HOW DARK MY LOVE

In HOW DARK MY LOVE, Scott Gracheff offers Tribeca 2025 audiences a one-of-a-kind love story between an artist and his photographer/dominatrix wife. Joe Coleman and Whitney Ward are a match made in some weirdly curated heaven of their making. Joe specializes in painting serial killers. The morbid nature of Joe’s larger-than-life paintings is akin to a MAD magazine cartoon from the pits of hell. Joe’s attention to detail is mind-blowing. He uses jeweler’s magnifying lenses to create minute details, from individual hairs and veins on the human figures to the tiny writing that accompanies each personal vignette surrounding the central subject. The paintings are unlike anything I’ve seen before. You would need hours of focus to do each one cognitive justice.
In the film, Joe is working on his penultimate creation: a painting of Whitney. Gracheff tells us a tale of twenty-five years of marriage and the two artists who thrive on each other’s presence. Eccentrics to the bone, they were married by a ventriloquist dummy with guests dressed in elaborate costumes. They have accumulated so many unique and macabre items that they maintain two apartments.
Tyler Hubby‘s editing is a marvel. Joe’s storytelling serves as narration over his creations and home videos. He talks about his heroin addiction, his volatile relationship with his first wife, and his childhood. In conversation with musician Dave Navarro, Joe divulges to the audience his traumatic upbringing. Art is his outlet and rebellion. Whitney was ambushed by a profile in The New Yorker as her professional alter ego, dominatrix Nurse Wolf, in 1998. Her motivation was therapy and not sex. The death of Whitney’s mother, directly followed by an abusive relationship, shaped her art forms. Friend Iggy Pop poses questions to Joe about the motivation and their storied connections. Asia Argento sought him out in her 20s. All these peculiar individuals make one hugely connected chosen family.
During filming, Joe turns 60. Mortality smacks both him and Whitney in the face. After four years, the unveiling of Whitney’s portrait occurs at an exclusive exhibition in Miami. The emotion tied to this one special creation hits differently. A move upstate, a shift in mindset, and the continued worship of one another’s talents deliver exquisite peace. HOW DARK MY LOVE honors the catharsis in art. Joe discusses the struggle in humanity, and it perfectly captures the essence of the film, their lives, and the work. The culmination of a life and love most dream of, HOW DARK MY LOVE celebrates the good, the bad, and the ugly and makes it a masterpiece.
HOW DARK MY LOVE
World Premiere – Viewpoints
| United States | 109 MINUTES | English |
Directed by Scott Gracheff
Produced by Jim Muscarella, Josh Diamond, Jason Diamond, Scott Gracheff, Gregg de Domenico
ABOUT HOW DARK MY LOVE
A tale of painter and muse, at the core of which smolders a timeless love story between artist Joe Coleman and Whitney Ward, husband and wife of 25 years. Known for painting serial killers and outlaws, Joe chooses Whitney to be the subject of his next portrait, and, at nearly 7 feet tall by 4 feet wide, it will be his largest work to date. Teeming with candid biographical details, every aspect of Whitney’s life is vulnerable to exposure, and Joe is taking a leap of faith that Whitney will be able to accept his uncompromising perspective when she is the focus of his gaze. Plunging into darkness in search of the truth, the film intimately explores the relationship between life, love, death, and art.






The jury is exceptional as they move through measured recall to furious shouting matches. Their diligence in tracking down evidence and looking at all sides gives me hope that jurors take their duties seriously. Jack Thornton’s editing is a feat. The choice to keep Krieps in the frame for longer than seems normal has a chilling effect. RE-CREATION is akin to live theatre. It is an improvisation session strapped to a ticking time bomb. The audience is the 13th jury member. Sheridan provides newsreel footage, newspaper clippings, video testimony, and audio recordings at the precise times we might feel lost. It is a real-time exploration of possibilities.
Jim Sheridan also plays Juror #1, serving as a guide and sounding board. Sheridan’s attention to detail is award-worthy. Going as far as to take the jury on a tour of the key locations in the investigation. It’s hard to discern where Sheridan lies on the guilty spectrum personally. His extensive knowledge never feels coercive. He and Merriman skillfully make a case for confusion and conflict, mirroring the state of the evidence.
José Condessa creates a vibrant and charming character. He is sensitive and caring, everything a woman desires in a man. Condessa is dazzling. Ayden Mayeri gives June a true egocentric millennial with an unresolved emotional trauma vibe, which is precisely what Lilian T. Mehrel intended. Mayeri effortlessly glides into June’s arc. Amira Casar takes on Lela with a lived-in authenticity and passion. She holds each frame with her powerful presence. These two women share gorgeous chemistry. 
It becomes clear early on that fear and unresolved trauma impede Mel’s release. He lashes out to prolong his release. Getting polar opposite advice from Mark and Warren, Mel enters a quiet tailspin of decision-making as the clock runs down.
Guy Pearce is a legend. Warren’s goal is emotional redemption for past transgressions, but reality outside forces him to save the only soul he can on the inside. Pearce is a quiet storm. His masterful ability to speak volumes with nothing but a breath proves vital to Warren’s arc. He is an unconventional guardian angel. Vincent Miller captivates as our young leading man. He comes with an unusually mature sense of self, and his comfort in front of the screen and alongside other screen titans is beyond impressive. 


Filmmakers Kasper Bisgaard and Mikael Lypinski bring Tribeca 2025 audiences documentary, THE END OF QUIET, a thought-provoking exploration of human connectivity. In an isolated town in West Virginia, the world’s largest radio telescope can pick up the murmurings of signals across the universe. To achieve this, the telescope resides in the Quiet Zone, the only place in the U.S. where Wi-Fi and cell phone signals are not permitted.
How do they fight the boredom? Brionna and her gun enthusiast grandfather, David, spend time together shooting his 37 guns and rifles and blowing things up. Choosing to reside in The Quiet Zone due to electromagnetic hypersensitivity, Clover and her dog, Beautiful, live for landline phone calls from her husband, who lives abroad. Her original poetry also serves as beautiful transition audio. A lonely but contented elderly vet named Willard spends his days drinking a lot of coffee and attending local funerals. Kirsten, 17, and Frankie, 23, are a young, engaged couple who dream of having a child.
THE FILM IS SUPPORTED BY


Filmmaker Nayra Ilic Garcia brings Tribeca 2025 audiences CUERPO CELESTE, a film about the inevitability of change, for better or worse.
Eshaghian and Jafari use the investigative narrative as a thread throughout the film. The film opens with the discovery of the body and the subsequent search for who and how. Crime photos are relatively tame if you are an avid Discovery ID watcher.


Defying all the odds and the lawyers’ advice, Fernando gathers a local Quechua cast, including little Dylan as young Simba, creating a dazzling version of the beloved tale in his studio. The result is a triumph.
Directed by: Steven Feinartz
Director: Oscar Boyson
Directed by: Cindy Meehl
While waiting at the airport for her husband, Aya (Sarah Adler) is mistaken for someone else. Intrigued, she decides to pick up a complete stranger (Ulrich Thomsen) on a whim. Their encounter sparks an unexpected intimacy that unsettles Aya’s sense of certainty and awakens a yearning she neither fully understands nor knows how to fulfill. Her quiet search for meaning unfolds in a hotel room, a customer service chat and in subtle disruptions to her daily routine, as we are taken through a woman’s delicate and honest search for something meaningful.
Directed by: Rick Gomez
Director: Karam Gill 
Director: Amy Scott

The New York African Film Festival (NYAFF), now underway at Film at Lincoln Center, lands in Harlem on Thursday with a focus on documentaries.
TERRESTRIAL REVEALS A DIFFERENT SHADE OF (STEVE) PINK
I FELL IN LOVE WITH A Z-GRADE DIRECTOR IN BROOKLYN IS A HEARTFELT LOVE LETTER TO INDIE HORROR FILMMAKING AND UNDERGROUND CULTURE
JULIE PACINO MAKES HER DIRECTORIAL DEBUT WITH THE LYNCHIAN I LIVE HERE NOW
J-POP IS A BATTLEFIELD IN YA BOY KONGMIN! THE MOVIE
OUR FAVORITE BAD GIRL IS BACK! GET READY TO BE LED ASTRAY AND BETRAYED WITH INFLUENCERS!
INDIE KOREAN THRILLER THE WOMAN TRADES IN TENSION AND SUSPENSE
BUCKLE IN AND HOLD THE FORT
POST-APOCALYPTIC ECO-THRILLER THE WELL FORETELLS OF ENVIRONMENTAL COLLAPSE
STRANGE STUDENTS WITH STRANGER TALENTS KEEP WATCH IN HONEKO AKABANE’S BODYGUARDS
FANTASY ROMCOM ANIME CHAO MAKES A BIG SPLASH
A WILD TRIBUTE TO 1970s PORNOGRAPHY AND EROTIC THRILLERS WITH ANYTHING THAT MOVES
A SUPERNATURAL RIDE DEEP INTO UNEXPECTED TERRITORY: HELLCAT
NECROMANCY AND BELIEF VS CORPOREAL DECAY: MOTHER OF FLIES SPELLBINDS
WHOSE TALE IS TRUE IN KYRGYZ MYSTERY BURNING?
THE BEARDED GIRL BLENDS SIDESHOW CHARM WITH A COMING-OF-AGE STORY YOU WON’T FORGET
DREAMS AND NIGHTMARES COLLIDE IN MEXICO’S FIRST STOP-MOTION FEATURE
THE LAST WOMAN ON EARTH JUMPS INTO CINEMA’S GENDER DIVIDE
A HAUNTING 8MM DESCENT INTO AUSTRALIA’S SURREAL UNDERBELLY
MORE SPECTACULAR SPOOKINESS IN MONONOKE THE MOVIE: CHAPTER II – THE ASHES OF RAGE
The 29th edition of the Fantasia International Film Festival is presented by MELS in collaboration with Concordia University and made possible by the financial support of Telefilm Canada, the Société́ de développement des entreprises culturelles (SODEC), the Ministère du Tourisme, the Ministère des Affaires municipales et de l’Habitation, the city of Montreal, the Conseil des arts de Montréal, Tourisme Montréal, and the Directors Guild of Canada (DGC).

Sophie Mara Baaden plays six-year-old Sadie with authentic innocence and sass. She has wonderful chemistry with Campbell. Lesley Ann Warren plays Nora’s waspy mother and provides the stereotypical artist’s parent doubtful “I told you so” tone. Nick Fink is fantastic as Sadie’s first-grade teacher Adam. He and Campbell are a striking duo. It doesn’t hurt that his singing voice Is delicious.
The script nails the loss of personal identity when a woman becomes a mother. The invisible labor and patriarchal structure often lead to isolation and lingering resentment. It delves into self-loathing and body changes. It tackles suburban social pressure, which can be a lot. On the flip side, she also perfectly captures the love-filled hyping up we do for our kids every single day.
Campbell is ceaselessly charming. She is funny, self-effacing, anxiety-ridden, and pottymouthed, just the way I like my fellow Moms. As a woman who gave up a career performing to be a supportive partner and mother, NORA fills my soul with a knowing. 



However, the underlying generational trauma manifests in a contentious mother-daughter relationship. Mola uses humor and cutting words as shields. Patrick Kirst‘s score captures each beat, whether melancholy or joy. Sonam wishes for her to stay for all the reasons one would expect a loved one to feel.


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