic perspective to the political chaos of Southeast Asia with a deliberate, reflective and sometimes dreamlike pace as it intertwines the mundane realities of daily life with the spiritual beliefs of the Khmer people. One reviewer reflected, “The meditative pacing, the rhythm of bells and chimes, the luxuriant green landscape, the otherworldly response to horrific recent history—I was transported not just to a faraway place but to an altered consciousness.”
Slacker (1991)
Along with “Sex, Lies, and Videotape” (1989), “Slacker” is widely regarded as a touchstone in the blossoming of American independent cinema during the 1990s. A free-floating narrative, the film follows a colorful and engaging assortment of characters in Austin, Texas, throughout the course of a single day as they ruminate on UFOs, Scooby Doo, Leon Czolgosz and many other things. Shot on 16mm film with a budget of $23,000, director Richard Linklater dispensed with a structured plot in favor of interconnected vignettes. This resulted in a film of considerable quirky charm that has influenced a whole generation of independent filmmakers. “Slacker” was eventually picked up by a major distributor and earned more than $1 million at the box office.
Sons of the Desert (1933)
Stan Laurel and Oliver Hardy, along with comedian Charley Chase, star in this riotous comedy of fraternity and marital mishaps. Directed by veteran comedy director William A. Seiter for Hal Roach Studios, “Sons of the Desert” successfully incorporated into a feature-length film many of the comedic techniques that had made Laurel & Hardy such masters of short-subject humor. The film was ranked among the top 10 box-office hits after its release. Film scholars and fans consider it to be the duo’s finest feature film.
The Spook Who Sat by the Door (1973)
When “The Spook Who Sat by the Door” was restored for DVD release in 2004, the New York Times called it “a story of black insurrection too strong for 1973.” Based on a controversial best-selling 1969 novel by Sam Greenlee and with a subtly effective score by jazz legend Herbie Hancock, the film presents the story of a black man hired to integrate the CIA who uses his counter-revolutionary training to spark a black nationalist revolution in America’s urban streets. Financed mostly by individual African-American investors, some commentators lambasted the film for its sanctioning of violence and distributor United Artists pulled the movie from theaters after a successful three-week run. Others appreciated its significance. Washington Post journalist Adrienne Manns, a former spokesperson in the black student movement, argued that the film “lends humanity to persons who are usually portrayed as vicious, savage, sub-humans – the street gangs, the young people who have in many cities terrorized the communities they live in.” New York Times reviewer Vincent Canby commented, “The rage it projects is real.” Ivan Dixon, the film’s director known for his roles in “Hogan’s Heroes” and as the lead in “Nothing But a Man” (1964), believed that the film did not offer “a real solution” to racial injustice, but projected instead “a fantasy that everybody felt, every black male particularly.”
They Call It Pro Football (1967)
Before “They Call It Pro Football” premiered, football films were little more than highlight reels set to the oom-pah of a marching band. In 1964, National Football League commissioner Pete Rozelle agreed to the formation of NFL Films. With a background in public relations, he recognized that the success of the league depended on its image on television, which required creating a mystique. “They Call It Pro Football,” the first feature of NFL Films, looked at the game “in dramaturgical terms,” capturing the struggle, not merely the outcome, of games played on the field. Written and produced by Steve Sabol, directed by John Hentz and featuring the commanding cadence of narrator John Facenda and the music of Sam Spence, the film presented football on an epic scale and in a way rarely seen by the spectator. Telephoto lenses brought close-ups of players’ faces into viewers’ living rooms. Slow motion revealed surprising intricacy and grace. Sweeping ground-to-sky shots imparted a “heroic angle.” Coaches and players wearing microphones let the audience in on strategy and emotion. “They Call It Pro Football” established a mold for subsequent productions by NFL Films and has well earned its characterization as the “Citizen Kane” of sports movies.
The Times of Harvey Milk (1984)
Told largely with revealing news clips and archival footage interspersed with personal reminiscences, “The Times of Harvey Milk” vividly recounts the life of San Francisco’s first openly gay elected city official. The film, which received an Academy Award for Best Documentary Feature, traces Harvey Milk’s ascent from Bay Area businessman to political prominence as city supervisor and his 1978 assassination, which also claimed the life of San Francisco mayor George Moscone. While illuminating the effect that Milk had on those who knew him, the film also documents the nascent gay rights movement of the 1970s. The film, with its moving and incisive portrait of a city, a culture and a struggle—as well as Harvey Milk’s indomitable spirit—resonates profoundly as a historical document of a grassroots movement gaining political power through democratic means.
Two-Lane Blacktop (1971)
During a short-lived period following the success of such youth-oriented films as “Bonnie and Clyde,” “The Graduate” and especially “Easy Rider” in the late 1960s, Hollywood executives financed—with minimal oversight—a spate of low-budget, innovative films by young “New Hollywood” filmmakers. With influences ranging from playwright Samuel Beckett to European filmmakers Robert Bresson, Jacques Rivette and Michelangelo Antonioni, one such film was the minimalist classic “Two-Lane Blacktop.” The film follows two obsessed but laconic young operators of a souped-up 1955 Chevy (singer-songwriter James Taylor and Beach Boys drummer Dennis Wilson) as they engage in a cross-country race with a 1970 Pontiac GTO, whose loquacious, middle-aged driver (Warren Oates) continually reinvents his past and intended future. The drivers’ fixation on speed, mastery and competition is disrupted when a 17-year-old drifter (Laurie Bird) joins their masculine world and later leaves them in disarray. Director Monte Hellman and screenwriter Rudolph Wurlitzer allow audiences time to absorb the film’s spare landscapes, car-culture rituals and existential encounters, and to reflect on the myth of freedom that life on the road traditionally has embodied.
Uncle Tom’s Cabin (1914)
Harriet Beecher Stowe published her great anti-slavery novel in 1852. Adapted for the stage in 1853, it was continuously performed in the U.S. well into the 20th century. “Uncle Tom’s Cabin” was frequently adapted to movies after 1900, but always with white actors in the lead roles until this version, said to be the first feature-length American film that starred a black actor. Sam Lucas—actor, musician, singer and songwriter—had become famous in the 19th century for his performances in vaudeville and minstrel shows produced by Charles Frohman. In 1878, Frohman achieved a breakthrough in American theatrical history when he staged a production of “Uncle Tom’s Cabin,” featuring Lucas in the lead role. Thirty-six years later, Lucas was lured out of retirement by the World Producing Corp. to recreate his historic role on film and, in the process, set an important milestone in American movie history.
The Wishing Ring; An Idyll of Old England (1914)
Director Maurice Tourneur, called by film historian Kevin Brownlow “one of the men who introduced visual beauty to the American screen,” arrived in America in 1914. Previously, he was as an artist (assisting sculptor August Rodin and painter Pierre Puvis de Chavannes), actor and innovative director in French theater and cinema. Tourneur’s third American film, “The Wishing Ring,” was once believed lost until Brownlow located a 16mm print of the film in northern England. The print subsequently was copied to 35mm by the Library of Congress as part of an effort funded by the National Endowment for the Arts to preserve America’s film heritage. At the time of its initial release, the film was admired for its light and pleasing cross-class romantic story, its fresh performances and the authenticity of its “Old England” settings—although it was shot in New Jersey. Historians of silent cinema have lionized the film since its rediscovery. William K. Everson praised its “incredible sophistication of camerawork, lighting, and editing.” Richard Koszarski deemed it “an extraordinary film – probably the high point of American cinema up to that time.”
 
Films Selected to the 2012 National Film Registry
 
3:10 to Yuma (1957)
Anatomy of a Murder (1959)
The Augustas (1930s-1950s)
Born Yesterday (1950)
Breakfast at Tiffany’s (1961)
A Christmas Story (1983)
The Corbett-Fitzsimmons Title Fight (1897)
Dirty Harry (1971)
Hours for Jerome: Parts 1 and 2 (1980-82)
The Kidnappers Foil (1930s-1950s)
Kodachrome Color Motion Picture Tests (1922)
A League of Their Own (1992)
The Matrix (1999)
The Middleton Family at the New York World’s Fair (1939)
One Survivor Remembers (1995)
Parable (1964)
Samsara: Death and Rebirth in Cambodia (1990)
Slacker (1991)
Sons of the Desert (1933)
The Spook Who Sat by the Door (1973)
They Call It Pro Football (1967)
The Times of Harvey Milk (1984)
Two-Lane Blacktop (1971)
Uncle Tom’s Cabin (1914)
The Wishing Ring; An Idyll of Old England (1914)
 
# # #
 
PR 12-226
12/19/12
ISSN 0731-3527

#### Cinematic Treasures Named to National Film Registry
 

	The horrors of war, the heroism of sacrifice, a vaudeville pioneer, the devil and a master of the macabre represent the diversity of an elite selection of films recognized for their cultural, historic or aesthetic significance. Librarian of Congress James H. Billington announced today the annual selection of 25 motion pictures to be named to the National Film Registry of the Library of Congress. Selection to the registry will help ensure that these films will be preserved for all time.

	"The National Film Registry showcases the extraordinary diversity of America’s film heritage and the disparate strands making it so vibrant," said Billington. "By preserving these films, we protect a crucial element of American creativity, culture and history."

	Spanning the period 1913-2004, the films named to the registry include Hollywood classics, documentaries, silent movies, student films, independent and experimental motion pictures. This year’s selections bring the number of films in the registry to 650, which is a small fraction of the Library’s vast moving-image collection of 1.3 million items.

	The 2014 registry list includes such iconic movies as "Saving Private Ryan," a treatise about the harsh realities of war, which earned director Steven Spielberg an Academy Award; the chilling 1968 horror masterpiece "Rosemary’s Baby"; Arthur Penn’s Western saga starring Dustin Hoffman, "Little Big Man"; director John Hughes’ "Ferris Bueller’s Day Off"; and Joel and Ethan Coen’s cult classic, "The Big Lebowski."

	The list also includes John Lasseter’s 1986 animated film, "Luxo Jr."; the 1953 "House of Wax," the first full-length 3-D color film produced and released by a major American film studio; 1971’s "Willy Wonka and the Chocolate Factory," starring Gene Wilder; Howard Hawks’ 1959 Western "Rio Bravo"; and Charles Laughton comic turn in the 1935 "Ruggles of Red Gap." Also making the list is Efraín Gutiérrez’s 1976 independent movie, "Please Don’t Bury Me Alive!," considered by historians to be the first Chicano feature film.

	The documentaries and shorts named to the registry include "Into the Arms of Strangers: Stories of the Kindertransport," a film examining the rescue operation that placed thousands of Jewish children with foster families in Great Britain prior to World War II; "Felicia," a 13-minute short that showcases a Watts neighborhood through a teenager’s first-person narrative; and the 1980 "Moon Breath Beat," created by animator Lisze Bechtold when she was a student at CalArts.

	The silent films selected for preservation include "The Dragon Painter," (1919) starring Hollywood’s first Asian star, Sessue Hayakawa; the 1916 social drama examining poverty and prostitution, "Shoes"; and "Unmasked," the 1917 film directed and scripted by its star Grace Cunard. Also added to the registry are seven reels of untitled and unassembled footage featuring vaudevillian Bert Williams, the first African-American Broadway headliner and the most popular recording artist before 1920.

	In 2013, the Library of Congress released a report that conclusively determined that 70 percent of the nation’s silent feature films have been lost forever and only 14 percent exist in their original 35 mm format.

	Under the terms of the National Film Preservation Act, each year the Librarian of Congress names 25 films to the National Film Registry that are "culturally, historically or aesthetically" significant. The films must be at least 10 years old. The Librarian makes the annual registry selections after reviewing hundreds of titles nominated by the public and conferring with Library film curators and the distinguished members of the National Film Preservation Board (NFPB). The public is urged to make nominations for next year’s registry at the NFPB’s website (www.loc.gov/film/).

	For each title named to the registry, the Library of Congress Packard Campus for Audio Visual Conservation works to ensure that the film is preserved for future generations, either through the Library’s motion-picture preservation program or through collaborative ventures with other archives, motion-picture studios and independent filmmakers. The Packard Campus is a state-of-the-art facility where the nation’s library acquires, preserves and provides access to the world’s largest and most comprehensive collection of films, television programs, radio broadcasts and sound recordings (www.loc.gov/avconservation/).

	The Packard Campus is home to more than 7 million collection items. It provides staff support for the Library of Congress National Film Preservation Board, the National Recording Preservation Board and the National Registries for film and recorded sound.

	Founded in 1800, the Library of Congress is the nation’s oldest federal cultural institution. It seeks to spark imagination and creativity and to further human understanding and wisdom by providing access to knowledge through its vast collections, programs and exhibitions. Many of the Library’s rich resources can be accessed through its website at www.loc.gov.

	2014 National Film Registry

	13 Lakes (2004)
	James Benning’s feature-length film can be seen as a series of moving landscape paintings with artistry and scope that might be compared to Claude Monet’s series of water-lily paintings. Embracing the concept of "landscape as a function of time," Benning shot his film at 13 different American lakes in identical 10-minute takes. Each is a static composition: a balance of sky and water in each frame with only the very briefest suggestion of human existence. At each lake, Benning prepared a single shot, selected a single camera position and a specific moment. The climate, the weather and the season deliver a level of variation to the film, a unique play of light, despite its singularity of composition. Curators of the Rotterdam Film Festival noted, "The power of the film is that the filmmaker teaches the viewer to look better and learn to distinguish the great varieties in the landscape alongside him. [The list of lakes] alone is enough to encompass a treatise on America and its history. A treatise the film certainly encourages, but emphatically does not take part in." Benning, who studied mathematics and then film at the University of Wisconsin, currently is on the faculty at the California Institute of the Arts (CalArts).

	Bert Williams Lime Kiln Club Field Day (1913)
	In 1913, a stellar cast of African-American performers gathered in the Bronx, New York, to make a feature-length motion picture. The troupe starred vaudevillian Bert Williams, the first African-American to headline on Broadway and the most popular recording artist prior to 1920. After considerable footage was shot, the film was abandoned. One hundred years later, the seven reels of untitled and unassembled footage were discovered in the film vaults of the Museum of Modern Art, and are now believed to constitute the earliest surviving feature film starring black actors. Modeled after a popular collection of stories known as "Brother Gardener’s Lime Kiln Club," the plot features three suitors vying to win the hand of the local beauty, portrayed by Odessa Warren Grey. The production also included members of the Harlem stage show known as J. Leubrie Hill’s "Darktown Follies." Providing insight into early silent-film production (Williams can be seen applying his blackface makeup), these outtakes or rushes show white and black cast and crew working together, enjoying themselves in unguarded moments. Even in fragments of footage, Williams proves himself among the most gifted of screen comedians.

	The Big Lebowski (1998)
	From the unconventional visionaries Joel & Ethan Coen (the filmmakers behind "Fargo" and "O Brother, Where Art Thou?") came this 1998 tale of kidnapping, mistaken identity and bowling. As they would again in the 2008 "Burn After Reading," the Coens explore themes of alienation, inequality and class structure via a group of hard-luck, off-beat characters suddenly drawn into each other’s orbits. Jeff Bridges, in a career-defining role, stars as "The Dude," an LA-based slacker who shares a last name with a rich man whose arm-candy wife is indebted to shady figures. Joining Bridges are John Goodman, Tara Reid, Julianne Moore, Philip Seymour Hoffman, Steve Buscemi and, in a now-legendary cameo, John Turturro. Stuffed with vignettes—each staged through the Coens’ trademark absurdist, innovative visual style—that are alternately funny and disturbing, "Lebowski" was only middling successful at the box office during its initial release. However, television, the Internet, home video and considerable word-of-mouth have made the film a highly quoted cult classic.

	Down Argentine Way (1940)
	Betty Grable’s first starring role in a Technicolor musical happened only because Alice Faye had an attack of appendicitis, but Grable took advantage of the situation and quickly made herself as important to 20th Century-Fox as Faye. Released just over a year before America entered World War II, this film and others starring Grable established her as the pinup queen. The title explains much, with Grable traveling to South America and falling in love with Don Ameche. Carmen Miranda makes her American film debut, and the Nicholas Brothers’ unparalleled dance routines dazzle.

	The Dragon Painter (1919)
	After becoming Hollywood’s first Asian star, Japanese-born Sessue Hayakawa, like many leading film actors of the time, formed his own production company—Haworth Pictures (combining his name with that of director William Worthington)—to gain more control over his films. "The Dragon Painter," one of more than 20 feature films his company produced between 1918 and 1922, teamed Hayakawa and his wife Tsuru Aoki in the story of an obsessed, untutored painter who loses his artistic powers after he finds and marries the supposed "dragon princess." His passion and earlier pursuit of her had consumed him with the urge to create. Reviewers of the time praised the film for its seemingly authentic Japanese atmosphere, including the city of Hakone and its Shinto gates, built in Yosemite Valley, California.

	Felicia (1965)
	This 13-minute short subject, marketed as an educational film, records a slice of life in the Watts neighborhood of Los Angeles prior to the rebellions of 1965. Filmmakers Trevor Greenwood, Robert Dickson and Alan Gorg were UCLA film students when they crafted a documentary from the perspective of the unassuming-yet-articulate teenager Felicia Bragg, a high-school student of African-American and Hispanic descent. Felicia’s first-person narrative reflects her hopes and frustrations as she annotates footage of her family, school and neighborhood, creating a time capsule that’s both historically and culturally significant. Its provenance as an educational film continues today as university courses use "Felicia" to teach documentary filmmaking techniques and cite it as an example of how non-traditional sources, as well as mainstream television news, reflect and influence public opinion.

	Ferris Bueller’s Day Off (1986)
	The late John Hughes, the king of both 1980s family comedy ("Home Alone") and teen angst ("Sixteen Candles"), achieved a career highpoint with this funny, heartfelt tale of a teenage wiseacre (Matthew Broderick) whose day playing hooky leads not only to a host of comic misadventures but also, ultimately, to self-realization for both him and his friends. Hughes’ manner of depicting late-20th-century youth—their outward and inward lives—finds a successful vehicle in the "everyman" appeal of lead Broderick, whose conning of his parents is really an honest and earnest attempt to help his best friend. With the city of Chicago serving as backdrop and a now-iconic street performance of "Twist and Shout" serving as the film’s centerpiece, Ferris Bueller emerged as one of film’s greatest and most fully realized teen heroes. Alan Ruck, Mia Sara, Jennifer Grey and Jeffrey Jones co-starred in the film. This is Hughes’ first film on the registry.

	The Gang’s All Here (1943)
	Although not remembered as well today as those put out by MGM, 20th Century-Fox’s big Technicolor musicals stand up well in comparison. Showgirl Alice Faye, Fox’s No. 1 musical star, is romanced by a soldier who uses an assumed name and then turns out to be a rich playboy. Carmen Miranda is also featured and her outrageous costume is highlighted in the legendary musical number "The Lady in the Tutti Frutti Hat." Busby Berkeley, who had just finished a long stint directing musicals at MGM and an earlier one at Warner Bros., directs and choreographs the film.

	House of Wax (1953)
	A remake of 1933’s "Mystery of the Wax Museum," the 1953 "House of Wax" expanded upon the earlier horror tale of a mad sculptor who encases his victims’ corpses in wax. It added the dark talents of Vincent Price and helped introduce 3-D visual effects to a wide audience. "House of Wax," produced by Warner Bros. and released in April 1953, is considered the first full-length 3-D color film ever produced and released by a major American film studio. Along with its technical innovations, "House of Wax" also solidified Vincent Price’s new role as America’s master of the macabre, and his voice resonated even more with the emerging stereophonic sound process. Though he had flirted with the fear genre earlier in his career in the 1946 "Shock," "Wax" forever recast him as one of the first gentlemen of Hollywood horror. Along with Price, Phyllis Kirk, Frank Lovejoy and Carolyn Jones (as one of Price’s early victims) complete the cast. André de Toth directed the film.

	Into the Arms of Strangers: Stories of the Kindertransport (2000)
	Just prior to World War II, a rescue operation aided the youngest victims of Nazi terror when 10,000 Jewish and other children were sent from their homes and families to live with foster families and in group homes in Great Britain. This Oscar-winning film was directed by Mark Jonathan Harris, writer and director of another Oscar winner, "The Long Way Home," and was produced by Deborah Oppenheimer, whose mother was among the children evacuated. The film examines the bond between parent and child, uncovering the anguish of the parents who reluctantly acknowledged they could no longer protect their children, but through their love saw a chance to protect them, by proxy if not proximity. Interviews with the surviving children reveal feelings of abandonment and estrangement that often took years to overcome. The film is a tribute not only to the children who survived, but to the people of England who agreed to rescue the refugees when U.S. leadership would not.

	Little Big Man (1970)
	In this Arthur Penn-directed Western, Dustin Hoffman (with exceptional assistance from make-up artist Dick Smith) plays a 121-year-old man looking back at his life as a pioneer in America’s Old West. The film is ambitious, both in its historical scope and narrative approach, which interweaves fact and myth, historical figures and events and fanciful tall tales. "Little Big Man" has been called an epic reinvented as a yarn, and the Western reimagined for a post-1960s audience, one already well-versed in the white hat-black hat tradition of the typical Hollywood Western saga. Against a backdrop that includes the cavalry, old-time medicine shows, life on the frontier and a climax at Custer’s Last Stand, Penn, Hoffman and scriptwriter Calder Willingham (from the novel by Thomas Berger) upend Western motifs while also still skillfully telling a series of remarkable human stories filled with tragedy and humor.

	Luxo Jr. (1986)
	The iconic living, moving desk lamp that now begins every Pixar motion picture (from "Finding Nemo" to "Monsters, Inc." to "Up") has its genesis in this charming, computer-animated short subject, directed by John Lasseter and produced by Lasseter and fellow Pixar visionary Bill Reeves. In the two-minute, 30-second film, two gray balance-arm lamps—one parentally large and one childishly small (the "Junior" of the title)—interact with a brightly colored ball. In strikingly vivid animation, Lasseter and Reeves manage to bring to joyous life these two inanimate objects and to infuse them both with personality and charm—qualities that would become the norm in such soon-to-be Pixar productions as "Toy Story," "Cars" and "WALL-E." Nominated for an Oscar in 1986 for best-animated short, "Luxo Jr." was the first three-dimensional computer-animated film ever to be nominated for an Academy Award.

	Moon Breath Beat (1980)
	Lisze Bechtold created "Moon Breath Beat," a five-minute color short subject, in 1980 while a student at California Institute of the Arts under the tutelage of artist and filmmaker Jules Engel, who founded the Experimental Animation program at CalArts. Engel asked, hypothetically, "What happens when an animator follows a line, a patch of color, or a shape into the unconscious? What wild images would emerge?" "Moon Breath Beat" reveals Bechtold responding with fluidity and whimsy. Her two-dimensional film was animated to a pre-composed rhythm, the soundtrack cut together afterward, sometimes four frames at a time, to match picture with track, she says. The dream-like story evolved as it was animated, depicting a woman and her two cats and how such forces as birds and the moon impact their lives. Following graduation, Bechtold was the effects animator for the Disney short "The Prince and the Pauper" (1990) and principal effects animator for "FernGully: The Last Rainforest" (1992). Now primarily an author and illustrator, she claims many of her characters were inspired by pets with big personalities, including "Buster the Very Shy Dog," the subject of her series of children’s books.

	Please Don’t Bury Me Alive! (1976)
	The San Antonio barrio in the early 1970s is the setting for writer, director and star Efraín Gutiérrez’s independent piece, considered by historians to be the first Chicano feature film. A self-taught filmmaker, Gutiérrez not only created the film from top to bottom on a shoestring, he also acted as its initial distributor and chief promoter, negotiating bookings throughout the Southwest where it filled theaters in Chicano neighborhoods. He tells his story in the turbulent days near the end of the Vietnam War, as a young Chicano man questioning his and his people’s place in society as thousands of his Latino brethren return from the war in coffins. Chon Noriega, director of the UCLA Chicano Studies Research Center, wrote, "The film is important as an instance of regional filmmaking, as a bicultural and bilingual narrative, and as a precedent that expanded the way that films got made. …" Cultural historians often compare Gutiérrez to Oscar Micheaux, the pioneering African-American filmmaker who came to prominence in the 1920s.

	The Power and the Glory (1933)
	Preston Sturges’ first original screenplay, "The Power and the Glory," is a haunting tragedy in sharp contrast to the comedies of the 1940s that established him as one of America’s foremost writer-directors. Contrary to common practice of the time, Sturges wrote the film as a complete shooting script, which producer Jesse L. Lasky, believing it "the most perfect script I’d ever seen," ordered director William K. Howard to film as written. Compared favorably to novels by Henry James and Joseph Conrad for its extensive mix of narration with dramatic action (Fox Studios coined the word "narratage" to publicize Sturges’ innovative technique), "The Power and the Glory" introduced a non-chronological structure to mainstream movies that was said to influence "Citizen Kane." Like that film, "The Power and the Glory" presents a fragmented rags-to-riches tale of an American industrial magnate that begins with his death, in this case a suicide, and sensitively proceeds to produce a deeply affecting, morally ambivalent portrayal. The Nation magazine called Spencer Tracy’s performance in the lead role "one of the fullest characterizations ever achieved on screen."

	Rio Bravo (1959)
	As legend goes, this Western, directed by Howard Hawks, was produced in part as a riposte to Fred Zinnemann’s "High Noon." The film trades in the wide-open spaces for the confines of a small jail where a sheriff and his deputies are waiting for the transfer of a prisoner and the anticipated attempt by his equally unlawful brother to break the prisoner out. John Wayne stars as sheriff John T. Chance and is aided in his efforts to keep the law by Walter Brennan, Dean Martin and Ricky Nelson. Angie Dickinson is the love interest and Western regulars Claude Akins, Ward Bond and Pedro Gonzalez are also featured. A smart Western where gunplay is matched by wordplay, "Rio Bravo" is a terrific ensemble piece and director Hawks’ last great film.

	Rosemary’s Baby (1968)
	With "Rosemary’s Baby," writer-director Roman Polanski brought his expressive European style of psychological filmmaking to an intricately plotted, best-selling American novel by Ira Levin, and created a masterpiece of the horror-film genre. Set in the sprawling Dakota apartment building on New York’s Central Park West, the film conveys an increasing sense of unease, claustrophobia and paranoia as the central character, convincingly played by Mia Farrow in her first starring role, comes to believe that a cult of witches in the building is implementing a plot against her and her unborn child. The supporting cast that Polanski assembled—John Cassavetes as Rosemary’s husband, Ruth Gordon and Sidney Blackmer as their neighbors, and Ralph Bellamy as her doctor—portray believably banal New Yorkers who gain nearly total control over Rosemary’s daily life during her pregnancy. Insistent that "a thread of deliberate ambiguity runs throughout the film," Polanski maintains that the film’s denouement can be understood in more than one way.

	Ruggles of Red Gap (1935)
	Charles Laughton, known for such serious roles as Nero, King Henry XIII and later as the 1935 Captain Bligh, takes on comedy in this tale of an English manservant won in a poker game by American Charlie Ruggles, a member of Red Gap, Washington’s extremely small social elite. Laughton, in understated valet fashion, worriedly responds: "North America, my lord. Quite an untamed country I understand." However, once in America, he finds not uncouth backwoodsmen, but rather a more egalitarian society that soon has Laughton reciting the Gettysburg Address, catching the American spirit and becoming a successful businessman. Aided by comedy stalwarts ZaSu Pitts and Roland Young, Laughton really shows his acting range and pulls off comedy perfectly. It didn’t hurt that Leo McCarey, who had just worked with W.C. Fields and would next guide Harold Lloyd, was in the director’s chair. McCarey, who could pull heartstrings or touch funny bones with equal skill, started his long directorial career working with such comedy icons as Laurel & Hardy and created several beloved American films.

	Saving Private Ryan (1998)
	Through the years, Hollywood’s take on war, honor and heroism has taken many conflicting forms. "Saving Private Ryan" drops ordinary soldiers into a near-impossible rescue mission set amid the carnage of World War II’s Omaha Beach landing. The film’s beginning scenes vividly show us "war is hell," as William T. Sherman said. Spielberg conveyed ultra-realism with harrowing intensity. "Omaha Beach was actually an ‘X’ setting," says Spielberg, "even worse than ‘NC-17,’ and I just kind of feel that (I had) to tell the truth about this war at the end of the century, 54 years later. I wasn’t going to add my film to a long list of pictures that make World War II ‘the glamorous war,’ ‘the romantic war.’"

	Shoes (1916)
	Renowned silent era writer-director Lois Weber drew on her experiences as a missionary to create "Shoes," a masterfully crafted melodrama heightened by Weber’s intent to create, as she noted in an interview, "a slice out of real life." Weber’s camera empathetically documents the suffering her central character, an underpaid shopgirl struggling to support her family, endures daily—standing all day behind a shop counter, walking in winter weather in shoes that provided no protection, stepping on a nail that pierces her flesh. Combining a Progressive era reformer’s zeal to document social problems with a vivid flair for visual storytelling, Weber details Eva’s growing desire for the pair of luxurious shoes she passes each day in a shop window, her self-examination in a cracked mirror after she agrees to go out with a cabaret tout to acquire the shoes, her repugnance as the man puts his hands on her body, and her shame as she breaks down in tears while displaying her newly acquired goods to her mother. The film, which opens with pages from social worker Jane Addams’s sociological study of prostitution, was acclaimed by "Variety" as "a vision of life as it actually is … devoid of theatricalism."

	State Fair (1933)
	For director Henry King to create a film that celebrated an institution as beloved and indomitable as the State Fair, it required the presence of a cherished and steadfast star—in this case, icon, philosopher and America’s favorite cowboy, Will Rogers. Rogers found a superlative vehicle for his homespun persona in this small town slice-of-life setting. He is assisted by Janet Gaynor (already the Academy’s very first best-actress winner), Lew Ayres and Sally Eilers. Enhancing the fair’s festivities, which include the making of mom’s entry for the cook-off and the fattening-up of the family pig, are diverse storylines rich with Americana and romance—some long-lasting and some ephemeral, rife with fun but fleeting as the fair itself. The film’s authenticity owes much to its director, widely known as the "King of Americana" through films such as "Tol’able David," "Carousel" and "Wait till the Sun Shines, Nellie."

	Unmasked (1917)
	At the time "Unmasked" was released, Grace Cunard rivaled daredevils Pearl White ("The Perils of Pauline") and Helen Holmes ("The Hazards of Helen") as America’s Serial Queen. In the film, Cunard is a jewel thief pursuing the same wealthy marks as another thief played by Francis Ford, brother of director John Ford and himself a director and character actor. Cunard, in the mode of many women filmmakers of that era, not only starred in the film, but also wrote its script and parlayed her contributions into a directorial role as well. Produced at Universal Studios, the epicenter of female directors during the silent era, "Unmasked" reflected a style associated with European filmmakers of the time: artful and sophisticated cinematography comprised of complex camera movements and contrasting depths of field. With a plot rich in female initiative and problem-solving, Cunard fashioned a strong character who does not fit the image of traditional womanhood: she relishes her heists, performs unladylike physical exploits, manipulates court evidence, carries on with a man who is not her husband and yet survives the film without punishment. In essence, the character Cunard created echoed the woman behind the camera. Today, "Unmasked" serves as a succinct but illustrative example of the role of women in film history, as depicted in fact and fiction.

	V-E +1 (1945)
	The silent 16 mm footage that makes up "V-E +1" documents the burial of beaten and emaciated Holocaust victims found by Allied forces in the Nazi concentration camp at Falkenau, Czechoslovakia, as World War II ended in Europe. According to Samuel Fuller, who shot the footage while in the infantry unit that liberated the camp, the American commander in charge ordered leading civilians of the town who denied knowledge of the death camp to "prepare the bodies for a decent funeral," parade them on wagons through the town, and bury them with dignity in the town’s cemetery. Fuller later became an acclaimed maverick writer-director known for crafting films that entertained, but nevertheless forced audiences to confront challenging societal issues. After making "The Big Red One," a fictionalized version of his war experiences that included scenes set in Falkenau, Fuller unearthed his "V-E + 1" footage and returned to Falkenau to comment on the experience for the French documentary "Falkenau: The Impossible Years."

	The Way of Peace (1947)
	Frank Tashlin, best known for making comedies with pop icons like Jerry Lewis or Jayne Mansfield, directed this 18-minute puppet film sponsored by the American Lutheran Church. Punctuated with stories from the Bible, the film’s purpose was to reinforce Christian values in the atomic age by condemning the consequences of human conflict with scenes of the crucifixion, lynching and Nazi fascism. Wah Ming Chang, a visual- effects artist who specialized in designing fantastic models, characters and props, created the puppets for the stop-motion animation and also produced the film, which reportedly took 20 months to complete. The film is narrated by actor Lew Ayres, who starred in the anti-war film "All Quiet on the Western Front" (1930). He was so influenced by that experience, that he became a vocal advocate for peace and famously declared himself a conscientious objector during World War II. The Reverend H. K. Rasbach, a frequent adviser on big-budget films such as "The Ten Commandments" and "The Greatest Story Ever Told," provided technical supervision and story concept. The film premiered at Constitution Hall in Washington D.C., with more than 2,700 in attendance, including members of Congress, representatives of the Supreme Court and 750 leaders from various branches of government.

	Willy Wonka and the Chocolate Factory (1971)
	Author Roald Dahl adapted his own novel, Leslie Bricusse and Anthony Newley wrote a memorable musical score, and producer David Wolper wisely cast Gene Wilder as Wonka in this film musical about a contest put on by an often-sadistic candymaker. Harkening back to the classic Hollywood musicals, "Willy Wonka" is surreal, yet playful at the same time, and suffused with Harper Goff’s jaw-dropping color sets, which richly live up to the fanciful world found in one of the film’s signature songs, "Pure Imagination." Wilder’s brilliant portrayal of the enigmatic Wonka caused theatergoers to like and fear Wonka at the same time, while the hallucinogenic tunnel sequence has traumatized children (and adults) for decades, their nightmares indelibly emblazoned in memory like the scariest scenes from "The Wizard of Oz."

	Films Selected for the 2014 National Film Registry

		13 Lakes (2004)
	

		Bert Williams Lime Kiln Club Field Day (1913)
	

		The Big Lebowski (1998)
	

		Down Argentine Way (1940)
	

		The Dragon Painter (1919)
	

		Felicia (1965
	

		Ferris Bueller’s Day Off (1986)
	

		The Gang’s All Here (1943)
	

		House of Wax (1953)
	

		Into the Arms of Strangers: Stories of the Kindertransport (2000)
	

		Little Big Man (1970)
	

		Luxo Jr. (1986)
	

		Moon Breath Beat (1980)
	

		Please Don’t Bury Me Alive! (1976)
	

		The Power and the Glory (1933)
	

		Rio Bravo (1959)
	

		Rosemary’s Baby (1968)
	

		Ruggles of Red Gap (1935)
	

		Saving Private Ryan (1998)
	

		Shoes (1916)
	

		State Fair (1933)
	

		Unmasked (1917)
	

		V-E + 1 (1945)
	

		The Way of Peace (1947)
	

		Willy Wonka and the Chocolate Factory (1971)

#### CINEMATTERS: NY SOCIAL JUSTICE FILM FESTIVAL – Interview with ALWAYS IN SEASON’s Director Jacqueline Olive
When 17-year-old Lennon Lacy is found hanging from a swing set in rural North Carolina in 2014, his mother’s search for justice and reconciliation begins while the trauma of more than a century of lynching African Americans bleeds into the present.
We got to chat with Jacqueline Olive about the haunting revaluation documentary, ALWAYS IN SEASON.

A documentary that will seep into your soul with its ability to showcase the haunting realities of America’s long history of lynching of African-Americans.  Jacqueline Olive has given us one of the most profound and honest documentaries of the 21st century.  She was kind enough to chat with me about the amazing journey the doc has gone on, the powerful responses to the movie, and where the film goes from here.
 
https://seligfilmnews.com/wp-content/uploads/2020/01/Jacqueline-Olive.mp3
 
Jacqueline Olive’s debut documentary, Always in Season, is one of the films showcased at this weekend’s Cinematter: NY Social Justice Film Festival.
The film will be screened at the JCC in Harlem this Sunday at 4:30pm with a Q/A following the film.
For tickets and more information please go here, ALWAYS IN SEASON at CINEMATTERS 2019.

#### CINEMATTERS: NY SOCIAL JUSTICE FILM FESTIVAL – Interview with AMERICAN MUSLIM’s Director Adam Zucker
In the initial 18-month battle over the Muslim ban, five Muslim-Americans in New York City confront the Age of Trump.
Adam Zucker was awesome enough to chat with Selig Film News about his latest documentary, AMERICAN MUSLIM.

Five Muslim Americans in Brooklyn and Queens, each once an immigrant and now a U.S. citizen, deal with the impact of the Muslim Ban as they are each forced to navigate what it means to be an American Muslim.
Here is our chat with AMERICAN MUSLIM Director Adam Zucker.
 
https://seligfilmnews.com/wp-content/uploads/2020/01/Adam-Zucker.mp3
 
American Muslim plays twice today.
Screening at 3pm at the IFP.
And a 7pm screening at the JCC in Harlem.
Both movies followed by Q&As and the 7pm screening is part of the Shabbat Shabbang.
For more information please go to, Cinematters 2019.

#### CINEMATTERS: NY SOCIAL JUSTICE FILM FESTIVAL – INTERVIEW WITH THE ALL AMERICANS DIRECTOR BILLY MCMILLIN
The All-Americans follows four players struggling to find their place in today’s America, as they prepare to play in the East LA Classic.
Director/Editor Billy McMillin chatted with Selig Film News about his powerful documentary.

Home to the nation’s largest Latino immigrant population, East Los Angeles sits squarely in the crossfire of debate about American identity. Yet every November, this community comes together for a distinctly American event, drawing 25,000 proud locals to one of the country’s fiercest high school football rivalry games:  The East L.A. Classic.
Billy’s feature debut documentary is far more than just a look at a football game.  The incredible access his team was granted by the schools and families allowed for a tremendous look into the community.  This community’s fears and issues with the current immigration battle that has engulfed our country is what makes the film so universal.  Billy captures the realities for these kids, their families and the school’s impact on their lives.  From the coaches to the players to the families we are constantly shown rationale why lower economic areas are so immensely impacted.  The fire and fury of the rivalry adds a real heightened suspense that allows for The All-Americans to hold you intrigued throughout.  The struggles on the football field mirror those in the every day lives of the players.  Billy was awesome enough to chat with me about his film, who is apart of his team, breaking barriers with the kids, family, and school district and so much more!
Here is our interview with award winning Director/Editor Billy McMillin.
 
https://seligfilmnews.com/wp-content/uploads/2020/01/Billy-McMillin.mp3
 
Cinematters: NY Social Justice Film Festival screens The All-Americans twice on this upcoming Sunday January 19th at 1:30pm-3:30pm at the JCC Harlem & then at 4:30pm.  Following the both screenings will be Q&As with director Billy McMillin, subject Mario Ramirez Jr., moderated by Rachel Strauss-Muniz, co-host and co-producer of Latinos Out Loud. Calixto Chinchilla, Founder of New York Latino Film Festival will be at the earlier screening’s Q&A as well.
For more information about the film please go to – The All-Americans.
For more information on the screenings at the festival please go here – 1:30 Cinematters All Americans at JCC Screening & 4:30 Cinematters: NY Social Justice Film Festival screening.

#### CIRCUS PERSON – Interview with Writer, Director, and Star Britt Lower
Left by her fiancé for another woman, a grieving painter abandons the life she knew to join the seemingly chaotic, yet invigorating world of a one-ring circus. Intermingling live-action circus arts and animation via body paint, CIRCUS PERSON follows an introspective artist through the often humorous landscape of heartbreak to reclaim her forgotten wildness.
Here is my interview with Circus Person Writer/Director/Star Britt Lower.

Talented actress Britt Lower’s directorial debut is a inventive introspection that allows Britt to exercise all of her creativity.  I got to chat with Britt about the inspiration of the story, the real life circus she connected with, her mother’s wonderful connection to the film, and so much more.  We got to reminisce about the time she painted Conan O’Brien’s face on his show and even talked a little basketball fun.
I hope you enjoy my interview with Actress, Writer, Producer and Director Britt Lower
https://seligfilmnews.com/wp-content/uploads/2020/10/Britt-Lower.mp3
 
For more information please go to CIRCUS PERSON.

#### CIRQUE DREAMS JUNGLE FANTASY
CIRQUE DREAMS JUNGLE FANTASY

	Music and lyrics by Jill Winters

	Musical direction by Jill Winters

	Created and directed by Neil Goldberg

	 

	What can be said about Cirque after all of these years?  The American troupe of acrobats and specialty acts had changed the idea of the circus by combining the European cirque style of performance artistry with American circus acts and Broadway Theater.  Their stances of only using human performers have made a major change to regular family circuses.  The show features contortionists, aerialists, jugglers and acrobats.  It is circus acts but presented in a different way.

	The latest to go on tour in the US is one of the first shows that were designed way back in 2008.  It is called Cirque Dreams Jungle Fantasy.  It is a part of the AT&T Performing Arts Center as a part of the Broadway Series and runs from June19-21 at the Winspear Opera House.

	The play is in two acts of eight scenes.  The idea is that the person is in a dream state of a jungle.  The backgrounds have an eerie glow almost as if we are in the deepest, darkest part of the jungles, although with much more neon.  The opening is “Flipping out in the Jungle”. 

	One of the highlights from Act One is “Hop, Stretch & Contorting Lizards”.  It is the kind of performance that has to be seen to be believed.  But, easily the biggest highlight from the First Act is “Silent Safari Film”.  Our silent cinema director gets the audience involved in making a jungle picture.  With a whistle and pith helmet, the actor brings the audience to their feet by over dramatic directions. 

	Act Two is a solid series of acts with little comedy in the proceedings.  The entire act in wrapped in music and the featured vocalist has a warm, inviting voice.  There is also an electric violinist who adds to her ethereal voice.

	A highlight of Act Two is “Aerial Birds Nest” where two acrobatic women twist, turn and convert in a myriad of positions.  One wonders how they can maneuver in such a confined space. It is a beautiful balancing act that is as poetic as it is athletic.

	In “Lady Bug Legs” a woman spins and twists different objects and finished with spinning a table in almost contortionist fashion.  The audience roared at her skills in flipping objects.

	The show ends with “A Balance with Giraffes” and one of the most amazing balancing acts that one will see on stage.  The acrobat stacks round cylinders and boxes higher and higher without losing his balance.  He received a much deserved standing ovation.

	This is a show that will wear out the audience’s hands by applause.  By the Second Act, hands were almost blistered by clapping.  Very seldom in life will one experience so many outbursts in such a short period of time.  The show is two-one hour events and is exhausting to watch any more. 

	Cirque Dreams Jungle Fantasy is a show that should not be missed under any circumstance.  It is a family friendly event that will entertain the kids as much as it would entertain Dad   There is such a simple joy in watching seasoned professionals at the peak of their craft. 

#### CITIZENFOUR
CITIZENFOUR

	 

	By Gary Murray

	Starring Edward Snowden and Glenn Greenwald

	Directed by Laura Poitras

	Running time 114 min                                                                             

	MPAA Rating R

	Selig Film Rating Cable

	Some people have called him a hero and some people have called him a traitor.  But very few people do not have an opinion of Edward Snowden.  The former government analyst has turned the world upside down with the revelation that the US has been spying on just about everyone on the planet.  The documentary Citizenfour tells the tale of how all this came about, using the actual footage as it happened.

	The film is directed by Laura Poitras.  She has total access to both Snowden and the reporter who broke the story Glenn Greenwald.  She does not interview them but films them talking.  Snowden explains to Greenwald all the information he has collected and how he collected it.  His admission to Greenwald is his admission to the world. 

	As one watches the film, one notices just how young Edward Snowden is.  With his spotty beard, he looks more like a graduate student than a master spy.  He is no James Bond., no touch guy with a gun. 

	Interspersed with the interviews are CNN newsbreaks where various different bits of the story. There is the planning of disseminating the information and the actual leaking.  The two men plan and jockey different scenarios of reactions of the world press.  There is also much paranoia that transcends worry about wiretaps.

	Along the way, we are shown how different countries react to the information that they and their leaders are being spied on by the US.  It is shown that the claim that this new US government will be most transparent administration was just as false as any other government promise. 

	Although it plays like a real-life thriller, the physical look of the film is a bit amateurish.  Time and time again, the film shakes and quakes for some dramatic effect that does not work as a storytelling device.  There is this home movie feel that detracts from the overall message of the film.   

	This film will challenge some and irritate others.  The film is more about our paranoia about terrorism than about actual terrorism.  The problem with the film is that there is not much of a context to the work.  It is just Snowden giving it all to the world and not much into the why of the man, not much of a reflection into attitudes. 

	In the end, this film is more activism disguised as journalism.  It is agenda cinema, much like the work of Michael Moore, with cherry-picked facts rather than a full discussion of the agenda.  Those going to Citizenfour expecting the entire truth will be sorely disappointed but those looking to fortify an agenda will be ecstatic.  In the end, it changes little for either side. 

#### CITY OF GHOSTS Interview with Director Matthew Heineman
Academy Award-nominated and Emmy winning filmmaker Matthew Heineman discusses his new film City of Ghosts and much more!Click through for our interview with Matthew Heineman.

	

	Directed, produced, and filmed by Academy Award–nominated and Emmy–winning filmmaker Matthew Heineman, City of Ghosts is a singularly powerful cinematic experience that is sure to shake audiences to their core as it elevates the canon of one of the most talented documentary filmmakers working today. Captivating in its immediacy, City of Ghosts follows the journey of “Raqqa is Being Slaughtered Silently” – a handful of anonymous activists who banded together after their homeland was taken over by ISIS in 2014. With astonishing, deeply personal access, this is the story of a brave group of citizen journalists as they face the realities of life undercover, on the run, and in exile, risking their lives to stand up against one of the greatest evils in the world today.     From City of Ghosts Website.         

	Interview with Filmmaker Matthew Heineman.

https://seligfilmnews.com/wp-content/uploads/2017/07/Matthew-Heineman.mp3

	For more info on the film please go – City of Ghosts Website.  The film is open in select theaters and begins it's Dallas run today at Angelika Film Center of Dallas.

#### City of Gold – Interview with Director Laura Gabbert
Director Laura Gabbert has created an ode to Los Angeles the gaze of the city's infamous Pulitzer Prize winning restaurant critic, Jonathan Gold.  Click through for our interview with Laura about her documentary, City of Gold.

	

	Laura and I started our chat by discussing the City of Angels.

https://seligfilmnews.com/wp-content/uploads/2016/04/Laura-Gabbert-Grad-School-to-LA-Being-Home.wav

	I asked Laura whether it was easier to film at home compared to outside of LA.

https://seligfilmnews.com/wp-content/uploads/2016/04/Laura-Gabbert-LA-vs-Not-in-LA.wav

	One element of the film that takes over is the wonderful score by composer Bobby Johnston.  I asked Laura about working with her long-time musical composer.

https://seligfilmnews.com/wp-content/uploads/2016/04/Laura-Gabbert-Composer-Bobby-Johnston.wav

	I asked Laura about working with the great documentary editor, William Haugse.

https://seligfilmnews.com/wp-content/uploads/2016/04/Laura-Gabbert-Editor-William-Haugse.wav

	And I ended our chat by asking about her next project.

https://seligfilmnews.com/wp-content/uploads/2016/04/Laura-Gabbert-Next-Project.wav

	For more information on CITY OF GOLD please go, HERE.

#### Clarkston at DTC
2014 MacArthur Foundation Fellow Samuel D. Hunter's bold move is our treat as Clarkston continues it's world premiere tour at the Dallas Theater Center through the end of this month.  Click through for my review CLARKSTON at DTC.

	

	

	 

	 

	 

	 

	 

	 

	The bold move that Samuel D. Hunter is doing is having two world premiere's in two states across the country from each other.  The reflection of Hunter's two plays back onto the Lewis and Clark trail is enlightening and rather intriguing.  For us Dallas folks, we get CLARKSTON.  The Wyly Theater's Studio Theater intimate corner of a COSTCO is set near to an intersection along the famous Lewis and Clark trail.  The town of the play is real and is a twin city to Lewiston.  The two cities are at a confluence of the Snake and Clearwater rivers.  It's amongst this constant duality that Hunter has given us a fun byline of TWO MEN.  ONE JOURNEY. 

	CLARKSTON's Taylor Trensch plays JAKE, a distant descendant of William Clark.  His treacherous trek across the US has landed him smack dab in the world of CHRIS.  Taylor's performance is filled with it's own duality.  A strong willed guy who's body is slowly betraying him.  Sam Lilja's stout but still vulnerable performance as CHRIS showcases a native Clarkston who is not yet fully free.  CHRIS' mother is the third of the play's trio and Heidi Armbruster gives a gripping and powerful performance as the play's wildcard presence.  The play allows for each character to fulfill long thought out journeys and the battle of new vs old loves is really captivating to watch.  The most intriguing and even humorous elements were between JAKE and CHRIS' MOTHER.

	

	 

	 

	 

	 

	 

	 

	Heidi and Trent really shined when they slyly battled wits to gain further ground in the war over Chris.  Samuel D. Hunter's writing is witty and intelligent.  You gain an appreciation of the history of the area and yet are set in such a corporate world figure as COSTCO.  The ironies and conflicts are riddled throughout the play.  The sexuality of the two male characters is immediately confronted and helped established a constant but still gripping pace.  As we unravel the guy's backgrounds we are treated to an interesting view of each one.  But the vibrant and electric scenes with Heidi's MOTHER character really keep you on your toes.  Her volatile nature is at first hinted, but finally fully unleashed.  It's that explosive reveal that helps push CLARKSTON to a deserved final choice by CHRIS.  The way in which we uncover the trio's relationships we gain knowledge of the struggle Lewis and Clark went through and even have a fitting and complex ending.  The play is one solid 90 minute push through these folks lives and it never seems to linger.  Fluid, moving and refreshing work from Samuel D. Hunter is a real must see.  CLARKSTON runs through January 31st at the Wyly Theater's Studio Theater.  For more information and tickets please go, here.  Try and go to the COME EARLY or STAY LATE!

#### Class of 2022 – National Film Registry of the Library of Congress
Super Fly (1972) LOC
 
Librarian of Congress Carla Hayden announced today the annual selection of 25 influential motion pictures to be inducted into the National Film Registry of the Library of Congress. Selected for their cultural, historic or aesthetic importance to preserve the nation’s film heritage, the newest selections include a vibrant diversity of American filmmakers, as well as landmark works in key genres and numerous documentaries.
The 2022 selections date back 124 years in filmmaking to an 1898 film of the “Mardi Gras Carnival” parade in New Orleans. The film was long thought to be lost but recently discovered in a museum in the Netherlands. The most recent film now added to the registry is 2011’s “Pariah,” directed by Dee Rees. This year’s selections include at least 15 films directed or co-directed by filmmakers of color, women or LGBTQ+ filmmakers. The selections bring the number of films in the registry to 850, many of which are among the 1.7 million films in the Library’s collections.
Hollywood releases selected this year include Marvel Studios’ “Iron Man,” Disney’s beloved “The Little Mermaid,” John Waters’ “Hairspray,” the unforgettable romantic comedy “When Harry Met Sally,” Brian De Palma’s adaptation of “Carrie,” and the 1950 film version of “Cyrano de Bergerac,” which made José Ferrer the first Hispanic actor to win an Oscar for Best Actor. The full listing of selected films is included below.
“Films have become absolutely central to American culture by helping tell our national story for more than 125 years. We are proud to add 25 more films by a group of vibrant and diverse filmmakers to the National Film Registry as we preserve our cinematic heritage,” said Librarian of Congress Carla Hayden. “We’re grateful to the entire film community for collaborating with the Library of Congress to ensure these films are preserved for the future.”
Turner Classic Movies (TCM) will host a television special Tuesday, Dec. 27, starting at 8 p.m. ET to screen a selection of motion pictures named to the registry this year. Hayden will join TCM host, film historian and Academy Museum of Motion Pictures Director and President Jacqueline Stewart, who is chair of the National Film Preservation Board, to discuss the films.
“I am especially proud of the way the Registry has amplified its recognition of diverse filmmakers, experiences, and a wide range of filmmaking traditions in recent years,” Stewart said. “I am grateful to the entire National Film Preservation Board, the members of the public who nominated films, and of course to Dr. Hayden for advocating so strongly for the preservation of our many film histories.”
Select titles from 30 years of the National Film Registry are also freely available online in theNational Screening Room. Follow the conversation about the 2022 National Film Registry on Twitter and Instagram at @librarycongress and #NatFilmRegistry.
Public Nominations for the National Film Registry
The public submitted 6,865 titles for consideration this year. Several selected titles drew significant public support through online nominations. They include “Betty Tells Her Story, “Carrie,” “Iron Man,” “The Little Mermaid” and “When Harry Met Sally.”
The public can submit nominations throughout the year on the Library’s web site Nominations for next year will be accepted until Aug. 15, 2023. Cast your vote at loc.gov/film.
“The Little Mermaid,” the 1989 film that kicked off Disney’s renaissance of animated musical films, has been an iconic part of the nation’s culture ever since. Jodi Benson was a young Broadway actress when Howard Ashman, the lyricist and musical visionary behind many Disney films of that period, convinced her to audition for the lead role of Ariel after a Broadway play the two had worked on fizzled.
Some 33 years later in an illustrious career, Benson said she still performs Ariel’s big song, “Part of Your World,” every week.
“I’m thrilled and honored on behalf of my character and the Walt Disney Company for the Library selecting our very special film,” Benson said in an interview. The film “was the last hand-painted, hand-drawn, full-length feature film for the Walt Disney Studios. So that is really amazing and such an honor.”
Sissy Spacek, the star of “Carrie,” makes her third appearance on the registry, joining her earlier films “Badlands” and “Coal Miner’s Daughter.” Her role as Carrie White, the telekinetic teen misfit who is abused by her mother and taunted by her classmates, drew an Academy Award nomination for Best Actress and a lasting image in pop culture as a vengeful, blood-soaked prom queen.
She credits Stephen King’s novel, the basis for the film, as striking a nerve with teenagers in each generation who are desperate to fit in with their peers for the film’s lasting resonance. The other factor, she said, was a superb cast that included Piper Laurie (also nominated for an Oscar), John Travolta and Amy Irving.
“Brian De Palma was just such a wonder to work with,” Spacek said in a recent interview, crediting the film’s director. “He would tell us exactly what he needed and then he’d say, ‘Within those parameters, you can do anything you want. That was just so wonderful.”
Kevin Feige, Marvel Studios president, was delighted that “Iron Man,” the film that launched Marvel Studios as a daily presence in American popular culture, made the list. The film was directed by Jon Favreau.
“Iron Man was the very first film Marvel Studios independently produced,” Feige said in an interview. “It was the first film that we had all of the creative control and oversight on and it was really make or break for the studio.
“All of our favorite movies are the ones that we watch over and over again and that we grow up with,” he said. “The notion that here we are, almost 15 years after the release of ‘Iron Man,’ and to have it join the Film Registry tells us it has stood the test of time and that it is still meaningful to audiences around the world.”
Landmark Works in Key Genres
Several selections were defining works in their genres. Among romantic comedies, “When Harry Met Sally” from 1989 is a classic — Vanity Fair named it this year as the best American rom-com ever made — that brought together several major talents. Screenwriter Nora Ephron, director Rob Reiner, actor Billy Crystal and actress Meg Ryan all cemented their status in pop culture fame with the film. And the film remains one of the most quoted films of the 1980s with lines like “I’ll have what she’s having.”
“I just felt so plugged into the process of making the movie,” Crystal said in an interview. “…not that anything is ever easy, but it was just such a joy to see it come to life.”
But what makes the movie such an enduring romance?
“The movie is beautiful and simple and appropriate and every shot is just right,” Crystal said. “The timing, which is in the hands of Rob, who is, for this movie, a modern-day Billy Wilder … and it’s New York, it’s the fall, it’s the music.”
“Hairspray,” the quirky story of a plus-sized Baltimore teen and her friends integrating a local television dance show in the early 1960s, wasn’t a huge success at first but has gone on to have a life of its own. It was remade as a Tony Award-winning musical on Broadway, a megahit musical film in 2007 and a live TV version in 2016. But in John Waters’ 1988 original, it was an 18-year-old Ricki Lake who was first tapped to play the lead role of Tracy Turnblad.
“I didn’t even really process that I was the star of the movie,” Lake said in a recent interview from her home in Malibu, “until the movie was made and we were seeing right before it came out. I was like, ‘Oh, WOW.”
Audiences did the same. As the “pleasantly plump” teen misfit, her charming performance gave the nation a cultural marker about acceptance for plus-sized women that reverberates to this day: The heavyset girl could win the dance contest and land the good-looking guy.
Among Latino films, “The Ballad of Gregorio Cortez” from 1982 is one of the key feature films from the 1980s Chicano film movement. Edward James Olmos was a working actor but not yet a star when he and several friends, meeting at what would become the Sundance Film Festival, decided to make a film about a true story of injustice from the Texas frontier days.
Shot on a tiny budget for PBS, “The Ballad of Gregorio Cortez” accurately tells the story of a Mexican-American farmer who in 1901 was falsely accused of stealing a horse. Cortez killed the sheriff who tried to arrest him, outran a huge posse for more than a week, barely escaped lynching and was eventually sentenced to more than a decade in prison. The incident became a famous corrido, or story-song, that is still sung in Mexico and Texas.
“This film is being seen more today than it was the day we finished it,” Olmos said in an interview. “‘The Ballad of Gregorio Cortez’ is truly the best film I’ve ever been a part of in my lifetime.”
As a classic of the “Blaxploitation” genre, “Super Fly” was also a searing commentary on the American dream in 1972. Directed by Gordon Parks Jr., son of the renowned photographer and filmmaker Gordon Parks, the film revolves around a Harlem drug pusher with style who aims to make one final score and then leave the business; criminals and corrupt police have other ideas. Some criticized the film as glorifying drug dealers or for reinforcing stereotypes. Curtis Mayfield’s score, however, received universal acclaim.
“House Party” joins the registry as a 1990 comedy landmark, as it put Black teenagers, hip-hop music and New Jack swing culture directly into the American cultural mainstream. It spawned the pop-culture careers of stars Kid ‘n Play, sequels and imitations — and the career of Reginald Hudlin, its writer and director. Hudlin is now a major player in Hollywood — but “House Party” was his first film.
“The day we shot the big dance number in ‘House Party’ is easily one of the best days of my life,” he said in a recent interview, still gushing about how much fun it all was. “We had all the enthusiasm in the world, all the commitment in the world.”
In avant-garde/experimental cinema, Kenneth Anger’s “Scorpio Rising” from 1963 is a mesmerizing collage of songs from early 1960s pop artists and a fast-paced exploration of symbolism and ideas about religion, Nazism, biker subculture, gay life and more.
LGBTQ+ Films Break New Ground
Several important films on the list broke ground in visually representing the LGBTQ+ community that had long been kept out of sight — or at least off screen. Similar to films depicting other groups struggling to gain acceptance, LGBTQ+ creators used films to confront tough issues, make gay people more visible, urge greater empathy and show commonalities in society.
Before Stonewall, the 1967 student short film “Behind Every Good Man” by Nikolai Ursin offered a stunning early portrait of Black gender fluidity in Los Angeles and the quest for love and acceptance.
By the late 1970s, a collective of six queer filmmakers known as the Mariposa Film Group would create “Word is Out: Stories of Some of Our Lives.” The film would become a landmark in the emerging gay rights movement. Composed of a mosaic of interviews, a diverse group of interviewees discuss their lives as gay men and lesbians at a time when depictions of gay men and lesbians as “everyday people” were extremely rare.
Other films selected for preservation also raised the visibility of LGBTQ+ stories, including 1989’s “Tongues Untied,” a video essay by Marlon Riggs about Black men loving Black men.
Writer/Director Dee Rees was wrapping up her graduate film degree at New York University while she was developing an idea about a teenage Black girl in Brooklyn coming to terms with her identity. She scrounged together grants to make the film as a short and as a feature, all for less than $500,000, called it “Pariah” and saw it get picked up for national distribution at Sundance.
The 2011 film struck a nerve, winning numerous awards and gaining national distribution. It remains a key film in modern queer cinema. This year, it’s an inductee into the registry, one of the few films made by a Black lesbian to join this group so far. Still, Rees said in an interview, the point of the film was the personal narrative of Alika, the main character, not just an archetype of a demographic.
“Here’s, you know, an idea of a life,” Rees said of the film, “an idea of a character, who can outlive us all, hopefully.”
Documentaries Stand Out in 2022
Broadly defined, documentaries are well represented with an impressive nine selections in 2022. Documentaries selected for preservation cover a wide range of topics, including a prison riot, Native American heritage, musical greats, female union workers, mental health treatment, LGBTQ+ history, a Japanese-American internment camp, and 19th century New Orleans.
First among those films documenting part of American history was the “Mardi Gras Carnival” film from New Orleans in 1898, which represents the earliest known surviving footage of the festival. Long thought to be lost, a copy of the film was recently discovered at the Eye Filmmuseum in the Netherlands. In 2013, the Library released a report that determined 70 percent of the nation’s silent feature films have been lost forever and only 14 percent exist in their original format.
Other documentary films stand out for leading to social change. With the landmark 1967 film “Titicut Follies,” Frederick Wiseman takes audiences inside the Bridgewater State Prison for the Criminally Insane in Massachusetts to expose the abuse of patients. The film was banned from general release until 1991 when a judge ruled the film could be shown to the general public. The film is a seminal work of American documentary and an illustration of the impact of cinema to bring change to institutions.
“Union Maids,” an Oscar-nominated documentary film from 1976, was directed by Julia Reichert, James Klein and Miles Mogulescu. It told the story of three female Union workers in the 1930s and their days of conflict and confrontation with American corporations. The three women — Kate Hyndman, Stella Nowicki, Sylvia Woods — emerge as unique, compelling voices.
Reichert, a legendary figure in the documentary world, won the Academy Award, along with Steven Bognar and Jeff Reichert, in 2019 for “American Factory.” Terminally ill with cancer and in hospice when notified in November that “Union Maids” was being added to the registry, she responded to questions by email. She died less than a week later, on Dec. 1.
“For the longest time, women’s voices, especially working-class women’s voices, were not respected let alone heard,” Reichert wrote. “Documentaries presented men as the experts, the historians, the authorities. We hoped this film would just show you how vital, wise, funny and essential these women’s voices were and are, to the struggles of working people to get a better deal.”
About the National Film Registry
Under the terms of the National Film Preservation Act, each year the Librarian of Congress names to the National Film Registry 25 motion pictures that are “culturally, historically or aesthetically” significant. The films must be at least 10 years old. More information about the National Film Registry can be found at loc.gov/film.
The Librarian makes the annual registry selections after conferring with the distinguished members of the National Film Preservation Board and a cadre of Library specialists. Also considered were 6,865 titles nominated by the public. Nominations for next year will be accepted through Aug. 15, 2023, at loc.gov/programs/national-film-preservation-board/film-registry/nominate/.
Many titles named to the registry have already been preserved by the copyright holders, filmmakers or other archives. In cases where a selected title has not already been preserved, the Library of Congress National Audio-Visual Conservation Center works to ensure the film will be preserved by some entity and available for future generations, either through the Library’s motion picture preservation program or through collaborative ventures with other archives, motion picture studios and independent filmmakers.
The center is located at the Library’s Packard Campus in Culpeper, Virginia, a state-of-the-art facility where the nation’s library acquires, preserves and provides access to the world’s largest and most comprehensive collection of films, television programs, radio broadcasts and sound recordings (loc.gov/avconservation/). It is home to more than 9.2 million collection items.
The Library of Congress is the world’s largest library, offering access to the creative record of the United States — and extensive materials from around the world — both on-site and online. It is the main research arm of the U.S. Congress and the home of the U.S. Copyright Office. Explore collections, reference services and other programs and plan a visit at loc.gov; access the official site for U.S. federal legislative information at congress.gov; and register creative works of authorship at copyright.gov.
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Films Selected for the 2022 National Film Registry
(chronological order)
Mardi Gras Carnival (1898)
Cab Calloway Home Movies (1948-1951)
Cyrano de Bergerac (1950)
Charade (1963)
Scorpio Rising (1963)
Behind Every Good Man (1967)
Titicut Follies (1967)
Mingus (1968)
Manzanar (1971)
Betty Tells Her Story (1972)
Super Fly (1972)
Attica (1974)
Carrie (1976)
Union Maids (1976)
Word is Out: Stories of Our Lives (1977)
Bush Mama (1979)
The Ballad of Gregorio Cortez (1982)
Itam Hakim, Hopiit (1984)
Hairspray (1988)
The Little Mermaid (1989)
Tongues Untied (1989)
When Harry Met Sally (1989)
House Party (1990)
Iron Man (2008)
Pariah (2011)
 
In Focus: The 2022 National Film Registry
(alphabetical order)
Attica (1974)
Americans have often ignored somewhat out-of-sight perversions of the American dream: inequality, race relations, conditions at mental hospitals and prisons. These issues only gain the spotlight with coverage of a horrific situation. The September 1971 Attica prison uprising is the deadliest prison riot in U.S. history. To protest living conditions, inmates took over the facility, held hostages, issued a manifesto demanding better treatment, and then engaged in four days of fruitless negotiations. On Day 5, state troopers and prison authorities retook the prison in a brutal assault, leaving 43 inmates and hostages dead. Cinda Firestone’s outstanding investigation of the tragedy takes us through the event, what caused it, and the aftermath. She uses first-hand interviews with prisoners, families and guards, assembled surveillance and news camera footage, and video from the McKay Commission hearings on the massacre. An ex-inmate ends the film with a quote hoping to shake public lethargy on the need for prison reform: “Wake up, because nothing comes to a sleeper but a dream.”
The Ballad of Gregorio Cortez (1982)
Acknowledged as one of the key feature films from the burgeoning 1980s Chicano film movement, “The Ballad of Gregorio Cortez” was based on folklorist Américo Paredes’ acclaimed account of “El Corrido de Gregorio Cortez,” a key work of the Chicano Studies movement. The ballad from the borderlands of Texas and Mexico, explored the creation through song of the folk hero Gregorio Cortez, a poor Tejano farmer accused in 1901 of killing a sheriff who had shot Cortez’s brother during a poorly translated interrogation. A posse of some 600 Texas Rangers pursued Cortez for 11 days before his capture, as widespread newspaper accounts of the chase and subsequent trial spurred the creation of the ballad. Relying on the prodigious talents of director Robert M. Young, lead actor and co-producer Edward James Olmos, cinematographer Ray Villalobos and producer Moctesuma Esparza, “The Ballad of Gregorio Cortez” employed narrative devices common to such classic films as “Citizen Kane,” “Rashomon” and “The Man Who Shot Liberty Valance” to tell its complicated story in a nonlinear fashion. While some characters speak in Spanish and others in English, the filmmakers decided not to use subtitles to replicate in audiences the experience of borderland characters caught up in the unfolding tragedy. The film has been preserved by the Academy Film Archive.
Behind Every Good Man (1967)
This flirtatious, heartbreaking, pre-Stonewall UCLA student short by Nikolai Ursin offers a stunning early portrait of Black, gender fluidity in Los Angeles and the quest for love and acceptance. Following playful street scene vignettes accompanied by a wistful, baritone voice-over narration, the film lingers tenderly on our protagonist preparing for a date who never arrives. The film is preserved by the UCLA Film & Television Archive. Preservation funded by the National Film Preservation Foundation on behalf of the Outfest UCLA Legacy Project. Special thanks to John Campbell, Stephen Parr and Norman Yonemoto.
Betty Tells Her Story (1972)
Liane Brandon’s classic documentary explores the layers of storytelling and memory – how telling a story again can reveal previously hidden details and context. In this poignant tale of beauty, identity and a dress, the filmmaker turns the storytelling power over to the subject.Deceptively simple in its approach, the director in two separate takes films Betty recalling her search for the perfect dress for an upcoming special occasion.During the first take, Betty describes in delightful detail how she found just the right one, spent more than she could afford, felt absolutely transformed … and never got to wear it.Brandon then asks her to tell the story again, and this time her account becomes more nuanced, personal and emotional, revealing her underlying feelings.Though the facts remain the same, the story is strikingly different.“Betty Tells Her Story” was the first independent documentary of the Women’s Movement to explore the ways in which clothing and appearance affect a woman’s identity.It is used in film studies, psychology, sociology, women’s studies, and many other academic disciplines as a perceptive look at how our culture views women in the context of body image, self-worth and beauty in American culture.The film was restored with a grant from New York Women in Film & Television’s Women’s Film Preservation Fund.“A groundbreaking classic of feminist filmmaking and a subtle and heartbreaking parable about disillusionment, the oppression of imposed gender roles, and the workings of memory,” wrote Peter Keough of The Boston Globe.
Bush Mama (1979)
A member of the L.A. Rebellion group of filmmakers, Ethiopian-born director Haile Gerima was inspired to make “Bush Mama” by seeing a Black Chicago woman evicted from her home during winter. Serving as Gerima’s UCLA thesis project, the film was released in 1979 though made earlier in 1975. Shot on a small budget, the film was directed, produced and edited by Gerima withcinematographyby Roderick Young andCharles Burnett. “Bush Mama” is the story of Dorothy, a woman facing another pregnancy and drowning in the oppressive red tape of a system that put her Vietnam veteran lover in prison for a crime he did not commit. Portrayed by the riveting, frequent L.A. Rebellion collaborator Barbara O, Dorothy persists through frustrations and exhaustion in her attempts to navigate a callous system that denies her the benefits needed to support her family. Brutally real and experimentally lyrical in its narrative strategies, “Bush Mama” resonates as a haunting look at inner city poverty, and damning indictments of police brutality and the welfare, judicial and penal systems.
Cab Calloway Home Movies (1948-51)
Shot in 16mm, black and white and color, the Cabell “Cab” Calloway III Collection includes handsome footage of the legendary singer/bandleader/actor and his family and friends. Filmed with his wife Nuffie, they document their home life in Long Beach, New York, and their travels throughout North, South and Central America and the Caribbean. Collection of the Smithsonian National Museum of African American History and Culture, Gift of Cabella Calloway Langsam. Photochemical preservation was performed by Colorlab, which made new internegative prints of the silent films from the original 16mm color and black and white prints in 2016
Carrie (1976)
Brian De Palma stands as an icon of the new wave of filmmakers who remade Hollywood and its filmmaking conventions beginning in the 1960s and 70s. After some intriguing independent efforts, De Palma burst onto the national spotlight with “Carrie.” Never one to feature subtlety in his films, De Palma mixes up a stylish cauldron of horrific scenes in “Carrie,” adapted from the Stephen King novel. Combine a teen outcast with telekinetic powers facing abuse from cruel classmates and a domineering religious mother, and you have a breeding ground for revenge, with the comeuppance delivered in a no-holds barred prom massacre. The flamboyant visual flair and use of countless cinema techniques may occasionally seem overdone, but the film’s influence remains undeniable to this day, often cited by other critics and filmmakers for its impact on the horror genre.
Charade (1963)
With the 1963 romantic comic thriller “Charade,” director Stanley Donen gave audiences their first and only opportunity to enjoy the delicious onscreen chemistry of Cary Grant and Audrey Hepburn, two of Hollywood’s most elegant and sophisticated actors. Despite a noticeable difference in age, the pairing worked delightfully, sparking stylish scenes of wit, charm and silliness, once Grant convinced Donen and writer Peter Stone to make Hepburn’s character, rather than Grant’s, the aggressor to avoid a feared unseemly effect. Drawing on a persona Grant created with Alfred Hitchcock that introduced elements of uncertainty and deceit into a developing romance, Stone and Donen, an admirer of “North by Northwest’s” “wonderful story of the mistaken identity of the leading man,” made the true identity of Grant’s character a secret to Hepburn’s and the audience until the final scene. “Working with Cary is so easy,” Hepburn remarked after the filming. “He does all the acting, and I just react.” Though Grant proclaimed, “All I want for Christmas is another movie with Audrey Hepburn,” they never worked together again. Set in picture-postcard Paris, “Charade” has grown in regard over the years, appreciated at its 50th anniversary as “the last sparkle of Hollywood” by cultural historian and film critic Michael Newton.
Cyrano de Bergerac (1950)
Produced by Stanley Kramer and directed by Michael Gordon, this was the first U.S. film version of Edmond Rostand’s 1897 French play, and the screenplay used a 1923 English blank verse translation by Brian Hooker. Though critics felt the film suffered from its low budget and appearing too much a stage production, José Ferrer’s star-making performance received much acclaim. Bosley Crowther in the New York Times wrote, “Mr. Ferrer plays Cyrano in a style that is in the theatrical tradition of gesture and eloquence. He speaks the poetry of Rostand with richness and clarity such as only a few other actors have managed on the screen.” For his performance, Ferrer won the Oscar for Best Actor, becoming the first Hispanic actor to win the award. Preserved at the UCLA Film & Television Archive. Preservation funded by Myra Teitelbaum Reinhard, UCLA class of ’58, in loving memory of her grandfather Nathan, father Ben and uncle Harry Teitelbaum. Preserved from the 35 mm. nitrate original camera negative and a 35 mm. acetate fine grain master, in cooperation with Paramount Pictures. Laboratory services by YCM Laboratories. Sound services by DJ Audio and Audio Mechanics. Special thanks to Barry Allen, Eric Aijala, Martha Stroud, Peter Oreckinto and John Polito.
Hairspray (1988)
Sometimes described as affectionate yet mildly subversive, “Hairspray” is John Waters’ most mainstream film, an irresistible look at Baltimore’s teen dance scene in 1962, as well as a moving plea for racial integration. Waters received his first PG-rating for this New Line Cinema release, and “Hairspray” has gone on to become a successful film, an even bigger home video release, a Tony Award-winning Broadway musical, a live television production, and is even performed in high school and middle school productions. Featuring a cast of John Waters-regulars, Divine and Mink Stole, the film also stars Ricki Lake, Debbie Harry, Jerry Stiller, Sonny Bono, Josh Charles, and appearances by Ric Ocasek, John Waters, and Pia Zadora. No film by John Waters fits neatly into a cut-and-dried mold, not even a film gaining a wider audience like “Hairspray.”
House Party (1990)
Written and directed by Reginald Hudlin, “House Party” stars Kid and Play of the popular hip hop duo Kid ‘n Play. With his parents out of town, Play announces to his friends that he is hosting an epic party at his house. His best friend, Kid, is the most eager to attend, knowing that his high school crush will be there. After Kid gets into a fight at school, his father punishes him and bans him from going to the party. Determined to go, Kid makes his way to the biggest and most memorable party of the school year with some hilarious stops along the way. “House Party” also stars Paul Anthony, Bow-Legged Lou and B-Fine (from the musical group Full Force), and Robin Harris, Martin Lawrence, Tisha Campbell, A.J. Johnson, and John Witherspoon. Funk music legend George Clinton makes a cameo. Filled with imagination and infectious optimism, the film became a box office hit and launched a thriving franchise.
Iron Man (2008)
Marvel Studios enthralled audiences with 2008’s “Iron Man,” a superhero film that transcends and elevates the genre. Key factors in the film’s success include the eclectic direction of Jon Favreau, superb special effects and production design, and excellent performances from Gwyneth Paltrow as the sidekick and Robert Downey Jr., as the brooding, conflicted hero out to make amends for his career as an armaments mogul. Critics sometimes love to take shots at superhero movies but many recognized “Iron Man” for its unexpected excellence. Joe Morgenstern in The Wall Street Journal wrote: “The gadgetry is absolutely dazzling, the action is mostly exhilarating, the comedy is scintillating and the whole enormous enterprise, spawned by Marvel comics, throbs with dramatic energy because the man inside the shiny red robotic rig is a daring choice for an action hero, and an inspired one.” Richard Corliss in Time noted the film’s place in a uniquely American tradition: “Some of us know that there’s an American style — best displayed in the big, smart, kid-friendly epic — that few other cinemas even aspire to, and none can touch. When it works, as it does here, it rekindles even a cynic’s movie love.”
Itam Hakim, Hopiit (1984)
Victor Masayesva Jr., Hopi director and cinematographer of the video “Itam Hakim, Hopiit” (We/someone, the Hopi), once wrote, “If film is about imagined time and space, it is borne from the imagination of people each of whom have constructed those times and spaces differently.” In “Itam Hakim, Hopiit,” Masayesva imaginatively translates Hopi Native oral traditions into video art. Complexly constructed of four stories conveyed to Hopi children by elder Hopi historian Ross Macaya, who died shortly after the film’s release, and accompanied by imagery documenting Hopi life, often in non-confrontational close-ups of details or revealed by a non-intruding and slowly-moving camera, “Itam Hakim, Hopiit” moves from the personal to the mythological to the historical, ending up in prophesy. Trained as a still photographer and active as a poet, Masayesva masterly employed color posterization accompanied by Spanish military music and a Vivaldi concerto to introduce a section on Spanish conquest, fast-motion to distort a harvest dance, contemplative long shots of landscapes, blurred videography, and silence for emphatic effect. “For me,” he wrote, “photography is a way of imagining life’s complexity. It provides an analogy for philosophical comprehension.” At the conclusion, Macaya announces the importance of the video for the Hopi people: “I have told you a lot. You have learned a lot from me and learned the stories. These stories are going to be put down so the children will remember them. The children will be seeing this and improving on it. This is what will happen. This will not end anywhere.”
The Little Mermaid (1989)
When you combine a beloved Hans Christian Andersen tale with the beauty and heart of truly remarkable Disney magic, you end up with an animated film for the ages. Ariel, the titular mermaid, lives under the sea but longs to be human. She is able to live her dream with a little help from some adorable underwater friends and despite the devious efforts of a sea witch named Ursula (a recent addition to Disney’s peerless rogue’s gallery of cartoon villains). Alan Menken composed the memorable score and collaborated with Howard Ashman on songs that have become modern standards such as “Under the Sea;” “Part of Your World” and “Kiss the Girl.” Adding to the film’s irresistible charm is a fantastic array of voice artists including Jodi Benson, Buddy Hackett, Pat Carroll and Kenneth Mars. An extraordinary success — artistically and commercially — at the time of its release, “Mermaid” proved a touchstone film during the “The Disney Renaissance” of the 1980s and 90s.
Manzanar (1971)
Robert Nakamura created this documentary as a film student at UCLA Film School’s Ethno-Communications Program. During his childhood, Nakamura had “lived” in the central California Japanese American internment camp of Manzanar. He recollects his childhood experiences at Manzanar (“feelings, smells, sounds”), the FBI taking away his next door neighbor active in judo and kendo, the stark surroundings, his parents maintaining a cheerful front, going to the camp bathroom and not remembering which of the similar-looking barracks he lived in. The film serves as a pensive meditation on how his time there as a child has affected his adult life. Japanese music serves as a commentary on the images, and the shaky hand-held camera footage attests to the disjointed and stressful nature of his childhood at Manzanar Preserved by the Academy Film Archive.
Mardi Gras Carnival (1898)
In 2013, the Library of Congress issued a detailed report showing that over 70% of silent era American feature films have been completely lost. Many of these titles perished in nitrate fires, while copyright owners often melted the films down for their silver content once their theatrical runs ended, feeling the films no longer had any commercial value. Luckily, hundreds of “lost” American silent films have been rediscovered in foreign archives, carefully preserved by archivists in those nations. American cinema has always had a worldwide audience, and the copies sent for overseas distribution often found permanent homes in archives in the U.K., France, the Czech Republic, the Netherlands, Italy, Australia, New Zealand, South Africa, Russia, and Scandinavian countries.
The Eye Filmmuseum in the Netherlands has been one of the leading rescuers, recently recovering films such as “Shoes” by Lois Weber, “Beyond the Rocks” (Swanson and Valentino), “His Birthright” (Hayakawa), “The Floor Below” (Mabel Normand), “Lucky Star” by Borzage, silent version of Capra’s “Submarine,” and numerous Vitagraph films from the ‘10s.
“Mardi Gras Carnival” is another of their finds and is the earliest film known to exist of the carnival parade in New Orleans, showing several dazzling floats, paraders and spectators (almost all wearing hats). The film is part of Eye Filmmuseum’s Mutoscope and Biograph Collection. This collection consists of about 200 films preserved on their original 68 mm format. The digital file provided is scanned in 2022 at Eye Collection Center, from the 35 mm duplicate negative that was made in 1998. After the first analogue preservation round made 25 years ago, Eye is now undertaking the digital restoration of the Mutoscope & Biograph Collection. “Mardi Gras Carnival” became the focus of attention, thanks to its inclusion within ‘The Artistry of REX’ exhibition, that opened in the summer of 2022 at the Louisiana State Museum.
Mingus (1968)
This raw portrait of the legendary composer and bassist Charles Mingus is an invaluable, at times sad and harrowing,document of one of our great American composers, the jazz scene in New York in the late 1960s, life in Harlem, and Mingus’ eviction from his apartment. In his interviews with director Thomas Reichmann, Mingus riffs with bemused but knowing frankness on issues including racism, his place as a jazz musician in a white-dominated American society, politics during the civil rights era, and women. “Mingus” also features rare and remarkable footage of the artist performing in clubs.
Pariah (2011)
The roster of Black women who have been given a chance to direct features is criminally small, and artists such as Dee Rees show the originality and vibrant creativity that the industry should be supporting. In a 2018 conversation at the Toronto International Film Festival, Rees recalled being inspired to write “Pariah” when she moved to Brooklyn as an adult and was in the process of coming out. Rees encountered a group of teenagers who had come out and confidently knew their sexual identities at an early age; she wondered how difficult such a reveal was for the teens while they were still dependent on others. To her, writing “Pariah” was “my first expression, the kind of thing I had to do first, for everything else to come.” She describes how difficult it was to obtain financing given she would be in a meeting and describe the film as “Black, lesbian, coming of age,” and they would say, “OK, let’s validate your parking and get you out of here.” Audiences found the film raw, authentic and illuminating a world some have traversed and the need for empathy from those who have not.
Scorpio Rising (1963)
Critics too often apply the word “essential” to works of art, but no one can dispute the status of Kenneth Anger’s “Scorpio Rising” as one of the key works in Avant-Garde/Experimental cinema. The subject of attempted censorship during its release, “Scorpio Rising” is a mesmerizing collage of songs from early 1960s pop artists (Elvis Presley, Ricky Nelson, Martha and the Vandellas, the Crystals, Bobby Vinton, and The Angels), a paean to rebel heroes (James Dean, Marlon Brando), and a one-of-kind, rapid-fire exploration and juxtaposition of symbolism and ideas about religion, Nazism, biker subculture, mystique of the underground, gay life and more. The film is preserved by the UCLA Film & Television Archive. Preservation funded by The Film Foundation. Preserved from the original hand-painted 16 mm Ektachrome color reversal A/B rolls and from the 16 mm original magnetic track. Laboratory services by Fotokem Film and Video, Audio Mechanics, DJ Audio, NT Audio. Special thanks to: Kenneth Anger, Michael Friend, Pacific Film Archive, P. Adams Sitney.
Super Fly (1972)
“Super Fly,” directed by Gordon Parks Jr., serves both as a classic of the sometimes escapist “Blaxploitation” wave of 1970s Black-oriented films, as well as a searing commentary on the American dream. The film revolves around a Harlem drug pusher with style (“Youngblood” Priest,” played by Ron O’Neal) who aims to make one final big score and then leave the business; criminals and corrupt police have other ideas. Some criticized the film as glorifying drug dealers, given O’Neal’s charismatic performance, and for reinforcing what they saw as lifestyle stereotypes in films such as “Sweet Sweetback…” and “Shaft.” Curtis Mayfield’s political and soulful score, however, received universal acclaim for its dynamic sound and for challenging drug culture in its lyrics. The son of renowned photographer and filmmaker Gordon Parks, Parks Jr. tragically died in 1979 at the age of 44 in an airplane crash in Kenya, while on location making a film.
Titicut Follies (1967)
In “Titicut Follies,” as with all the nearly 50 observational documentaries he has made since this, his first, Frederick Wiseman drops his audience into goings on at a public institution and challenges them to “figure their own way out without any help from me,” he once explained. Shot at the Bridgewater State Prison for the Criminally Insane in Massachusetts, “Titicut Follies” — “Titicut” being the Native American name for the area surrounding the institution — begins and ends with an annual variety show of that name performed by inmates and guards. In between, the film confronts the viewer with a mosaic of scenes recorded unobtrusively and presented with no voiced narration of inmates undergoing strip searches, repetitive psychiatric questioning, force-feeding and finally burial in a dehumanized world revealed through the film as callous, indifferent and inescapable. “It is as grotesque a vision of human cruelty and suffering, of naked fear and loneliness, as art has ever produced,” wrote film curator Joshua Siegel about “Titicut Follies.” Wiseman stated that his documentaries focus on the relationship between the individual and the state, “especially in an age in which religion functions less.” With “Titicut Follies,” the state, in the guise of Supreme Court of Massachusetts, initially ordered the film banned and its negatives and prints destroyed. That ruling, later revised to allow only professionals in the fields of law, medicine and social services to see the film, was not overturned until 1991. The Library’s Packard Campus holds the original preservation masters for “Tititcut Follies” and all of Frederick Wiseman’s completed productions as well as the outtakes.
Tongues Untied (1989)
“Marlon Riggs’ brilliant 1989 video essay “Tongues Untied” is a riveting combination of interviews, performance, stock footage, autobiography, poetry and dance that elucidates the revolutionary potential of Black men loving Black men. The words of gay poets, personal testimony, rap tableaux, dramatic sequences, and archival footage are woven together with a seductive palette of video effects. Riggs was diagnosed with HIV while making “Tongues Untied,” but continued to advocate for gay rights both on and off screen.” The film is preserved at the Berkeley Art Museum/Pacific Film Archive.
Union Maids (1976)
Julia Reichert, Jim Klein and Miles Mogulescu directed this seminal labor documentary on the attempt to create industrial unions during the tumultuous 1930s. Crafted in the form of an oral history interspersed with footage from the National Archives, the film interviews three Chicago women who served as labor organizers during that period: Kate Hyndman, Stella Nowicki and Sylvia Woods. The best documentaries let the subjects speak for themselves, and “Union Maids” benefits greatly from the passion of these three remarkable women whose moving recollections vividly recreate the era. An exemplary example of “history from the bottom up” filmmaking, it resonates as both a plea for union rights but also equality for women taking part in often male-dominated unions. The film had a theatrical run in nearly 20 cities and received an Academy Award nomination for Best Documentary Feature.
When Harry Met Sally (1989)
“When Harry Met Sally” came in the middle of a remarkable decade-long run of films by Rob Reiner (“This is Spinal Tap, ”Stand By Me,” “The Princess Bride“ and “A Few Good Men.”) With sparkling chemistry between leads Billy Crystal and Meg Ryan, and a spicy script courtesy Nora Ephron, the film ranks among cinema’s greatest romantic comedies, and a paean to the theory of love will find a way, no matter what. Addressing the age-old question of whether men and women can stay friends without being romantically involved, the film remains one of the most quoted films of the 1980s, with lines such as “I’ll have what she’s having,” and“I came here tonight because when you realize you want to spend the rest of your life with somebody, you want the rest of your life to start as soon as possible.”
Word is Out: Stories of Some of Our Lives (1977)
Directed by a collective of six queer filmmakers known as the Mariposa Film Group, “Word is Out” had a profound impact on audiences and became a landmark in the emerging gay rights movement of the 1970s. The film is composed as a mosaic of interviews with over two dozen men and women of many ages, races, and backgrounds who talk about their lives as gay men and lesbians. As Peter Adair, one of the film’s directors noted, the goal was to erase their invisibility in American society. “Word is Out” remains a groundbreaking film of that era, when “coming out” was an act of courage and depictions of gay men and women as “everyday people” was extremely rare. The film is preserved by the UCLA Film & Television Archive. Preservation funded by the David Bohnett Foundation, The Andrew J. Kuehn Jr. Foundation, and Outfest.

#### Classics At The Academy In September
 

	The Academy of Motion Picture Arts and Sciences will present a 40th anniversary screening of “Young Frankenstein” with special guests Mel Brooks, Cloris Leachman, Teri Garr and executive producer Michael Gruskoff on Tuesday, September 9, at 7:30 p.m. at the Academy’s Samuel Goldwyn Theater in Beverly Hills.  Film historian Leonard Maltin will introduce the comedy classic and host a live onstage discussion with Brooks, Leachman, Garr and Gruskoff.

	“Young Frankenstein,” Brooks’s 1974 homage to the Golden Age of monster movies, features a large ensemble cast including Leachman, Garr, Gene Wilder, Peter Boyle, Marty Feldman, Madeline Kahn, Kenneth Mars and Gene Hackman.  It earned Oscar® nominations for Adapted Screenplay (Wilder, Brooks) and Sound (Richard Portman, Gene Cantamessa).

	Additional Academy events coming up in September at the Bing Theater in Los Angeles are listed below, with details at www.oscars.org/events:

	“Let There Be Fright: William Castle Scare Classics”
	The Academy pays a centennial tribute to William Castle, one of the most popular and prolific filmmakers in fantastic cinema, with double features, ghoulish giveaways and frightful freebies every Friday in September.

		September 5, 7:30 p.m.          “The Tingler” 
	

		September 5, 9 p.m.               “Hollywood Story”
	

		September 12, 7:30 p.m.        “House on Haunted Hill” 
	

		September 12, 9 p.m.             “13 Ghosts” 
	

		September 19, 7:30 p.m.        “Mr. Sardonicus”
	

		September 19, 9:10 p.m.        “The Night Walker”
	

		September 26, 7:30 p.m.        “Strait-Jacket” 
	

		September 26, 9:15 p.m.        “Homicidal”
	

	“Why Be Good?” 
	September 6, 7:30 p.m.

	The Academy presents the U.S. restoration premiere of Colleen Moore’s final silent film, in which she plays a wild flapper with a dubious reputation who finds herself romantically linked with her boss’s son. “Why Be Good?” features a Vitaphone soundtrack with sound effects, hot jazz and Twenties dance music.

	“Animation Masters: John Canemaker Celebrates Winsor McCay and Walt Disney” 
	September 13

	In this three-part presentation, animation historian and Oscar-winning animation director John Canemaker examines some of the art form’s most remarkable early achievements.

	Gertie the Dinosaur and the Birth of Personality Animation – 6 p.m.

	Long before any princesses wandered across the screen, animation’s first female personality was spunky Gertie the Dinosaur, who celebrates her 100th birthday this year.  Canemaker hosts a salute to Gertie and her creator, the prolific comic strip artist and animation pioneer Winsor McCay.

	The Lost Notebook: Herman Schultheis and the Secrets of Walt Disney’s Movie Magic – 7:30 p.m. 

	Canemaker, who is the author of The Lost Notebook: Herman Schultheis and the Secrets of Walt Disney's Movie Magic, explores the fascinating mechanical and optical processes that enabled the Disney artists to delight the eye with dancing snowflakes, erupting volcanoes and other visual treats, described in a recently discovered notebook by photographer and effects specialist Schultheis.

	“Fantasia” – 8:45 p.m.          

	Walt Disney took one of his boldest gambles with this dazzling 1940 feature, for which his top animators scaled the heights of imagination to provide visuals for some of the most beloved pieces of classical music, conducted by maestro Leopold Stokowski.  The film’s many highlights include Mickey Mouse starring in “The Sorcerer’s Apprentice” and the haunting imagery of “Night on Bald Mountain.”

	“The Color of Pomegranates (Sayat Nova)” 
	September 20, 7:30 p.m.

	The Academy presents a new digital restoration of artist, poet and groundbreaking filmmaker Sergei Parajanov’s1968 masterpiece, a kaleidoscopic biography of the 18th century Armenian troubadour Sayat Nova.

	“Two Sides of George Stevens” 
	September 27

	As part of the Academy’s long-standing George Stevens Lecture series on directing, “Two Sides” juxtaposes two romantic dramas from cinematographer-turned-director George Stevens.  Both films in the series are new restorations by the Academy Film Archive.

	“Laddie” – 5 p.m.

	Eight years before receiving his first Oscar nomination for “The More the Merrier,” Stevens directed this 1935 black-and-white feature based on Gene Stratton-Porter’s novel.  This rarely seen film will screen from a newly restored print.

	“A Place in the Sun” – 7:30 p.m.

	Academy Award®-nominated screenwriter Richard LaGravenese will introduce this classic, based on Theodore Dreiser’s 1925 novel An American Tragedy.  Starring Montgomery Clift and Elizabeth Taylor, “A Place in the Sun” earned six Oscars®, including Stevens’s first for Directing.

	Tyrone Power Centennial 
	The Academy celebrates the centennial of one of Hollywood’s most handsome and charismatic stars of the Golden Age, Tyrone Power, with matinee screenings of some of his most beloved films.

		September 2, 1 p.m.               “Marie Antoinette” 
	

		September 9, 1 p.m.               “The Mark of Zorro”
	

		September 16, 1 p.m.             “The Black Swan”
	

		September 23, 1 p.m.             “The Razor’s Edge”
	

		September 30, 1 p.m.             “Nightmare Alley”

#### CLAY LIFORD’S DALLAS-BASED “WUSS” TO PREMIERE AT SOUTH BY SOUTHWEST FILM FESTIVAL
DALLAS, TX (February 7, 2011)—The prestigious South By Southwest Film Festival recently announced in its 2011 line-up that Texas filmmaker Clay Liford (EARTHLING, MY MOM SMOKES WEED) has been invited to premiere his latest feature, WUSS.

“…WUSS boasts an impressive cast that includes Alex Karpovsky and ‘Arrested Development’s’ Tony Hale.” – Dallas Observer

“Clay Liford is an established cinematographer and award-winning filmmaker, who’s had a short play the Sundance Film Festival and a recent feature travel the festival circuit the world over.” – Film Threat

“I really appreciated Clay’s honesty with this topic. He didn’t glorify the kids’ behavior and there were consequences for their behavior.” – Tony Hale (in an interview with Pegasus News)

WUSS is the story of a high school teacher who faces constant ridicule after he’s repeatedly beaten up by several of his own students. Having nowhere else to turn, he eventually teams up with another of his students to fight back. This student, a young girl, is feared school-wide because of a dark family reputation. She also has an unfortunate nickname grafted to her due to her predilection for smoking discarded cigarettes. Bonded in battle, the student and teacher form a friendship that stretches the use of the word inappropriate.

Starring Nate Rubin (BLOOD ON THE HIGHWAY, MY MOM SMOKES WEED) and newcomer Alicia Anthony; featuring Jonny Mars (THE HAPPY POET, TREE OF LIFE) and Jennifer Sipes (W., TREE OF LIFE, EARTHLING); with Alex Karpovsky (TINY FURNITURE, LOVERS OF HATE) and Tony Hale (TV’s “Arrested Development”), the film is a dark comedy that almost plays as a horror film. Says Liford, “In most comedies, when characters do harebrained schemes they’re never held accountable for them. I hold them accountable.”

Produced by Texas Theatre partners Barak Epstein (EARTHLING, BLOOD ON THE HIGHWAY), Eric Steele (UNCERTAIN TX, TOPEKA) and SXSW regular Adam Donaghey (EARTHLING, LOVERS OF HATE, AUDREY THE TRAINWRECK) and executive produced by Dallas-resident Bala Shagrithaya, WUSS represents the first true collaboration of all three partners. Chief People Officer Eric Steele promises it won’t be the last: “Our dream was always to make Aviation Cinemas and the Texas Theatre a central hub in film production. WUSS, in many ways, is the flagship for us in terms of Adam, Barak and I working together to produce something. We even did early rough-cut screenings of WUSS at the Texas as Clay was in the editing process. We are beaming with pride about Clay’s work—it’s a stunning film and one that all of Dallas will be proud of.”

#### CLERKS III – Interview with Jeff Anderson & Brian O’Halloran aka Randal and Dante
The epic closure to the CLERKS saga is on digital, available on-demand, and DVD tomorrow Tuesday December 6th, 2022.  Jeff and Brian aka Randal and Dante talked with our Gadi Elkon about fake roof-top hockey, Rosario Dawson, favorite memories and so much more!

Following a massive heart attack, Randal enlists his friends and fellow clerks Dante, Elias, Jay, and Silent Bob to make a movie immortalizing his life at the convenience store that started it all.
Jeff and Brian reflected on the Clerks trilogy, getting Ashoka Tano back into the film and so much more!
Interview with Jeff Anderson and Brian O’Halloran of CLERKS III:

CLERKS III is available digital, on-demand and on DVD starting tomorrow December 6th.
Snoogans!
  
 

#### CLIFFORD THE BIG RED DOG – A Review by John Strange
CLIFFORD THE BIG RED DOG – A Review by John Strange
No one provided me with a free copy of the VOD I reviewed in this blog post; I pay for the subscription to the service out of my own pocket.  The opinions I share are my own.
Sadly, I was born too early to be raised on the Clifford books by Norman Bridwell and published by Scholastic Books.  That said, I have known about them for a long time.
Clifford the Big Red Dog is the origin story for the beloved big red puppy and how he became the BIG puppy owned by Emily Elizabeth Howard (Darby Camp).  The pup was born to a normal momma dog and had three normal siblings.  Momma and the siblings were caught by Animal Control officers, who missed the red puppy during the capture.
The puppy eventually gets free of the warehouse.  He roamed the streets looking for his family and food fighting pigeons for scraps of food.  That is until he encounters Bridwell (John Cleese) who runs an animal rescue.  The rescue operation is not your run-of-the-mill animal rescue, it’s filled with all manner of exotic creatures.
Emily and her Uncle Casey (Jack Whitehall) encounter Mr. Bridwell’s tent of pets for adoption on the grounds of her school.  Telling the proprietor that they are simply looking, they cannot adopt right now, Bridwell directs the pair into another room in the tent with no apparent animals.  There, Emily finds the red puppy up a spiral staircase and instantly falls in love.  Uncle Jack stays firm (not easy for him) and insists that the young lady cannot adopt the puppy.  They leave and Emily spends a truly sad day at school being bullied.
That night, following their arrival home, the puppy works his way out of Emily’s backpack.  She names him in a very cute scene where we begin to see the true character of this puppy.  She talks her uncle into letting the puppy stay the night, to be returned to Bridwell the next morning.
Something magical happens as Emily and Clifford prepare to sleep.  Emily makes a wish that comes true overnight, though not in the way she expected.
This is a sweet story with excellent characters portrayed by wonderful acting talent.  It also has an ultra-nasty villain in the person of Zac Tieran (Tony Hale), the owner of a biotechnology company named Lyfegro.  Tieran sees in Clifford the answers to his company’s plan to grow larger animals to feed the world.
While there is some impolite humor, and a couple of rough-around-the-edges characters like Packard (David Alan Grier), the Howard’s building super, and Mrs. Crullerman (Tovah Feldshuh), their crusty, condensed milk-drinking neighbor, this is a good family film that parents will enjoy as much as their children.
While the theatrical run is winding down, you can still gather around your living room TV and enjoy this film on Paramount+ throughout the holiday season.
 
Director: Walt Becker
Cast: Jack Whitehall, Darby Camp, Tony Hale, Sienna Guillory, David Alan Grier, Russell Wong, John Cleese
MPAA Rating: PG (for impolite humor, thematic elements, and mild action)
Selig Rating: 5 Stars
Runtime: 96 Min.
Based On: the Scholastic Book Series “Clifford the Big Red Dog” by Norman Bridwell
Release Date: 11/10/2021
Local Release Locations: Nationwide, and Paramount+
Movie Site: CLIFFORD THE BIG RED DOG Official Site
Trailer: CLIFFORD THE BIG RED DOG Trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### CLOUDS – A Review by John Strange
CLOUDS – A Review by John Strange
No one provided me with a free copy of the Digital HD I reviewed in this Blog Post.  The opinions I share are my own.
 Zach Sobiech (Fin Argus) is a seventeen-year-old cancer survivor in his senior year of high school.  As if that isn’t enough burden for one to shoulder, this gifted young man finds out that his cancer has returned when he is forced to make a side-trip to the hospital on his way to the first date with the girl of his dreams (sadly, she thinks he stood her up).  The cancer is stage 4, terminal.
But this young man has a strong will and a stronger family backing him.  Opting out of more chemo, he is determined to take his new girlfriend to the senior prom before the cancer wins.
Zach is a talented singer/guitar player.  His best friend since childhood, Sammy Brown (Sabrina Carpenter), also sings and writes songs.  The two write one together they call “Clouds”.  They post the video to YouTube.  It goes viral which brings them to the nation’s attention.
This film is a heartbreaker due to Zach’s fate but it’s also a heart warmer thanks to his iron will and amazing attitude.  The supporting cast includes Neve Campbell (Zach’s mom, Laura), Tom Everett Scott (Zach’s father, Rob), Madison Iseman (Zach’s girlfriend, Amy), and Jason Mraz (as himself).  They are amazing.
The music in this film is excellent.  The story was written by Casey La Scala, Patrick Kopka, and Kara Holden.  Kara Holden is also the screenwriter.  Clouds is taken from the book “Fly a Little Higher” by Laura Sobiech (yes, Zach’s real mom).
This is a great reason to subscribe to Disney+.  Clouds is a 5-star film, but please, remember to have that box of tissues at your side as you watch it.
 
Director: Justin Baldoni
Cast: Fin Argus, Neve Campbell, Sabrina Carpenter, Madison Iseman, Tom Everett Scott, Lil Rel Howery, Summer H. Howell, Vivien Endicott Douglas, Dylan Everett, Jason Mraz
MPAA Rating: PG-13 (for brief strong language)
Selig Rating: 5 Stars
Runtime: 121 Min.
Movie Site: Clouds on Disney Plus
Trailer: CLOUDS (2020) Official Trailer – Disney+
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### Coachella Just Got Miniversed!
This April, MGA’s Miniverse™ is shrinking down the desert in a fully immersive activation at the Coachella Valley Music & Arts Festival. Designed as a miniature reimagining of the festival, the experience invites fans to step inside a world where instantly recognizable landmarks and staples like the ferris wheel and desert palm trees come to life at Miniverse scale.
Inside the activation, festivalgoers will enter a meticulously crafted, mini-sized Coachella where every detail delivers oversized energy, and the soundtrack is just as mini (and real!). Guests can capture share-worthy moments surrounded by perfectly scaled festival scenes and photo opportunities, sip mocktails, munch on mini bites, and unwind in a thoughtfully designed, record-inspired lounge, offering a cool, immersive escape from the desert heat.
Along the way, attendees can collect exclusive, mini-sized keepsakes, including a vinyl keychain and a pocket-sized lineup poster, a collectible mini version of the official Coachella lineup. Music is woven throughout the experience with nostalgic tracks spinning on the tiniest fully working vinyl records offering a first glimpse at what’s to come.
Building on the mini festival experience, Coachella will also mark the debut of MGA’s Miniverse™ Real Music™, a groundbreaking line of playable mini records and a real working mini record player. These collectible records and mini turntable aren’t just for display. They actually spin and play real songs from some of the biggest artists, bringing music culture into miniature form. Festivalgoers will be the first to see, hear, and experience the Miniverse™ Real Music™ Record Player and Mini Records at Coachella, with early preorder access ahead of the nationwide launch this summer.
“Miniverse as a brand is built on the idea that big passions can live in tiny details. From food and lifestyle to animals, pop culture and now music, we transform the things fans love into highly detailed collectibles that are both display-worthy and interactive,” said Josh Hackbarth, Chief Marketing Officer at MGA Entertainment. “With Miniverse at Coachella, we’re bringing that philosophy into live culture, inviting fans to step inside the brand in a truly immersive way. By combining thoughtful design, highly shareable photo moments, and authentic music functionality through our new Real Music line, we’re creating a space where festivalgoers can experience something familiar from an entirely new perspective, proving that the smallest details can make the biggest impact.”
Fans can explore the entire MGA’s Miniverse product collection at the MGA’s Miniverse website. Follow MGA’s Miniverse on Instagram and TikTok for the latest updates about Miniverse at Coachella at the Empire Polo Club in Indio, California, and share content using #MiniverseCoachella.

#### COCAINE BEAR – A Review by Jenn Rohm
COCAINE BEAR – A Review by Jenn Rohm
Truth, in September 1985 drugs were dropped out of a plane in Tennessee.  Then in December 1985, an American black bear was found dead in Georgia having eaten around 75 pounds of cocaine.  The bear was taxidermized and can be seen at the “Kentucky for Kentucky Fun Mall” in Lexington, Kentucky.  This story about Pablo Eskobear (yes, I remember the name in the news in 85) has been used as a jumping-off point for the Universal Pictures film Cocaine Bear.
Loosely based on a real story, after cocaine is dropped out of an airplane and the person who dropped it is found in a person’s driveway with a bag of the cocaine after his parachute didn’t open.  A few different character stories cross paths in a Georgia National Park where an American black bear has eaten cocaine, and she wants more.
Sari (Keri Russell) is doing her best as a single mom to Dee Dee (Brooklynn Prince).  Dee Dee convinces her partner in crime Henry (Christian Convery) to skip school.  While Daveed (O’Shea Jackson Jr.) is trying to get his friend Eddie (Alden Ehrenreich) to get himself together with the backing of Eddie’s father Syd (Ray Liotta).  Ranger Liz (Margo Martindale) is hoping to catch Peter’s (Jesse Tyler Ferguson), eye.  The police officer trying to track down Syd is Bob (Isiah Whitlock Jr.) who enlists Officer Reba (Ayoola Smart) to assist with watching Rosette.  All while Kid (Stache) (Aaron Holliday), with Vest (J.B. Moore) and Ponytail (Leo Hanna) attempt to stab the wrong person.
I have heard about concerns over 12-year-old children doing drugs.  To be clear this film is in no way a glorification or an encouragement to do drugs.  In fact, you could say the characters are scared straight over the use of drugs before the movie ends.   It was a risk having this as part of the story and I am glad they took the risk.   
This movie had me jumping, laughing, catching hidden jokes, and wondering what I was watching.  It was a campy fun movie that isn’t like others out there I enjoyed it and am glad I took the time to watch it.
 
Director: Elizabeth Banks
Cast: Keri Russell, Alden Ehrenreich, O’Shea Jackson Jr., Margo Martindale, Jesse Tyler Ferguson
MPAA Rating: R (bloody violence and gore, drug content, and language throughout)
Genres: Comedy, Thriller
Selig Rating: 5 stars
Runtime: 1 h 35 m
Release Date: February 24, 2023
Movie Site: CocaineBear Website
Trailer: CocaineBear Trailer
 
The Selig Rating Scale:
5 Stars – Excellent movie/ show, well worth the time and price.
4 Stars – Good movie/show
3 Stars – OK movie/show
2 Stars – Well there was nothing else . . .
1 Star – Total waste of time.

#### COCO – A Review by Cynthia Flores
 

	COCO – A Review by Cynthia Flores

	 

	I believe the people at Pixar have sold their souls to the devil, because that's the only way I can think of them being able to crank out yet another soon-to-be classic film.  Coco the newest film from Pixar is simply amazing.  When I went to see the film I had a bit of an attitude.   I thought oh great, a Day of the Dead cartoon from Disney's Pixar, I guess they're trying to reach out to the Latino community with this one. I was not sure how they were going to keep from having a one-note film on their hands.  Boy was I wrong about that.  I left truly touched by the film realizing that its universal story of family and remembering those that have come before you will most likely be embraced by anyone that watches it, no matter what their ethnicity.

	 

	Coco is the story of 12-year-old Miguel Rivera (Anthony Gonzalez) who lives in a small Mexican Village in Santa Cecilia.  Miguel dreams of becoming a musician like his idol Ernesto De La Cruz (Benjamin Bratt) a famous singer-songwriter and film star from his hometown.  De La Cruz died when he was crushed by a giant bell in a live concert.  However, Miguel believes that he is his great-great-grandfather who left his family to achieve his musical dreams and wants to be a musician just like him.  That will be a tough thing to do because for generations his family has banned music from their live.  It’s  because of the great-great grandmother and her daughter being left behind by her husband for his career in music.  I mean nothing as far as music is concerned, no instruments, no music being played in the house, just no music at all by this well known shoemaking family.   

	 

	The family is getting ready to celebrate the Dia de los Muertos.  Which in English is called Day of the Dead.  It is a Mexican holiday celebrated throughout Mexico and South America.  It's the day that they believe that their friends and family that have passed before them can come and visit the living.  It's a day of remembrance and a family celebration.

	 

	Miguel, unfortunately, has other plans.  You see he’s different from his shoemaking family in the fact that he has a song in his heart and has secretly been practicing a guitar that he built himself.  He wants to be a musician and plans to compete in the Day of the Dead competition in the center of town.  Miguel is very upset after his grandmother smashes his homemade guitar, so he runs away and decides to steal the guitar out of the mortuary of the famous De la Cruz singer to use in the competition.  However, because he is stealing from the dead instead of giving to them on the Day of the Dead, some kind of magic happens.  He becomes enchanted and is able to cross over into the Land of the Dead where his family takes him to his great-great-great grandmother to see if they can figure out what to do next.  

	 

	It's then that he runs from his dead family as well, who want to send him back but only if he promises to give up music forever.  So, Miguel is on his quest in the land of the dead with his street dog, Dante, and a friend he made in the city, Hector (Gael Garcia Bernal), to find who he thinks is his great-great-great-grandfather the great Ernesto de la Cruz in order to get a blessing from him that allows him to keep his music.  He has to come back to the land of the living before sunrise.  You see, if he doesn’t get back in time he will become one of them, a skeleton, and stay in the land of the Dead.  Miguel's journey wrestles with what it really means to follow your dreams and to also be a part of family.

	 

	One of the stand out features of the movie is the relationship Miguel has with his great-grandmother Coco (Ana Ofelia Murguia); it’s touching.  She's in a wheelchair, looks like she's a million years old, and does not say much but comes across as the precious member of the family that she is.  I think that Pixar, who has always had a bit of trouble really presenting human characters and the emotions they show on their faces has finally hit it out of the park with their portrayal of this beloved great- grandmother.  The scenes Coco is in, when she is a child, and then as an old woman, are so achingly human they will melt the hardest heart in the theater.  You forget that you’re watching a computer-generated person.

	 

	I can't tell you how beautiful this film is.  I'm very glad that they did it in 3D.  I usually I don't like 3D, but it really works for this film.  The Magic of seeing the City of the Dead and all the skeleton people in their old style clothes and their brightly colored faces is awe inspiring.  There's nothing scary about any of it.  I really don't think any small children would be afraid because it's done so artfully and not for any kind of horror effect.  I especially fell in love with the spirit animals they have in the story.  They are brightly painted, magical creatures that are shown as anything from tiny little monkeys or lizard/bird combinations to giant and fierce winged cats that protect the humans that they helped bring over to the Land of the Dead.

	 

	The film Coco is a must-see this holiday season.  It's not often that you get a film that really delivers so creatively on the sentiment of family and the bond of love that ties them together.  On top of all that there are some mighty fine musical numbers with some beautiful eye-popping scenery to feast on.  So, grab your kids, grab your grandkids, hell if you don't have any of your own just grab a friend and go enjoy this film on the big screen the way it was meant to be seen.

	 

	I give this film a solid A+ rating for being so inventive and keeping Pixar's streak going.

	 

	Directed by Lee Unkrich, Adrian Molina

	Written By Lee Unkrich, Jason Katz

	Rated PG

	Selig Rating A+

	Running Time 1hr 49min

	Animation

	Wide Release Nov 22nd

	Starring: Anthony Gonzalez, Gael Garcia Bernal, Benjamin Bratt, Alanna Ubach

	 

	 

	The Selig Rating Scale:

	 

	A – Excellent movie, well worth the price.

	B – Good movie

	C – OK movie

	D – No need to rush. Save it for a rainy day.

	F – Good that I saw it on the big screen but wish I hadn't paid for it.

#### COCO – A Review by John Strange
FAMILY REUNION — In Disney•Pixar’s “Coco,” Miguel (voice of newcomer Anthony Gonzalez) finds himself magically transported to the stunning and colorful Land of the Dead where he meets his late family members, who are determined to help him find his way home. Directed by Lee Unkrich (“Toy Story 3”), co-directed by Adrian Molina (story artist “Monsters University”) and produced by Darla K. Anderson (“Toy Story 3”), Disney•Pixar’s “Coco” opens in U.S. theaters on Nov. 22, 2017. ©2017 Coco•Pixar. All Rights Reserved.

	 

	COCO – A Review by John Strange

	 

	Coco is the story of a proud Mexican family, the Riveras.  We meet Miguel (Anthony Gonzalez), the youngest member of the family and follow him home where we meet the rest of the family.  For several generations, the Rivera family has been the best zapateros (cobblers or shoemakers) around.  As the Dia de los Muertos (Day of the Dead) approaches we learn the story of how they came to be cobblers.

	 

	The matriarch of the family took up the trade when her guitar playing husband abandoned them to live the life of a famous musician.  She turned away from music, decreeing that there would never again be music or musical instruments in her home or her family’s lives. 

	 

	Miguel is the great grandson of the first Rivera to become a cobbler.  Each generation has turned away from music and made shoes.  Until Miguel, that is.  Miguel dreams of being a famous musician like his idol, Ernesto de la Cruz.  Ernesto came from his village and went on to become hugely famous as both an actor and a singer, revered throughout the country.

	 

	As Dia de los Muertos begins, Miguel’s desire to be a musician has grown so strong that he can no longer hide he desire.  He decides to follow in his idol’s footsteps and do what is needed to get his dream.  For Miguel, that means winning the music competition in the village square. 

	 

	But disaster happens when his abuella (grandmother) discovers his plans and destroys his guitar.  Without an instrument, he can’t perform in the contest.  No one will loan him a guitar.  His actions to get one have consequences he could not begin to imagine.

	 

	The results of his quest will grant him clarity about the truth behind his desires and will help his family by answering questions they didn’t really know they had, bringing them all closer than ever before.

	 

	The storyline of Coco deals with many levels of family pride and the consequences of decisions made for love and pain.  The vocal talents of some amazing performers including Gael García Bernal (Héctor) and Benjamin Bratt (Ernesto de la Cruz) bring the story to life but it is the talented artists of Pixar Animation Studios who truly make this movie such an amazing work of art. 

	 

	I don’t recommend 3D very often.  All too often I find the special effect fails to give us that something extra we need to justify wearing the glasses for 90-120 minutes.  In the case of Coco, 3D gives us a depth to the land across the bridge, the home of those who have left this life, that 2D just can’t pull off.

	 

	I loved this film.  I can recommend Coco for all audiences.  The kids will love the dog, Dante, and all of the colorful characters of the afterworld while the adults will love the story and the music.  The only discordant note I found about the entire film was actually at the very beginning.  The studio altered their standard “castle” introduction to give it a more Latin beat.  To me, it just sounded off.  This is sad as I have seen the intro modified before and I loved it.

	 

	Directed by: Lee Unkrich

	 

	Co-directed by: Adrian Molina

	 

	Cast: Anthony Gonzalez, Gael García Bernal, Benjamin Bratt

	 

	MPAA Rating: PG (for thematic elements)

	 

	Selig Rating: A+

	 

	Runtime: 109 Min.

	 

	Movie Site: http://movies.disney.com/coco

	 

	 

	The Selig Rating Scale:

	 

	A – Excellent movie, well worth the price.

	B – Good movie

	C – OK movie

	D – No need to rush. Save it for a rainy day.

	F – Good that I saw it on the big screen but wish I hadn't paid for it.

#### CODA – A Review by Cynthia Flores
CODA – A Review by Cynthia Flores
A CODA (child of deaf adults) is what they call children born to a deaf parent (or both parents). Although hearing, these children are members of the deaf community from birth. Their first language is often American Sign Language (ASL). This new film from the brilliant writer/director Sian Heder looks at the raw emotion and relatable dysfunction of being needed in a loving, close-knit family unit. Add to the mix the twist of being a gifted singer as well.  
The film CODA is the story of a hard-working Italian fishing family named Rossi who lives in Gloucester, Massachusetts. The film is centered around Ruby (Emilia Jones), the seventeen-year-old daughter of Jacki (Marlee Matlin) and Frank (Troy Kotsur). Her older brother Leo (Daniel Durant) loves teasing her as they work the family boat and sell their catches. Everyone in their immediate family is deaf except Ruby. She is their CODA and is often stuck between her family obligations and her own journey of self-discovery. This is her senior year in high school, and she decides to join the high school choir club because she loves singing. It’s actually her secret passion, something she has not shared with her deaf family. She finds out she’s really good at it and soon finds herself falling for her duet partner Miles (Ferdia Walsh-Peelo). With the help and tutoring of her eccentric choirmaster, Mr. Villalobos (Eugenio Derbez), Ruby actually has a shot at an audition and getting into the prestigious Berkeley School of Music. 
All this happens while the family is struggling with the fishing boat business. Ruby is right alongside them, working before school starts with her father and brother. At night and on the weekends, she studies with Mr. Villalobos to get ready for her audition. Ruby is burning the candle at both ends. All the while, Ruby is torn between what her family needs and what she is dreaming of.  
CODA is a tender and funny film that gives us a glimpse into a community not often represented in film. Not only are you cheering Ruby on, but you are also touched by her family. They are trying to understand a part of her they have never experienced before, her singing.
I give CODA a 4-star rating. It’s a tender film worth seeing in theaters or making it onto your “watch next” lists. 
 
Directed by: Sian Heder
Written by: Sian Heder
Rated: PG-13
Selig Rating: 4 Stars
Running Time: 1h 51min
Drama
Simultaneous Release: In theaters and Apple TV + August 13th
Starring: Emilia Jones, Marlee Matlin, Troy Kotsur, Daniel Durant, Eugenio Derbez
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### CODED BIAS – A Review by Cynthia Flores
CODED BIAS – A Review by Cynthia Flores
Okay, for all you paranoid people that think you’re being watched, this documentary proves you might be right. The new documentary Coded Bias by director Shalini Kantayya takes us to this digital revolution’s front lines. Unfortunately for us, new technology doesn’t seem to be leading to a progressive place or making life much better for all. As the French would say, au contraire. According to this film, bias and prejudice have been baked into the algorithms’ code for artificial intelligence (AI). Perhaps not intentionally, but it’s curious that it favors white men over everyone else. And that the ones who wrote the code are mostly white men.
Coded Bias shows the fallout of research from MIT Media Lab researcher Joy Buolamwini. Her startling discovery of racial bias in facial recognition algorithms put a spotlight on an unseen defect. When she tried to create an Aspire Mirror that would superimpose a famous person’s face over yours telling you inspiring quotes, she ran into problems. The facial recognition algorithms did not detect Joy’s very dark and beautiful face. However, once she placed a white face mask on, it kicked in as programmed. She knew something was wrong. This would lead her and her team to uncover that facial recognition systems were extremely flawed and skewed against women, people of color, and other races.
The documentary asks the daunting question, “What does it mean when artificial intelligence increasingly governs our liberties?” If you are in a group of people that it’s biased against, can you fight back? As humans increasingly outsource decision making to machines, algorithms already decide who gets hired, who gets healthcare care, and who gets undue police security. The film deftly proves that artificial intelligence is not neutral and in need of governmental oversight. Led by a group of women consisting of misfits, women mathematicians, and data scientists who call themselves “The Algorithmic Justice League,” they bring attention to this significant issue. They are leading the fight for ethical use and oversight of the technologies of the future.
The reason Coded Bias works as a film is due to its ability to present enormously complex subjects like artificial intelligence, mathematical algorithms, and ethical debates in an entertaining and fact-based manner. The film thankfully stays away from hyperbole or flashy graphics and music. Instead, Kantayya lets the facts speak for themselves. Scaring the hell out of us all.
I give Coded Bias a 4.5-star rating. It’s a must-see wake-up call into the workings of the machine we are facing now.
 
Directed by: Shalini Kantayya
Written by:  Shalini Kantayya
Rated: NR
Selig Rating: 4.5 Stars
Running Time: 1hr 30min
Documentary
Limited Release: November 20th in Texas, VOD??
Starring: Meredith Broussard, Joy Buolamwini, Silkie Carlo
 
The Selig Rating Scale:
5 Stars – Excellent movie, well worth the price.
4 Stars – Good movie
3 Stars – OK movie
2 Stars – No need to rush. Save it for a rainy day.
1 Star – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### COIN HEIST – A Review By Nick Askam
 

	What makes heist movies so fun and enjoyable is that the audience sees top professionals go against top professionals trying to steal the crown jewel. Unfortunately, there is none of that in Coin Heist and that’s where this film suffers the most. It fails to raise any stakes that seem realistic and overall just bores the audience to sleep with lackluster characters and a poor story.

	Coin Heist is about a kid named Jason who is in this private school because his dad works in at some high level position and he’s on a field trip with his classmates to go to the US Mint. At the Mint, his father gets arrested for stealing $10 million. To save the school, he recruits 3 of his classmates to try to make messed up coins and then steal them to make the money back.

	I did like the acting in this film surprisingly. I thought that Alexis G. Zall, Jay Walker, Sasha Pieterse, and Alex Saxon did great. The problem was that the characters were so one-dimensional and flat that they didn’t have a lot to work with. Zall and Saxon looked comfortable on screen probably from their YouTube and Vine careers. They all seemed to have good chemistry as well which made this film watchable at some points.

	My main problems are with the overall scale of the story. They’re trying to break into the US Mint twice. I would like to see a real life team break into the US Mint once. It would be one thing if this was a private company, but the US Mint has US Military technology in it to prevent people from doing anything out of character. The fact that they basically got in by making other people call in sick and somehow get the van to match the other people’s is absolutely ridiculous. Why couldn’t the stakes be lower? Like what if they only had to steal $100,000 instead of $10 million? 

	The only experience that any of the characters have is that Walker’s character knows a little about cars, Zall’s character apparently hacked into a bunch of websites, and Pieterse’s character knows how to work some desperate dude. Saxon’s character does absolutely nothing and at least the film recognizes that a few times, but he really did just get in the way for a lame love interest twist at the end. I thought it was hilarious that the teacher and dean also turned at the end like they would actually not report this to the police.

	I’m going to spoil the ending because this film is not worth watching at all. To call it anything more than an extended skit is pushing it. In the end, the dean would be caught because $10 million does not just appear out of nowhere. Also, this doesn’t solve any of Jason’s problems because no one will know about what he did and his dad is still in jail. He now has Zall as a girlfriend, but his problems are way worse than the benefits of dating Zall’s character.

	Overall, if you’re really bored and want to see one of your favorite YouTubers on screen, then this movie might be for you. Otherwise, I’d steer clear.

	 

	Grade: D

#### COLD FEET – A Review by Hollywood Hernandez
COLD FEET – A Review by Hollywood Hernandez
Cold Feet is a Nigerian romantic drama that shows infidelity is the same, no matter what the culture or language. The film begins with a loving husband, played by Jim Iyke, treating his wife, who he absolutely adores, to a surprise birthday party followed by an exotic vacation to celebrate the couple’s fifth wedding anniversary. His wife, played by Joselyn Dumas, is a workaholic and is hesitant to leave her work behind but agrees to the second honeymoon.
While at the resort Omoye (Dumas) runs into an old lover and during their stay the two become entangled. However, her old flame Tare (Enyinna Nwigwe) is at the resort with his girlfriend, who he plans to propose to. It is an excellent story about the lives of two couples and the heartbreak that is caused by infidelity. Beverly Naya plays the girlfriend of the unfaithful boyfriend Tare.
The movie has plenty of unpredictable plot twists that will keep you entertained, and the acting is excellent. Dumas plays a character who is very unlikeable, but that changes in the end and Naya’s character is gut-wrenching as a scorned lover.
As far as the male characters are concerned, Iyke is very likable as a husband who’d do anything for his wife while the other male lead, Nwigwe, is despicable as a character who hurts everyone in the movie without any hint of guilt.
In the end, though the movie has a very satisfying ending with a lesson learned as well. The movie, showing on Netflix, is rated TV-14 with a run time of 1 hour and 37 minutes. On my “Hollywood Popcorn Scale” I rate Cold Feet a MEDIUM.

#### COLD WAR – A Review by Cynthia Flores
 
COLD WAR – A Review by Cynthia Flores
Cold War is the other black and white film nominated for a 2019 Oscar for best foreign language film, best director (Pawel Pawlikowski) and best cinematography (Lucasz Zal).  The other one is Roma which was all done by the great Alfonso Cuaron.  They both are films to be seen and enjoyed; unfortunately, they came out in the same year, so they are the ones to beat.
Cold War is a historical period drama set in Poland and France during the cold war from the late 1940s until the 1960s.  It tells the story of an established musical director Wiktor (Tomasz Kot) who is part of a program to take researched Polish folk music and bring it back to life.  This would help instill pride in their homeland under Stalinist communist rule disguised as the Polish United Workers’ Party.  In the midst of all this political oppression, hundreds of young Polish people auditioned for the chance to be a part of this singing and dancing troupe.  Enter what would become the love of Wiktor’s life, Zula (Joanna Kulig).  She is younger than him but because of her rough upbringing, she has learned how to use her looks to get whatever she wants and what she wants is him.
We see the relationship grow between this volatile pair, their love is like an infection in their blood, and it only increases as each one rises to stardom in the troupe while touring the country, making love, and making the music, and themselves, famous.  It’s during their time of traveling and being forced to perform the same music over and over again that they dare to dream of escaping to the creative freedom of the West.  After learning of an upcoming show in a different country, they spot their chance to make a break for Paris.  It’s extremely dangerous, and if they get caught, they would go to jail or worse.  On the day of the escape, Wiktor waits for Zula at the checkpoint that leads to freedom.  But she freaks out and is too afraid to lose what she already has for an unknown future in Paris.  Wiktor must now decide to stay with the only woman he will ever truly love or leave her behind to chase his dream of making it big in the West.
I won’t tell you the rest of the story because I want you to see it for yourselves.  Cold War is a moody and masterly told story of toxic love mixed with real creative talent all against the backdrop of a repressive regime.  Most of the time filmmakers stay away from making black and white movies because it can create a distance between the story and the audience.  However, Cold War needed to be in black and white because I think the brightly colored red, green, and yellows of their native Polish folk dancer costumes wound have been distracting to this murky dark love story.
Which black and white film will win out at this year’s Oscars?  We will find out soon enough.  I know I have my favorite.  All I can say is Cold War is a stunningly dark and moody film, just like the music when Zula sings her heart out to the only man she has genuinely ever desired.  So, grab a glass of wine and enjoy this superb film that I give an A rating to.
 
Directed by Pawel Pawlikowski
Written By Pawel Pawlikowski, Janusz Glowacki, Piotr Borkowski
Rated R
Selig Rating A
Running Time 1hr 29min
Drama
Limited Release January 25th Landmark’s Magnolia Theatre, The Angelika Film Center & Cafe- Plano
Starring: Joanna Kulig, Tomasz Kot, Borys Szyc
 
The Selig Rating Scale:
A – Excellent movie, well worth the price.
B – Good movie
C – OK movie
D – No need to rush. Save it for a rainy day.
F – Good that I saw it on the big screen but wish I hadn’t paid for it.

#### COLETTE – A Review by Cynthia Flores
 

	COLETTE – A Review by Cynthia Flores

	 

	Keira Knightley was born to play historical roles in old-fashioned clothing.  In her new film Colette, she plays the real-life famous French novelist the film is named after.  The film follows Sidonie-Gabrielle Colette (Keira Knightly) as a young girl after marrying a successful Parisian writer known commonly as “Willy” (Dominic West) Henry Gauthier-Villars, who is a most notorious libertine and fourteen years older than her.  She is transplanted from her idyllic rural childhood home in the countryside of France to the intellectual and artistic splendor of Paris in the 1900s.  A time of legendary parties at salons, where she’s introduced to avant-garde intellectuals and the artistic circles her husband runs in.  Quite a significant change for a quiet girl from the country to experience.  Gabrielle jumps into this world head first and takes to it like a fish to water calling herself by her maiden last name Colette.  Because of her husband engaging in sexual affairs, they enter into an open relationship where she’s encouraged to explore her own lesbian tendencies.  

	 

	Willy used ghostwriters to keep his factory of novels and theatrical criticism work open, and all was going well until he was broke and couldn’t afford to pay his workers.  That’s when he convinces Colette to take a crack at writing.  Under pressure from him, she pens the semi-autobiographical novel about a brazen country girl named Claudine, sparking what would ultimately become four widely popular novels in total about the fictional girl.  The books spawned merchandise carrying her name and image, plays based on the books, and a legion of fans devoted to the modern young woman portrayed on the pages of the books.  Her stories helped women overcome societal constraints, revolutionizing literature, fashion, and sexual expression.  As each book garnered more fame on Willy, Colette grew stronger and more autonomous from him, finally asserting her desire to have her name attached as the actual writer of the literary phenomenon of Claudine.

	 

	Along what seems like a very long film, we see Colette discover her passion for performing pantomime (a respected art form at the time) and her love for the cross-dressing Mathilde De Morne, Marquise de Belveuf who went by the name of “Missy”(Denise Gough).  It is through her relationship with Missy that Colette becomes her own person and stands up to Willy, finally divorcing him.

	 

	The film reunites the producing team that gave us the 2015 lesbian drama Carol.  With this biopic, they have chosen to tell another story of a woman that defied social conventions.  I wonder however if the filmmakers decided to show a French story, about one of their most famous French female writers in the Queens English because that was the only way they could acquire the financial backing or was it simply the inability of their actors and actresses to do a whole film in French that colored their decision.  I wouldn't mention it except for the fact that it bugged me.  It was distracting to spend so much of the movie watching Colette actually write her books by hand in French while she narrated what she was writing in English.

	 

	The film Colette is beautiful to look at but just way too long and a bit boring in parts.  The scenes where Colette is pursuing her pantomime acting career and doing such brazen things on stage as kissing another woman or baring one tiny breast to the audience may have been scandalous back then, but it comes off as stilted when Keira Knightley does it on screen now.

	 

	I really wanted to like this film more than I did, the actual life of the woman it’s based on was amazing and made her infamous as a literary giant of her time.  The real Colette deserved much more than this over-indulgent film delivers.  That’s why I’m giving it a C- rating.

	 

	Directed by Wash Westmoreland

	Written By Richard Glatzer, Wash Westmoreland, Rebecca D. Lenkiewicz

	Rated R

	Selig Rating C-

	Running Time 1hr  51min

	Biography / Drama

	Limited Release September 28th  The Magnolia Landmark, Angelika Film Center Plano

	Starring: Keira Knightley, Dominic West, Georgie Raoul-Duval, Fiona Shaw, Denise Gough  

	 

	 

	The Selig Rating Scale:

	 

	A – Excellent movie, well worth the price.

	B – Good movie

	C – OK movie

	D – No need to rush. Save it for a rainy day.

	F – Good that I saw it on the big screen but wish I hadn't paid for it.

#### Colonial Cousins bless Ruupa Raaman’s Krisnaruupa launch
Finally the wait is over. Composer-singer Ruupa Raaman’s debut album Krisnaruupa was launched in a grand affair in presence of musician-singers Hariharan, Lesle Lewis, Dr.Soma Ghosh, Subhankar Ghosh, Abu Malik, Aishwarya Majmudar, Aajay K Chauhan, actors Anil George and Buvnesh Shetty, artist Rakhi Baid, director Ashwini Sharma and her friends and friengels who contributed to this album and many more at Tanishq Showroom, Andheri (West).

	Ruupa Raaman who has brought out over 200 classical albums, being the in the A&R department of EMI, has very interesting fare to offer in Krisnaruupa. Inspired by various forms of Krishna and blessed by the Krishna of Nathdwara temple, composer-singer Ruupa Raaman, brings to you the melodious album Krisnaruupa. One of the songs comprises of 108 names of the Lord among others.

	Interestingly, Ruupa exercised the crowdfunding method to generate partial funds for the album, adding on friends and friengels as they call them contributing to make Krisnaruupa a success. Ruupa has managed to bring in over 2.5 lakh in hand, half the cost of her album, through Wishberry, a portal that helps generate crowdfunding for young talent waiting in the wings due to paucity of funds.

	Krisnaruupa could be one of the pioneering classical albums to actually generate crowdfunding. Generally, young bands with contemporary music are known for looking for crowdfunding options.

	For Ruupa, more than the funds, it is the chance of “taking more and more people forward on the journey,” "It is not easy today to bring out your own album, more so when it is devotional. We were lucky, we got over 56 people who walked by us on our journey and contributed to Krisnaruupa. I am fortunate that when our album comes out, there are people looking forward to it. Otherwise, an album always is one person's solo journey

	Hariharan agreed, "her compositions have soul as she has taken her time over them." Added Lesle Lewis, "Ruupa's compositions touch your soul and will help many a soul heal." Added actor Anil George, "as a listener, I loved the songs. They touch you." Veteran vocalist Dr Soma Ghosh avered, "the compositions and renditions are such that they will touch Lord Krishna to come and hear the voice of today's Draupadi. With divine intervention, there will be a change in the mindset and the status of women." Touche!

	
			
				
			
			
				
			
			
				
			
			
				
			
			
				
			
			
				
			
			
				
			
			
				
			
			
				
			
			
				
			
		

	 

#### COMCAST’S BLACK EXPERIENCE ON XFINITY PREMIERES AWARD-WINNING DOCUMENTARY “COLOR”
Comcast NBCUniversal today announced the exclusive premiere of the award-winning documentary, Color, on Black Experience on Xfinity and the Xumo Play free streaming app. The 90-minute documentary, from Multi-award-winning writer and director John Campbell and featuring acclaimed multidisciplinary artist and founder of Dark Matter Media Alteronce Gumby, takes viewers on a global journey to redefine how color is perceived and understood across different cultures.
The highly acclaimed documentary was nominated for Best Documentary at the Toronto International Nollywood Film Festival, featured in the Montreal Independent Film Festival, and received awards at the Cine Paris Film Festival and International Independent Film Awards. It is now available exclusively on Comcast’s Black Experience on Xfinity channel, a comprehensive content destination featuring the best in Black storytelling from diverse programming partners and film studios and a variety of original documentaries showcasing diverse talent and content creators. Color is also available on the Xumo Play free streaming app for non-Xfinity customers.
Color takes viewers around the world starting with captivating discussions and demonstrations with pigment expert Michael Ambron and celebrity stylist Jerome Lamaar in the Bronx, NY and then to Mardi Gras in New Orleans, Louisiana, to celebrate the vibrancy of French Creole, Caribbean, African, African American, and global cultures. The documentary then travels internationally, experiencing the vibrant colors of the Holi Festival in India, the red sands of the Sahara Desert, the crimson-hued city of Marrakech, Morocco, and to the Great Barrier Reef featuring conversations with marine ecologist Dr. Catherine Kim. The adventure concludes in Alaska with the Northern Lights in Fairbanks, featuring conversations with documentarian Shondiin Mayo.
“Color is more than what meets the eye; it’s a language, a story waiting to be told in every corner of the world.” shared Campbell. “Partnering with Comcast and the Black Experience on Xfinity, we aim to transform how audiences experience and interpret color, diving deep into the cultures that breathe life into it.”
Color is the second collaboration between Comcast’s Black Experience on Xfinity and director John Campbell, who previously debuted Who’s Behind Black Art on the platform last year. Who’s Behind Black Art is a four-part docuseries that explores the lives of five emerging artists navigating the industry and their journey to create a unique exhibition.
“We’re proud to deepen our ongoing collaboration with director John Campbell as we explore the many dimensions of color and its profound impact on our daily lives and we couldn’t think of a better collaborator to explore the topic than Alteronce Gumby, whose obsession with color is so obviously present in all his work,” said Loren Hudson, SVP and Chief Diversity Officer, Connectivity and Platforms at Comcast. “Through Black Experience on Xfinity, we aim to create a space where creators can share their unique perspectives, fostering meaningful connections with audiences everywhere.”
For more information about the film, please visit https://www.colordocumentary.com
Black Experience on Xfinity is available at home on Xfinity X1 and Flex, and on-the-go with the Xfinity Stream app. Additionally, the Black Experience destination is available to NOW Internet customers. The Black Experience on Xfinity features original and high-quality content from Comcast NBCUniversal and other major studios, in addition to content from many of Xfinity’s existing network partners, at no additional cost to Xfinity customers.
Xfinity customers can access the Black Experience on channel 1622 or simply say “Black Experience” into the Voice Remote to instantly enjoy the ultimate in Black storytelling. Non-Xfinity customers will be able to view Color on Xumo Play, Comcast and Charter’s free ad-supported streaming service app.
 

#### COME FIND ME – Interview with Writer Director Daniel Poliner, Lead Actress and Producer Sol Miranda and Lead Actress Victoria Cartagena
COME FIND ME is out in theaters and on VOD this Friday the 13th.  Writer/Director Daniel Poliner, Lead Actress/Producer Sol Miranda, and Lead Actress Victoria Cartagena talked with our Gadi Elkon about this heartfelt film.

Come Find Me is a story about a mother and daughter facing major life changes and how their love challenges and sustains them. The daughter, Christina, is a young attorney rising toward partnership in a large firm with no other partners who look like her. The first half of the movie follows Christina and then it jumps forward two years and we watch her wedding from the point of view of her mother, Gloria, a recently retired and widowed public school principal.
Gadi talked with Daniel, Sol, & Victoria about the origins of the story, the many strong women connected to this film, and so much more!
Interview with Writer/Director Daniel Poliner, Actress/Producer Sol Miranda and Actress Victoria Cartagena:

COME FIND ME is out in theaters and VOD this Friday January 13th, 2023.

#### Comedy Legend Gene Wilder to Present Four Favorite Films as TCM’s Guest Programmer on Tuesday, June 17
 

	Comedy legend Gene Wilder is coming to Turner Classic Movies (TCM) this month to serve as Guest Programmer for June. The two-time Oscar® nominee, whose credits include The Producers (1967), Willy Wonka and the Chocolate Factory (1971), Blazing Saddles (1874) and Young Frankenstein (1974), will join TCM host Robert Osborne to present four of his favorite films on Tuesday, June 17, beginning at 8 p.m. (ET).

	Wilder's evening as TCM's Guest Programmer includes the sentimental drama Random Harvest (1942), which he refers to as "the most romantic film I've ever seen." He also presents The Merry Widow (1934), which he praises for Ernst Lubitsch's comic touches that are "just magic." A fan of Agatha Christie, Wilder tells Osborne he "can never get tired" of the film version of her play Witness for the Prosecution (1957). And he says he never appreciated Bette Davis films until her saw her in the "knockout" drama Dark Victory (1939).

	 

	TCM Guest Programmer: Gene Wilder – Tuesday, June 17, beginning at 8 p.m. (ET)

	8 p.m. – Random Harvest (1942) – A woman's happiness is threatened when she discovers her husband has been suffering from amnesia. Starring Greer Garson, Ronald Colman and Susan Peters. Directed by Mervyn LeRoy.

	10:15 p.m. – The Merry Widow (1934) – A prince from a small kingdom courts a wealthy widow to keep her money in the country. Starring Maurice Chevalier, Jeanette MaDonald and Una Merkel. Directed by Ernst Lubitsch.

	12:15 a.m. – Witness for the Prosecution (1957) – A British lawyer gets caught up in a couple's tangled marital affairs when he defends the husband of a murderer. Starring Charles Laughton, Tyrone Power and Marlene Dietrich. Directed by Billy Wilder.

	2:30 a.m. – Dark Victory (1939) – A flighty heiress discovers inner strength when she develops a brain tumor. Starring Bette Davis, George Brent and Humphrey Bogart. Directed by Edmund Goulding.

#### COMING 2 AMERICA – A Review by Hollywood Hernandez
COMING 2 AMERICA – A Review by Hollywood Hernandez
It’s been 30 years in the making but finally one of the most eagerly anticipated sequels in movie history is available on Amazon Prime Video (free to its subscribers), Coming 2 America. The movie is set in present day Zamunda and we catch up with Prince Akeem, Eddie Murphy, his queen, Shari Headley, and his family of three daughters who are well versed in the culture of their native land. 
At the start of the movie King Jaffe Joffer is on his deathbed and reveals a long-held secret to his son; he has a son and an heir to the throne of Zamunda living in the United States. After the king holds a big final celebration for himself, which features some big-name talent (I won’t ruin the surprise), he dies and Akeem and Semmi, with Arsenio Hall back in his role as the prince’s best friend, head to Queens to find his son and the rightful heir to the crown of Zamunda.
Once in Queens they are reunited with all of the old crew from the original 1988 film. With the help of the men at the barber shop Akeem ventures out to find his son. He finds him outside of Madison Square Garden scalping tickets to the New York Knicks game and tells him that he is his father. 
The young Prince Lavelle, played by Jermaine Fowler, is skeptical and brings him home where he finds his mother Mary (Leslie Jones) and his Uncle Reem, played by Tracy Morgan. After Semmi spills a briefcase, filled with thousands of dollars and gold, Lavelle and his mother Mary decide to accept Akeem’s invitation to move to Zamunda and experience the life of royalty.
Back in Zamunda, Akeem has problems that he must deal with. General Izzi, portrayed by Wesley Snipes, is still angry because his sister, who still jumps on one foot, wasn’t chosen by Akeem to be his wife. Izzi, who discovers Akeem has a bastard son, devises a plan to match up his daughter, the incredibly sexy Bopoto, played by Teyana Taylor, with the young prince to create an alliance with his neighboring country and Zamunda.
Murphy and Hall reprise the characters they played in the original movie in the sequel. The story also involves a strong supporting cast who are more involved in the storyline this time, rather than relying so heavily on Akeem and Semmi to move along the story.  
The story has a younger feel to it with the help of all of the younger generation in the film, which was a wise move because the story has so much more energy than if it was just about a bunch of 50-year-old characters. 
In my opinion, Coming 2 America is a better movie than the original. It’s the excellent big cast of new actors that gives it that something extra. It may be because the film was so eagerly anticipated but I loved it. Coming 2 America is hilarious and in no way disappoints. 
The film is rated PG with a run time of 1 hour and 50 minutes. On my “Hollywood Popcorn Scale” I rate this movie a JUMBO! You can only see it on Amazon Prime Video. 

#### Coming This March To Select U.S. Cinemas – ‘Easter Mysteries’
 

	From the producers who brought you the Tony-Award® winning Broadway hit “A Gentleman's Guide to Love & Murder,” comes “Easter Mysteries,” an original, and wholly entertaining musical theater depiction of the Easter story for modern audiences. Presented by Fathom Events and SimonSays Entertainment, “Easter Mysteries” will play in select U.S. cinemas for one night on Tuesday, March 22 at 7 p.m. local time, and features veteran Broadway actors and singers from the stages of “Les Misérables,” “Mary Poppins,” “The Phantom of the Opera” and more. In addition to the feature content, a timely interfaith discussion between Christian, Jewish and Muslim leaders on the essence and power of Passion plays will complete the event.

	Tickets for “Easter Mysteries” can be purchased by visiting www.FathomEvents.com or at participating theater box offices. Fans throughout the U.S. will be able to enjoy the event in nearly 300 movie theaters through Fathom’s Digital Broadcast Network. For a complete list of theater locations visit the Fathom Events website (theaters and participants are subject to change).

	Broadway veteran actor Phillip Boykin, who plays Caiaphas, is enthusiastic about the production. "This is a Passion play like no other. The love bursts forth and the music soars. First there was ‘Godspell,’ then there was ‘Jesus Christ Superstar,’ then there was ‘Joseph,’ and now there's 'Easter Mysteries,’ and it’s at the top of my list!'"

	“Easter Mysteries,” directed by Danny Goldstein, was staged and captured before a live audience. This first-rate production offers audiences the chance to see, feel and hear real peoples’ experience of this touchstone story of Western civilization in a fresh and moving way.

	The music, libretto and lyrics are by Tony Award-winning Broadway producer John O’Boyle with musical arrangements and music direction by Milton Granger.

	“Seeing this thought-provoking musical in cinemas is the perfect way to celebrate Easter with family and friends,” said Fathom Events VP of Programming Kymberli Frueh. “With a highly acclaimed cast and crew, ‘Easter Mysteries’ is sure be both an uplifting and entertaining experience.”

	SimonSays Entertainment's CEO Ron Simons commented, "We're particularly proud to be presenting this beautifully composed work featuring, and created for, audiences of all beliefs, races and genders. Because such a diverse mix of people fill our outstanding cast this production fits squarely within SimonSays' mission to Tell Every Story®.”

#### COMMITMENT TO LIFE – Interview with Filmmaker Jeffrey Schwarz
Award-winning Filmmaker Jeffrey Schwarz latest feature film is about to have its World Premiere at the Santa Barbara International Film Festival tomorrow February 11th.  Jeffrey talked with our Gadi Elkon about COMMITMENT TO LIFE and so much more!

In the early 1980s, a young doctor at UCLA reports a strange immune disorder among gay men — the world’s first warning sign of the epidemic to come. In the decades that followed, Los Angeles would play a critical role in the battle against HIV/AIDS as people with AIDS, doctors, movie stars, studio moguls and activists came together to change the path of the epidemic and how the world saw it.“Commitment to Life”documents this incredible drama— Rock Hudson and Easy-E, Elizabeth Taylor and David Geffen, the Red Ribbon and “Philadelphia,”ACT UPandAIDS Project Los Angeles— through the stories of those who lived through it. Using first-person interviews, rare archival and activist footage, and scenes from star-studded Hollywood fundraisers,“Commitment to Life” resurrects one of the epidemic’s most compelling histories — in order that we never repeat it.
Jeffrey and Gadi talked about finding new footage, the personal connection to such a story and so much more.
Here is our Interview with Filmmaker Jeffrey Schwarz:

Commitment To Life has its world premiere this Saturday February 11th at the Santa Barbara International Film Festival.
For more info on Jeffrey and his films, AUTOMAT PICTURES.

#### Comrade Dov – Interview with Director Barak Heymann
Israeli documentary filmmaker Barak Heymann’s latest film tackles former Israeli politician Dov Khenin.  We chatted with Barak while his film was premiering at the OTHER ISRAEL FILM FESTIVAL.  Here is our chat with COMRADE DOV director Barak Heymann.

Goddamned communist. Internal enemy. Privileged Tel Aviv Ashkenazi. Dov Khenin was called everything during his time in the Knesset. A portrait of a unique politician who refuses to give up, even as reality deals him one blow after another.
Interview with Comrade Dov Director Barak Heymann.
 
https://seligfilmnews.com/wp-content/uploads/2019/11/Barak-Heymann.mp3
 
Documentary filmmaker Barak Heymann’s ability to showcase a figure like Dov Khenin is a real treat.  Don’t miss out on this open-minded work that is fully aware of the unique quality a figure like Dov brings to Israeli politics.
For more information please follow at HEYMANN BROTHERS FILMS.
 

#### Conan O’Brien to Host Carson on TCM, Premiering Monday, July 1, at 8 p.m. (ET)
 

	Conan O'Brien is coming to Turner Classic Movies (TCM) this summer to host Carson on TCM, a new series featuring memorable Johnny Carson interviews from three decades of The Tonight Show Starring Johnny Carson. The series is set to air Mondays at 8 p.m. (ET), beginning July 1.

	Carson on TCM will feature chats between Carson and some of Hollywood's biggest stars, from legendary screen icons to young newcomers. The series is a joint effort between Emmy®- and Peabody Award-winning filmmaker Peter Jones (Johnny Carson: King of Late Night, TCM's Stardust: The Bette Davis Story) of Peter Jones Productions and Jeff Sotzing of Carson Entertainment Group, which controls the Carson archives.

	O'Brien – a late-night fixture for 20 years and current host of CONAN on TCM's sister network TBS – will introduce five interviews each week on Carson on TCM. Many of the interviews have not aired since they first premiered on The Tonight Show Starring Johnny Carson.

	"With its connection between late-night television and classic films, Carson on TCM offers the perfect opportunity to bring TBS's popular late-night host to Turner Classic Movies," said Jeff Gregor, chief marketing officer of TBS, TNT and TCM and general manager of TCM. "Conan has long idolized Johnny Carson, and he understands what it's like to be on the other side of the desk. We're thrilled to have him coming to TCM to share his unique insight and perspective."

	For its July 1 launch, Carson on TCM will open with Johnny Carson's adorable 1982 interview with 7-year-old Drew Barrymore, who has since grown up to be a Golden Globe-winning actress and co-host of TCM's The Essentials. The night will also feature interviews with Kirk Douglas (taped in 1988), Mary Tyler Moore (1978), writer Neil Simon (1980) and George Burns (1989), one of more than 20 Academy Award® winners featured in the collection.

	The July schedule for Carson on TCM will also feature interviews with such stars as Doris Day (taped in 1976), Charlton Heston (1976), Tony Curtis (1973), Shelley Winters (1975), Ronald Reagan (1975), Robin Williams (1981), Mel Brooks (1975), Bette Davis (1983), Fred Astaire (1979), Henry Fonda (1980), Elizabeth Taylor (1992) and William Holden (1976), to name a few. A complete July schedule is included below.

	 

	Carson on TCM – Series Premiere: Monday, July 1, at 8 p.m. (ET)

	Monday, July 1

	8 p.m. – Carson on TCM: Drew Barrymore (1982), Kirk Douglas (1988), Mary Tyler Moore (1978), Neil Simon (1980), George Burns (1989)

	Monday, July 8

	8 p.m. – Carson on TCM – Doris Day (1976), Charlton Heston (1976), Chevy Chase (1986), Steve Martin (1979), Tony Curtis (1973)

	Monday, July 15

	8 p.m. – Carson on TCM: Shelley Winters (1975), Ronald Reagan (1975), Robin Williams (1981), Jonathan Winters (1988), Michael Caine (1983)

	Monday, July 22

	8 p.m. – Carson on TCM: Mel Brooks (1975), Dom Deluise (1976), Bette Davis (1983), Burt Reynolds (1972), Fred Astaire (1979)

	Monday, July 29

	8 p.m. – Carson on TCM: Henry Fonda (1980), Elizabeth Taylor (1992), Susan Sarandon (1974), William Holden (1976), Goldie Hawn (1980)

	 

#### CONAN THE BARBARIAN
CONAN THE BARBARIAN
 
By Gary Murray 
 
Starring Jason Momoa, Rachel Nichols,  Rose McGowan and Stephen Lang 
 
Written by Thomas Dean Donnelly Joshua Oppenheimer and Sean Hood
 
Directed by Marcus Nispel
 
Running time 1 hr 52 min
 
MPAA Rating R
 
Selig Film Rating FULL PRICE
 
The stories of Conan have been around for a number of years and turned into some successful movies back in the 1980’s.  It was the role that launched Arnold’s career, making him a household name.  In a land called Hollywood, where every idea has been taken and remade, it would only make sense to make a modern CGI re-do of the classic tale.  In more than one way, this edition is superior to the older flicks.
 
The opening tells of a powerful mask that has magical powers.  When it is captured, the chieftains break it into different pieces, giving a single part to different tribes in order for the evil not to return.  
 
Then we cut forward to the birth of Conan, during a battle.  As Mom dies, she demands that her husband Co