20 Mother’s Day films to binge this weekend.

Ahh, Mother’s Day. The flowers, cards, and weird handmade gifts you’ll find in a box someday.

This weekend we celebrate all things Mom. Here are 20 films that feature the good, the bad, and the ugly of Motherhood.


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To Our Moms, and every mother figure out there… Thank you.
Love Always,
Reel News Daily (Liz, Melissa, Britni, & Sam)

21 eclectic films featuring a rabbit… ya know, for Easter.

Could we put together a cuddly list of family-friendly Easter films? Probably. But where’s the fun in that? Here is a list of films where a rabbit is featured in one way or another. Most are straightforward. A few, well, I guess you’ll have to watch them and figure out why they’re there. Happy Easter, and happy hunting for those pesky wabbits.


Space Jam

Swackhammer (Danny DeVito), an evil alien theme park owner, needs a new attraction at Moron Mountain. When his gang, the Nerdlucks, heads to Earth to kidnap Bugs Bunny (Billy West) and the Looney Tunes, Bugs challenges them to a basketball game to determine their fate. The aliens agree, but they steal the powers of NBA basketball players, including Larry Bird (Larry Bird) and Charles Barkley (Charles Barkley) — so Bugs gets some help from superstar Michael Jordan (Michael Jordan).


Fantastic Mr. Fox

After 12 years of bucolic bliss, Mr. Fox (George Clooney) breaks a promise to his wife (Meryl Streep) and raids the farms of their human neighbors, Boggis, Bunce and Bean. Giving in to his animal instincts endangers not only his marriage but also the lives of his family and their animal friends. When the farmers force Mr. Fox and company deep underground, he has to resort to his natural craftiness to rise above the opposition.


The Matrix

Neo (Keanu Reeves) believes that Morpheus (Laurence Fishburne), an elusive figure considered to be the most dangerous man alive, can answer his question — What is the Matrix? Neo is contacted by Trinity (Carrie-Anne Moss), a beautiful stranger who leads him into an underworld where he meets Morpheus. They fight a brutal battle for their lives against a cadre of viciously intelligent secret agents. It is a truth that could cost Neo something more precious than his life.


Us

Accompanied by her husband, son and daughter, Adelaide Wilson returns to the beachfront home where she grew up as a child. Haunted by a traumatic experience from the past, Adelaide grows increasingly concerned that something bad is going to happen. Her worst fears soon become a reality when four masked strangers descend upon the house, forcing the Wilsons into a fight for survival. When the masks come off, the family is horrified to learn that each attacker takes the appearance of one of them.


Peter Rabbit

Peter Rabbit and his three sisters — Flopsy, Mopsy and Cotton-Tail — enjoy spending their days in Mr. McGregor’s vegetable garden. When one of McGregor’s relatives suddenly moves in, he’s less than thrilled to discover a family of rabbits in his new home. A battle of wills soon breaks out as the new owner hatches scheme after scheme to get rid of Peter — a resourceful rabbit who proves to be a worthy and wily opponent.


WATERSHIP DOWN

When a young rabbit named Fiver (Richard Briers) has a prophetic vision that the end of his warren is near, he persuades seven other rabbits to leave with him in search of a new home. Several obstacles impede their progress, including predators, a rat-filled cemetery, and a speeding river. Upon arriving at their final destination, a hill dubbed Watership Down, the rabbits find that their journey is still far from over. Realistically drawn, this British animated film carries an emotional weight.


Donnie Darko

During the presidential election of 1988, a teenager named Donnie Darko sleepwalks out of his house one night and sees a giant, demonic-looking rabbit named Frank, who tells him the world will end in 28 days. When Donnie returns home, he finds that a jet engine has crashed into his bedroom. Is Donnie living in a parallel universe, is he suffering from mental illness – or will the world really end?


Miss Potter

Based on the life of early 20th-century author Beatrix Potter, creator of Peter Rabbit. As a young woman Potter rails against her parents’ wishes for her to marry and settle down. Instead, she continues to write about and draw the animals she has adored since childhood. Her early attempts to find a publisher for her children’s stories are unsuccessful, but an offer from a small firm will turn her into a literary phenomenon.


Night of the Lepus (1972)

Arizona rancher Cole Hillman (Rory Calhoun), dealing with massive rabbit overpopulation on his land, calls on a local college president, Elgin Clark (DeForest Kelley), to help him. In order to humanely resolve the matter, Elgin brings in researchers Roy (Stuart Whitman) and Gerry Bennett (Janet Leigh), who inject the rabbits with chemicals. However, they fail to anticipate the consequences of their actions. A breed of giant mutant rabbits emerges and starts killing every human in sight.


Harvey

Elwood P. Dowd (James Stewart) is a wealthy drunk who starts having visions of a giant rabbit named Harvey. Elwood lives with his sister Veta (Josephine Hull) and her daughter (Victoria Horne), and Veta worries that Elwood has gone insane. In the process of trying to have him committed, Veta admits that she occasionally sees Harvey herself. The director of the mental home, Dr. Chumley (Cecil Kellaway), tries to reconcile his duty to help Elwood with his own growing experiences with Harvey.


Zootopia

From the largest elephant to the smallest shrew, the city of Zootopia is a mammal metropolis where various animals live and thrive. When Judy Hopps (Ginnifer Goodwin) becomes the first rabbit to join the police force, she quickly learns how tough it is to enforce the law. Determined to prove herself, Judy jumps at the opportunity to solve a mysterious case. Unfortunately, that means working with Nick Wilde (Jason Bateman), a wily fox who makes her job even harder.


Fatal Attraction

For Dan Gallagher (Michael Douglas), life is good. He is on the rise at his New York law firm, is happily married to his wife, Beth (Anne Archer), and has a loving daughter. But, after a casual fling with a sultry book editor named Alex (Glenn Close), everything changes. Jilted by Dan, Alex becomes unstable, her behavior escalating from aggressive pursuit to obsessive stalking. Dan realizes that his main problem is not hiding his affair, but rather saving himself and his family.


Who Framed Roger Rabbit

Down-on-his-luck private eye Eddie Valiant (Bob Hoskins) gets hired by cartoon producer R.K. Maroon (Alan Tilvern) to investigate an adultery scandal involving Jessica Rabbit (Kathleen Turner), the sultry wife of Maroon’s biggest star, Roger Rabbit (Charles Fleischer). But when Marvin Acme (Stubby Kaye), Jessica’s alleged paramour and the owner of Toontown, is found murdered, the villainous Judge Doom (Christopher Lloyd) vows to catch and destroy Roger.


Wallace and Gromit: The Curse of the Were-Rabbit

The plucky characters from a series of animated shorts, Wallace (Peter Sallis) and his dog, Gromit, make their feature debut here. After starting a pest control business, the duo soon lands a job from the alluring Lady Tottington (Helena Bonham Carter) to stop a giant rabbit from destroying the town‘s crops. Both Wallace and the stuffy Victor (Ralph Fiennes) vie for the lady’s affections. If Wallace wants to please his pretty client, and best Victor, he needs to capture that pesky bunny.

The Favourite

In the early 18th century, England is at war with the French. Nevertheless, duck racing and pineapple eating are thriving. A frail Queen Anne occupies the throne, and her close friend, Lady Sarah, governs the country in her stead while tending to Anne’s ill health and mercurial temper. When a new servant, Abigail, arrives, her charm endears her to Sarah. Sarah takes Abigail under her wing, and Abigail sees a chance to return to her aristocratic roots.


Alice in Wonderland

Lewis Carroll’s beloved fantasy tale is brought to life in this Disney animated classic. When Alice (Kathryn Beaumont), a restless young British girl, falls down a rabbit hole, she enters a magical world. There she encounters an odd assortment of characters, including the grinning Cheshire Cat (Sterling Holloway) and the goofy Mad Hatter (Ed Wynn). When Alice ends up in the court of the tyrannical Queen of Hearts (Verna Felton), she must stay on the ruler’s good side — or risk losing her head.


Jojo Rabbit

Jojo is a lonely German boy who discovers that his single mother is hiding a Jewish girl in their attic. Aided only by his imaginary friend — Adolf Hitler — Jojo must confront his blind nationalism as World War II continues to rage on.


Caveat

A desperate drifter suffering from partial memory loss agrees to look after his landlord’s psychologically troubled niece in an isolated island mansion.


HOP

Beneath Easter Island, in a giant factory that manufactures the world’s Easter candy, the popular rabbit is preparing to pass the mantle to his son, E.B. (Russell Brand). But E.B. has no interest in the job and would rather be a drummer. He runs away to Los Angeles, where an unemployed slacker named Fred O’Hare (James Marsden) accidentally runs into him. Feigning injury, E.B. tricks Fred into giving him shelter, but an oversized chick is planning a coup back on Easter Island.


Monty Python and The Holy Grail

A comedic send-up of the grim circumstances of the Middle Ages as told through the story of King Arthur and framed by a modern-day murder investigation. When the mythical king of the Britons leads his knights on a quest for the Holy Grail, they face a wide array of horrors, including a persistent Black Knight, a three-headed giant, a cadre of shrubbery-challenged knights, the perilous Castle Anthrax, a killer rabbit, a house of virgins, and a handful of rude Frenchmen.


A Christmas A Story

(Don’t argue with me, this film 100% falls under this odd list. In fact, it’s the second film with a hideous bunny suit.)

Based on the humorous writings of author Jean Shepherd, this beloved holiday movie follows the wintry exploits of youngster Ralphie Parker (Peter Billingsley), who spends most of his time dodging a bully (Zack Ward) and dreaming of his ideal Christmas gift, a “Red Ryder air rifle.” Frequently at odds with his cranky dad (Darren McGavin) but comforted by his doting mother (Melinda Dillon), Ralphie struggles to make it to Christmas Day with his glasses and his hopes intact.


HOPPY EASTER


SXSW 2022 is coming. Here are some films to add to your watch list in this year’s hybrid festival.

It’s here and boy is it happening. This year’s hybrid edition of SXSW 2022 has it all. Here are a handful of films we’re excited about this year.


Linoleum

When a satellite falls from orbit and crashes into the home of a dysfunctional family in suburban Ohio, the father seizes the opportunity to fulfill his childhood dream of becoming an astronaut by re-creating the machine as his own rocket ship. While his wife and daughter believe he is experiencing a midlife crisis, surreal events begin to unfold around him, forcing him to reconsider how interconnected their lives truly are…

We’ve been living through hell these past few years and could all use a bit of whimsy. Linoleum provides us the opportunity to reconnect with our inner child while simultaneously dissecting the family dynamics. Plus, I think a lot of people forget how incredibly talented Jim Gaffigan is as an actor. Look out for this one.


The Cellar

A woman must confront an ancient and powerful entity after her daughter mysteriously vanishes in the cellar of their new home.

Shudder has already picked this title up before its SXSW22 premiere. Becoming the best streaming platform for all things genre-related, when they see potential in a film they snap it up ASAP. An old mansion, a new family, a disappearance, The Cellar has my attention.


DIAMOND HANDS: THE LEGEND OF WALLSTREETBETS

It was the perfect storm. A global pandemic. An app aspiring to democratize trading. A group of Reddit users stuck at home with stimulus dollars to burn. And a video game company on its last legs. DIAMOND HANDS is the incredible true story of how an army of retail traders rallied around GameStop to rock our financial system. This is the legend of r/WallStreetBets.

Everyone watched in awe and confusion as GameStop stock began to skyrocket. The fallout was disastrous, but the idea that a bunch of dudes on Reddit were able to completely disrupt the market is pretty much my favorite (anti)capitalist giggle from 2020.

MSNBC Films and NBC News Studios will premiere “Diamond Hands: The Legend of WallStreetBets,” on MSNBC Sunday, April 10 at 10:00 p.m. ET, following the global premiere at SXSW on March 13. “Diamond Hands” is produced by NBC News Studios and ZCDC Films. The film is set to stream later this Spring on Peacock. 


Hypochondriac

A young potter’s life devolves into chaos as he loses function of his body while being haunted by the physical manifestation of his childhood trauma.

If you’re looking for some kick-ass casting, look no further than Zach Villa in Hypochondriac. Unrecognizable from his American Horror Story seasons, Villa plays the writer-director Addison Heimann‘s words with care. The film is based on Heiman’s own experience with mental health.


The Cow

Synopsis: Upon arriving at a remote cabin in the redwoods, Kath and her boyfriend find a mysterious younger couple already there — the rental has apparently been double-booked. With nowhere else to go, they decide to share the cabin with these strangers until the next morning. When her boyfriend disappears with the young woman, Kath becomes obsessed with finding an explanation for their sudden breakup— but the truth is far stranger than she could have imagined.

If you go to IMDB the plot for the film is still under wraps, so SXSW22 fans are in for a treat. I’ve always been a Winona Ryder fan and with Stranger Things revamping her genre status, I cannot wait to see what is in store in this mysterious-sounding plot.


Mickey: The Story of a Mouse

Mickey Mouse is one of the most enduring symbols in our history. Those three simple circles take on meaning for virtually everyone on the planet. So ubiquitous in our lives that he can seem invisible, Mickey is something we all share, with unique memories and feelings. Over the course of his nearly century-long history, Mickey functions like a mirror, reflecting our personal and cultural values back at us. “Mickey: The Story of a Mouse” explores Mickey’s significance, getting to the core of what Mickey’s cultural impact says about each of us and about our world.

When I was 19 years old, I moved to California on a whim in hopes of working at Disneyland. During my amazing time performing there (those details are top secret via the stack of NDA’s you sign as a cast member), I had the extraordinary pleasure of meeting a special individual. When Walt Disney opened Disneyland he presented the world with Mickey Mouse, live and in person. I met that man backstage and had my photo taken with him. The impact Mickey Mouse has had on generations of children and adults is unfathomable. Mickey: The Story of a Mouse will undoubtedly touch a massive audience. As I share Mickey with my own small children now, I can still picture my first meeting with a character so magical I was overwhelmed with joy and excitement. He never gets old, pun most definitely intended.


The Prank

Synopsis: Ben is your typical high-school overachiever. He’s organized, careful, goal-oriented and extremely dedicated to school. His best friend, Tanner, couldn’t be more opposite. She is a lackadaisical, messy, slacker, who lives in the moment. They aren’t popular, but they don’t seem to care that much because they have each other. Ben has a stern, mean and cruel physics teacher, Mrs. Wheeler. She has been teaching at the school for decades and has a reputation for being the hardest, coldest, strictest faculty member. She fails Ben’s entire class unless a student who cheated comes forward. When no one does, Tanner and Ben hatch a plan to ruin he life and frame her for murder on social media.

Social media is such a catalyst for action, terror, and weirdness these days that anything is possible when it is involved. But, it’s this cast that caught my eye. Rita Moreno, Connor Kalopsis, Ramona Young, Keith David, Kate Flannery, and Meredith Salenger will get my butt in a seat. Also, who didn’t have a teacher in high school everyone loathed?


The Unknown Country

An unexpected invitation launches a grieving young woman on a solitary road trip through the American Midwest as she struggles to reconcile the losses of her past with the dreams of her future.

I was first introduced to Lily Gladstone in Certain Women. Her ability to captivate with but a glance is something that is rare. The Unknown Country tackles a beautiful mix of anxiety, grief, and identity, all in a unique road trip movie. It’s a film we’ll be talking about all year.


Sissy

**WORLD PREMIERE**

WRITERS/DIRECTORS: Hannah Barlow, Kane Senes
STARRING: Aisha Dee, Hannah Barlow, Emily De Margheriti, Daniel Monks, Yerin Ha, Lucy Barrett, Shaun Martindale, Amelia Lule, April Blasdall, Camille Cumpston

Synopsis: Cecilia and Emma were tween-age BFFs who were going to grow old together and never let anything come between them, until Alex arrived on the scene. Twelve years later, Cecilia is a successful social media influencer living the dream of an independent, modern millennial woman… until she runs into Emma for the first time in over a decade. Emma invites Cecilia away on her bachelorette weekend at a remote cabin in the mountains, where Alex proceeds to make Cecilia’s weekend a living hell. #triggered

Listen, girls are mean. We hold grudges and we play dirty, those are just the facts. When friendships are disrupted, those scars last a lifetime. With social media affecting the way we lead our daily lives, SISSY sounds like a perfect storm for great horror.


SOFT & QUIET

Playing out in real time, Soft and Quiet is a runaway train that follows a single afternoon in the life of a female white supremacist as she indoctrinates a group of alt-right women, and together they set out to harass two mixed-raced sisters.

Any film that has the audacity to play out in real time has my attention. I am hardwired to loathe these main characters so I am hoping that some horrible fate befalls them. The plot is socially relevant even if I wish it weren’t. I’ll be paying close attention to how writer-director Beth de Araújo brings her first feature-length film to life.


Radical Honesty

At the tail end of a great date, Jack and Rachel bond over a shared interest in deconstructing traditional relationship structures. When Jack reveals the reality of his “radical” open relationship, things take a turn for the absurd in this short film about the co-option of the language of liberation for means of manipulation and control.

At 41, I cannot imagine navigating a new relationship at this precise moment in time. I remember when Match.com first became a thing and how weird I thought it sounded. Then I recall attending four weddings in the years that followed, each couple had met through Match. RADICAL HONESTY, a 7-minute short film, tackles the complexities that Gen Z and Millenials face day-to-day. I’ll be watching with popcorn in hand knowing that it’s one hell I don’t have to keep in check these days. (*knock on wood) Check out the teaser trailer for the film’s aesthetic.

Radical Honesty Teaser from Bianca Poletti on Vimeo.


Slash/Back

Synopsis: Pangnirtung, Nunavut: A sleepy hamlet nestled in the majestic mountains of Baffin Island in the Arctic Ocean, wakes up to a typical summer day. No School, no cool boys (well… except one), and 24-hour sunlight. But for Maika and her ragtag friends, the usual summer is suddenly not in the cards when they discover an alien invasion threatening Pang. But these teenagers have been underestimated their whole lives, and using makeshift weapons and their horror movie knowledge, they show the aliens you don’t fuck with the girls from Pang.

Slash/Back is an unexpected coming-of-age film. With some Stranger Things vibes, it tackles tradition, boredom, boys, and aliens. Wait until you see this young cast kicking ass and taking names.


Pirates

New Year’s Eve 1999. Three life long friends drive through London in their tiny Peugeot 205, pumping a UK Garage set from the stereo and arguing about their Avirex jackets and Naf Naf imports. As the eighteen-year olds step into adulthood, they know their lives and friendships are on the brink of change. Determined to end the century on a bang, they drive from place to place in a desperate search for tickets for the best millennium party EVER. In their efforts to end up somewhere, they end up closer together.

I know I’m aging myself but I was 19 on New Year’s Eve 1999. I lived this chaos and hopefulness. Anything was possible during the course of one evening. I’m here for the nostalgia and some solid shenanigans.


Jethica

Hiding out in New Mexico after a freak accident, Elena runs into Jessica, an old friend from high school. When Jessica’s stalker suddenly shows up at their door, they must seek help from beyond the grave to get rid of him, for good.

Wild and collaborative filmmaker, Pete Ohs brings an exciting edge to the indie scene with Jethica. Shot during the pandemic in 2021 and edited live on Twitch, SXSW22 audiences are surely in for some unexpected twists and turns.


The Voice Actress

Kingyo, a veteran voice actress working in Tokyo, possesses a unique ability to see the soul in all things, living and inanimate. The voice acting world is changing and she must find a way to reconcile her way of living with the modern industry. As Kingyo prepares for an upcoming audition, she seeks inspiration from the world around her and from her pet goldfish, Asatte. In the face of professional and personal adversity, Kingyo looks decidedly inward for strength through empathy and kindness.

A peek inside the recording booth and inside the mind of a working voice actress. Urara Takano puts a face to the performers we don’t talk enough about. Written, directed, and edited by Anna J. Takayama, we are invited into the world of a veteran voice actress and how she copes with forces beyond her control.


For more information on this year’s SXSW Film Festival click here!

Stayed tuned for Reel News Daily coverage as well as guest posts from Steve Kopian at Unseen Films. We’re making our schedules and doing all we can to bring you everything we’ve got. Stayed tuned!


Valentine’s Day Special: Our favorite films about love and loss, make-outs and breakups. Here’s a few movies to binge this weekend…

Valentine’s Day Special 2022

Love it or hate it, Valentine’s Day is coming. Whether you expect to get roses and chocolates, booze and pizza, spend it with a significant other, or all by your beautiful self, Valentine’s Day brings up A LOT of emotions. So, to ease you into whatever kind of weekend you’re planning (or not planning) on having, here are a handful of our suggestions for films that highlight the greatest make-outs and hideous breakups from years gone by.


Liz’s Picks:

Can’t Buy Me Love

Nerdy high schooler Ronald Miller (Patrick Dempsey) rescues cheerleader Cindy Mancini (Amanda Peterson) from parental punishment after she accidentally destroys her mother’s designer clothes. Ronald agrees to pay for the $1,000 outfit on one condition: that she will act as though they’re a couple for an entire month. As the days pass, however, Cindy grows fond of Ronald, making him popular. But when Ronald’s former best friend gets left behind, he realizes that social success isn’t everything.

I saw this film at my very first teenage sleepover. I was 13 and the night consisted of The Rocky Horror Picture Show, The Life of Brian, and Can’t Buy Me Love. Before McDreamy was on millions of small screens, he was Ronald Miller to me. This was a twist on the classic girl gets makeover lands boy plot I’d been pumped with. It was a pivotal moment in my continued adoration for the nerdy guy.


Only Lovers Left Alive

Artistic, sophisticated and centuries old, two vampire lovers (Tilda Swinton, Tom Hiddleston) ponder their ultimate place in modern society.

Jim Jarmusch, Tilda Swinton, Tom Hiddleston, Mia Wasikowska, (the late and eternally extraordinary) Anton Yelchin. The names alone should get you to run to this film. Gloriously shot and deliciously acted, why wouldn’t you watch a film about a depressed rockstar vamp and his ultra-cool wife getting disrupted in their centuries-long affair by her younger sister’s shenanigans? This film is sexy and romantic. Trust me when I say it will be on the list of top films you force your friends to watch.


The Notebook

A poor yet passionate young man falls in love with a rich young woman, giving her a sense of freedom, but they are soon separated because of their social differences.

“If you’re a bird, I’m a bird.” Noah and Allie’s complicated and oftentimes volatile love story is one that has become a household name. In fact, it was my husband’s first pick when it came to Valentine’s Day films. We watched the onscreen couple become real-life couple Ryan Goslin and Rachel McAdams and followed along as they dated, broke up, became engaged, and finally parted ways. I’m not going to lie, I still pine for those two to end up together, however irrational it might be.


Marriage Story

A stage director and his actor wife struggle through a gruelling, coast-to-coast divorce that pushes them to their personal and creative extremes.

If you’re looking for an award-worthy performance from Adam Driver, look no further than Marriage Story. The complexities of this script are far beyond anything you’re prepared for. I was lucky enough to speak with writer-director Noah Baumbach and the cast in 2019 when the film premiered at NYFF. If you’re a Broadway buff, you’ll find the gravity of the numbers from COMPANY particularly poignant. Marriage Story is a Netflix film.


Fatal Attraction

For Dan Gallagher (Michael Douglas), life is good. He is on the rise at his New York law firm, is happily married to his wife, Beth (Anne Archer), and has a loving daughter. But, after a casual fling with a sultry book editor named Alex (Glenn Close), everything changes. Jilted by Dan, Alex becomes unstable, her behavior escalating from aggressive pursuit to obsessive stalking. Dan realizes that his main problem is not hiding his affair, but rather saving himself and his family.

This film has inspired so many copycats since it premiered in 1987. A woman spurned is taken to new heights in one of the scariest and most intense reactions from being ignored. If you haven’t seen this classic breakup film, a little warning; Don’t get too attached to the family rabbit.


Blue Is The Warmest Color

A French teen (Adèle Exarchopoulos) forms a deep emotional and sexual connection with an older art student (Léa Seydoux) she met in a lesbian bar.

Fearless, sexy, raw, captivating, in 2013 I sat in the fullest theatre at NYFF and experienced this film with a hushed audience. While there has since been much controversy surrounding the sex scenes and the treatment of the leading ladies during filming, there is no denying the life they breathe into this film. Know your audience. Do Not Watch with children or your parents in the room.



Melissa’s Picks:

War of the Roses

After 17 years of marriage, Barbara (Kathleen Turner) and Oliver Rose (Michael Douglas) want out. The trouble is, neither one wants to part with their opulent home. So begins a long war between husband and wife, reaching farcical heights that leave much of the house — not to mention their lives — in shambles. The couple’s children (Sean Astin, Heather Fairfield) watch in horror while lawyer Gavin D’Amato (Danny DeVito) tries his best to stem the bloodshed.

Kathleen Turner and Michael Douglas were an “it” couple of the 80s which was great on its own, but then once you add in Danny DeVito, you get something special. The three of them blended well in Romancing the Stone and Jewel of the Nile, but by War of the Roses, Danny DeVito started directing and had just finished Matilda. His style is subtle but unbelievably purposeful. From camera angles to choreography, he toes the line of comedy/drama/horror with a story where you yearn for them to get back together while at the same time anxiously looking forward to the bigger jab.


She-Devil

A surprisingly resourceful housewife vows revenge on her husband when he begins an affair with a wealthy romance novelist.

“Don’t get mad, get revenge” is taken to new levels when Ruth (Roseanne Barr) decides to turn the tables on her husband (Ed Begley, Jr) when he leaves her after an affair (Meryl Streep). This time capsule of a movie gives you “Lifestyles of the Rich and Famous,” Sally Jesse Raphael, and stories in People magazine, all following this love train. At times, grotesque, you’ll get lost in the 80s clothes, decor, and the slang. Like, totally.


Presumed Innocent

Prosecuting attorney Raymond Horgan (Brian Dennehy) assigns his chief deputy, the taciturn Rusty Sabitch (Harrison Ford), to investigate the rape and murder of colleague Carolyn Polhemus (Greta Scacchi), unaware of their torrid affair. When evidence implicates Rusty, Horgan’s political enemies demand his arrest, devastating Rusty’s wife, Barbara (Bonnie Bedelia). In desperation, Rusty turns to crafty defense attorney Sandy Stein (Raul Julia), only to be stunned by his trial’s revelations.

This made an impression on me as the first movie I saw with Harrison Ford in a dramatic role. I was so thrown and hanging on every moment. It’s classic crime and trial drama ala Law & Order. It’s so full of twists and turns, it was easy to get lost and get that pow of the final twist. Love. It’s quite something.


Britni’s Picks:

The Best Man

After writing a soon-to-be bestselling novel, writer and committed bachelor Harper Stewart (Taye Diggs) attempts to hide the fact that his saucy new book is loosely based on the lives and loves of his tight-knit group of friends. Harper is set to be best man at his friend Lance’s (Morris Chestnut) wedding, and all his friends will be in attendance. When an advance copy of the book makes its way into the hands of his ex-flame, Jordan Armstrong (Nia Long), Harper attempts to keep it under wraps.

  • The Best Man + Best Man Holiday – 5 stars for both


You’ve Got Mail

Struggling boutique bookseller Kathleen Kelly (Meg Ryan) hates Joe Fox (Tom Hanks), the owner of a corporate Foxbooks chain store that just moved in across the street. When they meet online, however, they begin an intense and anonymous Internet romance, oblivious of each other’s true identity. Eventually Joe learns that the enchanting woman he’s involved with is actually his business rival. He must now struggle to reconcile his real-life dislike for her with the cyber love he’s come to feel.

Perfect rom-com! Meg Ryan is honestly living my best life with her cute independent book store and also gigantic Manhattan apartment.


What Lies Beneath

It had been a year since Dr. Norman Spencer (Harrison Ford) betrayed his beautiful wife Claire (Michelle Pfeiffer). But with Claire oblivious to the truth, Norman’s life and marriage seem so perfect that when Claire tells him of hearing mysterious voices and seeing a young woman’s image in their home, he dismisses her terror as delusion. Claire moves closer to the truth and it becomes clear that this apparition will not be dismissed, and has come back for Dr. Spencer and his beautiful wife.

A bit of a wild card, but I think we can categorize it as a breakup!


The First Wives Club

Despondent over the marriage of her ex-husband to a younger woman, a middle-aged divorcée plunges to her death from her penthouse. At the woman’s funeral, her former college friends (Bette Midler, Goldie Hawn, Diane Keaton) reunite for the first time in nearly 30 years. When the three discover the reason for their friend’s suicide, they realize that all of their ex-husbands have taken them for granted — and deciding it’s time for revenge, they make a pact to get back at their exes.

Ultimate breakup film.


Forgetting Sarah Marshall

Struggling musician Peter Bretter (Jason Segel) is better-known as the boyfriend of TV star Sarah Marshall (Kristen Bell). After she unceremoniously dumps him, he feels lost and alone but makes a last-ditch bid to get over it by going to Hawaii. However, she and her new boyfriend (Russell Brand) are there in the same hotel.

I feel like this should be a classic but no one talks about it!


 

 

Sundance (2022) review: ‘Brian and Charles’ is a hilarious and heartwarming buddy comedy.

BRIAN AND CHARLES

After a particularly harsh winter Brian goes into a deep depression; completely isolated and with no one to talk to, Brian does what any sane person would do when faced with such a melancholic situation. He builds a robot.


Brian is an eccentric inventor of creative, if not completely useless, things. After accidentally inventing a robot, he experiences the gambit emotions, the likes of which both he and the audience are not prepared for.

You have to wonder how much of the dialogue is improvised based upon David Earl‘s genius timing and rhythm. You will fall in love with this character. Earl creates a man that’s loveable, kind, and hilarious. You laugh out loud at moments that perhaps should not be funny. Ultimately, it’s Brian’s earnest care and wonder for Charles that hits you in the heart.

Chris Hayward as Charles is absolutely darling. As he is a newly created being, he possesses the whole of knowledge and yet has the social-emotional intelligence of a toddler. His unpredictable nature makes the chemistry with Earl pure magic.

 The awkward juxtaposition of Charles’ massively disproportionate body with Brian makes for quite the visual gag at any given moment. Bravo to Earl and Hayward for this one-of-a-kind screenplay. The mockumentary structure adds an extra element of levity. If you’re not grinning from ear to ear, I suggest you get your head checked. There is no doubt in my mind that this will be one of the biggest hits out of Sundance 2022. Brian and Charles is bursting with charm.


To find out more about the entire Sundance 2022 lineup, click here!


Sundance 2022: Some of what we’ll be watching at this year’s festival, and it’s a lot.

Having switched from in-person to completely virtual, audiences of Sundance 2022 will have the opportunity to see a plethora of entertainment that will terrify, tantalize, and remind you of why we love storytelling so much. From horror to drama, television series to shorts, documentaries to VR experiences, we’ll be watching as much as our eyes can consume from January 20-30th. Things are finding distribution left and right, with is always great news. That means even if you miss something during the festival, it will most likely be coming to a theater or streaming platform very soon.

There is something for everyone. Genre favorite filmmakers, writers, actors, and wearers of all the hats,  Aaron Moorhead and Justin Benson, are bringing their latest film Something In The Dirt. Cooper Raif‘s newest Cha Cha Real Smooth is one we’re stoked for. His debut feature Shithouse was one of the most accurate films about college life I’ve ever seen. The shorts lineup this year is bound to blow you away. Do not overlook them, I beg you. There are feature documentaries on Kanye West and Princess Diana, the rise of TikTok, and Slave to Sirens (the first and only all-woman thrash metal band in the Middle East).

Without further ado, here is a list of some of the amazing content we’re excited about this year.


 U.S. DRAMATIC COMPETITION

Cha Cha Real Smooth / U.S.A. (Director and Screenwriter: Cooper Raiff, Producers: Dakota Johnson, Ro Donnelly, Erik Feig, Jessica Switch, Cooper Raiff) — A directionless college graduate embarks on a relationship with a young mom and her teenage daughter while learning the boundaries of his new bar mitzvah party-starting gig. Cast: Dakota Johnson, Cooper Raiff, Vanessa Burghardt, Evan Assante, Brad Garrett, Leslie Mann. World Premiere.

Besides Raiff being an obvious phenom, I suspect this one will hit harder for those with children on the spectrum. I’m particularly excited for Vanessa Burghardt’s performance, as she is on the spectrum herself. Representation matters, across the board.

Dual / U.S.A. (Director and Screenwriter: Riley Stearns, Producers: Nate Bolotin, Aram Tertzakian, Lee Kim, Riley Stearns, Nick Spicer, Maxime Cottray) — After receiving a terminal diagnosis, Sarah commissions a clone of herself to ease the loss for her friends and family. When she makes a miraculous recovery, her attempt to have her clone decommissioned fails, and leads to a court-mandated duel to the death. Cast: Karen Gillan, Aaron Paul, Beulah Koale. World Premiere.

This plot sounds like something out of West World and Doctor Who. Did I just mention those because of Paul and Gillan? Happy coincidence.


U.S. DOCUMENTARY COMPETITION

I Didn’t See You There / U.S.A. (Director: Reid Davenport, Producer: Keith Wilson) — Spurred by the spectacle of a circus tent that goes up outside his Oakland apartment, a disabled filmmaker launches into an unflinching meditation on freakdom, (in)visibility, and the pursuit of individual agency. World Premiere.

I fell into advocacy for those with disabilities when my son was diagnosed on the autism spectrum. I have a feeling that this film will give me a deeper understanding of not only my son’s perspective on society but the ever-present need for awareness and empathy.


WORLD CINEMA DRAMATIC COMPETITION

Brian And CharlesU.K. (Director: Jim Archer, Screenwriters: David Earl, Chris Hayward, Producer: Rupert Majendie)  — A story of friendship, love, and letting go. And a 7ft tall robot that eats cabbages. A comedy shot in documentary format. Cast: David Earl, Chris Hayward, Louise Brealey, Jamie Michie, Lowri Izzard, Mari Izzard. World Premiere.

Prediction: Brian And Charles will be one of the most endearing films of the entire festival. This unlikely buddy comedy is sure to capture everyone’s heart.

 

Leonor Will Never DiePhilippines (Director and Screenwriter: Martika Ramirez Escobar, Producers: Monster Jimenez, Mario Cornejo)  — Fiction and reality blur when Leonor, a retired filmmaker, falls into a coma after a television lands on her head, compelling her to become the action hero of her unfinished screenplay. Cast: Sheila Francisco, Bong Cabrera, Rocky Salumbides, Anthony Falcon. World Premiere.

As a writer, I’m selfishly looking forward to this. There’s always a bit of myself in my fiction, and who wouldn’t want to become an action hero?


WORLD CINEMA DOCUMENTARY COMPETITION

Calendar GirlsSweden (Directors, Screenwriters, and Producers: Maria Loohufvud, Love Martinsen) — A coming-of-golden-age look at 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. World Premiere.

Dancing since the age of three, this 41-year-old is looking for a few new role models.

 

Nothing Compares / Ireland, U.K. (Director: Kathryn Ferguson, Producers: Eleanor Emptage, Michael Mallie) — The story of Sinéad O’Connor’s phenomenal rise to worldwide fame and subsequent exile from the pop mainstream. Focusing on Sinéad’s prophetic words and deeds from 1987 to 1993, the film reflects on the legacy of this fearless trailblazer through a contemporary feminist lens. World Premiere.


NEXT

Something In The Dirt / U.S.A. (Directors: Justin Benson, Aaron Moorhead, Screenwriter: Justin Benson, Producers: David Lawson, Aaron Moorhead, Justin Benson)  — When neighbors John and Levi witness supernatural events in their Los Angeles apartment building, they realize documenting the paranormal could inject some fame and fortune into their wasted lives. An ever-deeper, darker rabbit hole, their friendship frays as they uncover the dangers of the phenomena, the city, and each other. Cast: Justin Benson, Aaron Moorhead. World Premiere. Fiction.

Genre fans will recognize these household names for their spellbinding skills. I’ve yet to watch away from their films without chills or an audible “WTF.”

The Cathedral / Italy, U.S.A. (Director and Screenwriter: Ricky D’Ambrose, Producer: Graham Swon) — An only child’s account of an American family’s rise and fall over two decades. Cast: Brian d’Arcy James, Monica Barbaro, Mark Zeisler, Geraldine Singer, William Bednar-Carter. North American Premiere. Fiction.


MIDNIGHT

Hatching / Finland (Director: Hanna Bergholm, Screenwriter: Ilja Rautsi, Producers: Mika Ritalahti, Nico Ritalahtit) — While desperately trying to please her demanding mother, a young gymnast discovers a strange egg. She tucks it away and keeps it warm, but when it hatches, what emerges shocks everyone. Cast: Jani Volanen, Siiri Solalinna, Sophia Heikkilä, Saija Lentonen, Reino Nordin, Oiva Ollila. World Premiere. Fiction.

 

PIGGY / Spain (Director and Screenwriter: Carlota Pereda, Producers: Merry Colomer, David Atlan-Jackson) — Sara deals with constant teasing from girls in her small town. But it comes to an end when a stranger kidnaps her tormentors. Sara knows more than she’s saying and must decide between speaking up and saving the girls or saying nothing to protect the strange man who spared her. Cast: Laura Galán. World Premiere. Fiction.

Speak No Evil / Denmark (Director and Screenwriter: Christian Tafdrup, Screenwriter: Mads Tafdrup, Producer: Jacob Jarek) — A Danish family visits a Dutch family they met on a holiday. What was supposed to be an idyllic weekend slowly starts unraveling as the Danes try to stay polite in the face of unpleasantness. Cast: Morten Burian, Sidsel Siem Koch, Fedja van Huêt, Karina Smulders, Liva Forsberg, Marius Damslev. World Premiere. Fiction.


KIDS

Maika / Vietnam (Director and Screenwriter: Ham Tran, Producers: Jenni Trang Le, Duy Ho, Anderson Le, Bao Nguyen) — After a meteor falls to earth, 8-year-old Hung meets an alien girl from the planet Maika, searching for her lost friend. As Hung helps her otherworldly friend search, the alien inadvertently helps Hung make new friends and heal a broken heart. But danger lurks everywhere… Cast: Phu Truong, Diep Anh Tru, Tin Tin, Ngoc Tuong, Kim Nha. World Premiere. Fiction.


INDIE EPISODIC PROGRAM

The Dark Heart / Sweden (Director: Gustav Möller, Screenwriter: Oskar Söderlund, Producers: Anna Carlsten, Caroline Landerberg) — Sweden: in a mythological landscape, search parties roam through forests of spruce, secret conversations are whispered in open fields, and verbal duels fought on narrow country roads. A story of family feuds, inheritances, and forbidden love. Cast: Aliette Opheim, Clara Christiansson Drake, Gustav Lindh, Peter Andersson. World Premiere. Fiction. 

Sweden’s true crime game is above and beyond. The US had already remade series like The Killing and The Bridge. Sundance 2022 audiences can dive headfirst into The Dark Heart. The series is a five-part psychological drama-thriller about how an old family feud clashes with a young, forbidden love story, leading to a tragedy with a deadly outcome, ultimately solved by a private investigator who gets obsessed with the case. The story is based on journalist Joakim Palmkvist’s book “The Dark Heart: A True Story of Greed, Murder, and an Unlikely Investigator”, which delves into the story about how a mysterious missing person’s case is investigated and solved by a local Missing People-volunteer involved in the searches.


INTERNATIONAL LIVE ACTION SHORT FILMS

Warsha / France/Lebanon (Director and Screenwriter: Dania Bdeir, Producer: Coralie Dias) — 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. Cast: Khansa. World Premiere.

Once in a blue moon, a short film takes your breath away and Warsha might be that film in 2022.


U.S LIVE ACTION SHORT FILMS

Huella / U.S.A. (Director and Screenwriter: Gabriela Ortega, Producers: Helena Sardinha, Rafael Thomaseto) — When the death of her grandmother unleashes a generational curse, a disenchanted flamenco dancer resigned to a desk job is forced to experience the five stages of grief through a visit from her female ancestors. Cast: Shakira Barrera, Denise Blasor, Carla Valentine. 


U.S. NONFICTION SHORT FILMS

Long Line of Ladies / United States (Directors: Rayka Zehtabchi, Shaandiin Tome, Producers: Garrett Schiff, Pimm Tripp-Allen, Rayka Zehtabchi, Sam Davis, Dana Kurth) — A girl and her community prepare for her Ihuk, the once-dormant coming of age ceremony of the Karuk and Yurok tribes of Northern California. World Premiere. DAY ONE


For Sundance 2022 full line-up, tickets, and more click here!


 

Here are 8 films at Indie Memphis Film Festival 2021 that we’re looking forward to before it’s hybrid addition arrives October 20th-25th!

INDIE MEMPHIS FILM FESTIVAL 2021

So much to see we have to plan out our schedule now! Here are 8 wildly different films we’re looking forward to seeing and why…

JUJU STORIES (Dirs. Abba Makama, C.J. ‘Fiery’ Obasi, Michael Omonua) – NORTH AMERICAN PREMIERE
A three-part anthology film exploring juju (magical) stories rooted in Nigerian folklore and urban legend, written and directed by the Nigerian new wave cinema collective known as Surreal16.
2021, 84 min, Drama/Fantasy/Horror

Give me horror based on folklore, any day. Written and directed by C.J. Obasi, Abba Makama, and Michael Omonua. The film features three stories: “Love Potion” by Omonua, “YAM” by Makama, and “Suffer The Witch” by Obasi. Anthologies as a horror subgenre definitely continue to be successful. Watching the teaser alone gave me chills.


THE PILL (Dir. Franco Clarke) 
An African-American family indulges in the use of a secret pill that helps them cope with their day-to-day stressors of racism outside of their home.
2021, 81 min, Comedy, Theater/Virtual

A story that is, perhaps, hundreds of years in the making, The Pill might not be so hard to swallow. What if this pill existed in the real world? Would families of color indulge in such an option? This seemingly small idea amounts to something much bigger than most of us can imagine.


WE’RE ALL GOING TO THE WORLD’S FAIR (Dir. Jane Schoenbrun) 
Reality and fantasy begin to blur when a teen immerses herself in a role-playing horror game online.
2021, 86 min, Drama/Horror, Theater/Virtual

This has been making the rounds at festivals for the past year. I have not stopped hearing about it. As someone who grew up when the internet and chatrooms first became a thing, We’re All Going To The World’s Fair has an eerie hold on my psyche. Anna Cobb commands the screen in her first-ever feature. This will continue to Wow audiences when it hits theaters and streams on HBOMax next year. Indie Memphis audiences can be “in the know” way beforehand.


QUEEN OF GLORY (Dir. Nana Mensah) 
Ghanaian-American Sarah is all set to abandon her Ivy League doctoral program to follow her married lover across the country. Her plans are derailed, however, when her mother’s sudden death leaves her the owner of a neighborhood bookshop in the Bronx.
2021, 75 min, Comedy/Drama, Theater

We do strange things for love. Take it from someone who moved from NYC to India for 6 months with my boyfriend (now my husband). The sacrifices we make, the people we leave behind, are all tricky choices when it comes to matters of the heart.


I WAS A SIMPLE MAN (Dir. Christopher Makoto Yogi) 
As Masao (Steve Iwamoto) gets sicker, he is visited by ghosts of his past, including his wife, Grace (Constance Wu), who helps shepherd him into the beyond. Merging dream, family history, romantic period piece, all bridged by gently psychedelic observations of nature.
2021, 101 min, Drama, Virtual

Facing our mortality puts things into perspective. You cannot help but assess your life and whether or not it had any impact. I Was A Simple Man plays with time and memory in a beautifully eclectic manner. While writer-director Christopher Makoto Yogi’s second feature thoughtfully tackles death, it is simultaneously an homage to Hawaii.


BUNKER (Dir. Jenny Perlin) – WORLD PREMIERE
The debut feature film of renowned filmmaker Jenny Perlin investigates the lonely lives of American men who have decided to live in decommissioned military bunkers and nuclear missile silos, and follows the process of building and selling these structures to the wealthy and not-so-wealthy alike.
2021, 92 min, Documentary, Theater/Virtual

As a child playing in my grandparents’ home, I stumbled upon a small room that was normally locked. I came to learn that it was a fallout shelter. This perplexed and fascinated me. As a genre film fan, I have often thought about the number of narrative fictions that involved these bunkers. As an adult who has a relative that is a “Prepper” this doc intrigues me to no end.


LISTENING TO KENNY G (Dir. Penny Lane) 
Penny Lane’s documentary takes a witty and provocative look at the easy-listening saxophonist’s story while asking: what makes music good or bad?
2021, 97 min, Documentary, Theater/Virtual

If you’re not a Kenny G fan, the mere mention of his name can be satire. His record sales tell you another story with over 52 million albums sold. Being the butt of the joke is a double-edged sword for G, over his 40-year career he’s changed musical culture, whether we “get it” or not. Penny Lane gives us an intimate insight into Kenny G. He’s going to slay you with his charm. Good luck.


KILLER (Dir. A.D. Smith, 90 min) 
After a pandemic strikes the nation, ten friends decide to quarantine under the same roof. Unfortunately, one of them is a killer.
2021, Horror, Theater/Virtual

The longer you’re in close quarters with someone, the more likely you want to kill them. That’s simply human nature, right? I laugh, in hindsight, thinking that lockdown was only going to be two weeks. Lucky for me, I didn’t have an actual killer in my house. But, I did have two toddlers, and that’s sort of the same thing. A.D. Smith takes a group of college friends and places them in a game of life or death. High stakes for pandemic films right now. Fingers crossed for some creative kills, because what else can a genre fan hope for?


More information on tickets and virtual screenings for
Indie Memphis Fim Festival 2021
HERE

 

 


 The 24th Annual Indie Memphis Film Festival, Ft. Sean Baker’s RED ROCKET as Opening Night Film, World Premieres of FERNY & LUCA and BUNKER, and More

Image from Andrew Infante’s IMFF2021 World Premiere, FERNY & LUCA

 Indie Memphis Film Festival, presented by Duncan Williams, Inc., for its 2021 incarnation runs from October 20th – 25th. This year’s festival promises to be a very exciting and wildly varied one, featuring films ranging from new discoveries to beloved classics, from festival hits to experimental wonders, and everything in-between.

“I am incredibly excited by what we are offering this year with the festival,“ says Indie Memphis Executive Director Knox Shelton, “The programming is stellar and, in terms of how we’ve planned the festival, we hope that we have found ways for people to celebrate independent filmmaking based on their comfort level. We understand that there is no perfect way to do this, but we’ve taken steps to ensure the health and safety of our filmmakers, attendees, volunteers, and staff.”

In the quest to reach a large audience while taking staunch COVID-19 precautions, this year’s festival will be a hybrid of online and in-person screenings and events. For in-person Memphis screenings and events, proof of COVID-19 vaccine is required for all staff, volunteers, contractors, and attendees, and masks are required at all times indoors. Venues for screenings are now focused on larger theaters to better accommodate social-distanced seating; these include Crosstown Theater, The Block Party will be delayed until a year in which we can better protect the health of our attendees, partners, and staff. Circuit Playhouse, Playhouse on the Square, and the Malco Summer Drive-In. Festival parties will be limited to outdoor celebrations on Opening and Closing Night.

The 2021 festival features work from up-and-coming filmmakers, as well as festival hits such as Jonas Carpignano’s A CHIARA, Jane Schoenbrun’s WE’RE ALL GOING TO THE WORLD’S FAIR, Penny Lane’s LISTENING TO KENNY G, Céline Sciamma’s PETITE MAMAN, and many more.

The festival also features exciting premieres, such as the World Premiere of Andrew Infante’s FERNY & LUCA. The film is a look into the on-and-off relationship between Ferny, a sweet and naive pretty boy, and Luca, a rough and tumble disco queen, who is more concerned with chasing her dreams than chasing boys. There’s also the World Premiere of Jenny Perlin’s BUNKER, a documentary that investigates the lonely lives of American men who have decided to live in decommissioned military bunkers and nuclear missile silos, and follows the process of building and selling these structures to the wealthy and not-so-wealthy alike.

The Opening Night film is Sean Baker’s Cannes favorite RED ROCKET, starring Simon Rex as a pornstar who returns to his Texas hometown that barely tolerates him, the Centerpiece Presentation is Ryûsuke Hamaguchi’s DRIVE MY CAR, and the Closing Night is Pablo Larrain’s SPENCER. Some additional standout titles include Robert Greene’s PROCESSION, a documentary about a group of survivors of sexual abuse by Catholic priests battle for justice, and Rhayne Vermette’s STE. ANNE, a drama that traces an allegorical reclamation of land through personal, symbolic, and historical sites.

“We’re honored to be introducing these titles to Memphis audiences,” said Indie Memphis Artistic Director Miriam Bale. “I’m confident many of these are classics that will be talked about for a long time to come. We aim to have a collection of films that is winnowed down to the best of year, and I think this line-up reflects that.”

The festival continues to feature live music performed in the theaters before every screening. The Black Creators Forum also returns for a fourth year, this time in a hybrid format, both online and with an outdoor in-person component. This festival programming continues to reflect diversity in all areas, with a special focus on films from the African Diaspora and Africa. Indie Memphis is privileged to present the North American premiere of JUJU STORIES, an anthology film from the Nigerian new wave cinema collective known as Surreal16, after its World Premiere at Locarno.

Additional upcoming announcements will include the Black Creators Forum program, virtual IndieTalks Panels, Live Music Lineup, and more.


2021 Indie Memphis Film Festival Slate
Alphabetical by Category

OPENING NIGHT

RED ROCKET (Dir. Sean Baker)

In a magnetic, live-wire performance, Simon Rex plays a pornstar who returns to his Texas hometown that barely tolerates him.

2021, 128 min, Drama, Theater


CENTERPIECE

DRIVE MY CAR (Dir. Ryûsuke Hamaguchi)

Adapted from a Haruki Murakami short story in which an aging actor can no longer drive, so he hires a quiet 20-year-old girl as his chauffeur.
2021, 179 min, Drama, Theater


CLOSING NIGHT

SPENCER (Dir. Pablo Larraín)

An imagining of one weekend in the life of Princess Diana (Kristen Stewart), as she spends the Christmas holiday with the royal family at the Sandringham estate in Norfolk, and decides to leave her marriage to Prince Charles.
2021, 101 min, Drama, Theater


NARRATIVE COMPETITION

FERNY & LUCA (Dir. Andrew Infante) – WORLD PREMIERE

A look into the on-and-off relationship between Ferny, a sweet and naive pretty boy, and Luca, a rough and tumble disco queen, who is more concerned with chasing her dreams than chasing boys… mostly.
2021, 70 min, Drama, Theater/Virtual

JUJU STORIES (Dirs. Abba Makama, C.J. ‘Fiery’ Obasi, Michael Omonua) – NORTH AMERICAN PREMIERE
A three-part anthology film exploring juju (magical) stories rooted in Nigerian folklore and urban legend, written and directed by the Nigerian new wave cinema collective known as Surreal16.
2021, 84 min, Drama/Fantasy/Horror

THE PILL (Dir. Franco Clarke) 
An African-American family indulges in the use of a secret pill that helps them cope with their day-to-day stressors of racism outside of their home.
2021, 81 min, Comedy, Theater/Virtual

WE’RE ALL GOING TO THE WORLD’S FAIR (Dir. Jane Schoenbrun) 
Reality and fantasy begin to blur when a teen immerses herself in a role-playing horror game online.
2021, 86 min, Drama/Horror, Theater/Virtual

QUEEN OF GLORY (Dir. Nana Mensah) 
Ghanaian-American Sarah is all set to abandon her Ivy League doctoral program to follow her married lover across the country. Her plans are derailed, however, when her mother’s sudden death leaves her the owner of a neighborhood bookshop in the Bronx.
2021, 75 min, Comedy/Drama, Theater


DOCUMENTARY COMPETITION

LARRY FLYNT FOR PRESIDENT (Dir. Nadia Szold) 

Assembled from never before seen footage shot in 1983, this film documents controversial Hustler magazine publisher Larry Flynt’s unlikely bid for the White House after a gunman’s bullet left him partially paralyzed.
2021, 90 min, Documentary, Theater/Virtual

ONE OF OURS (Dir. Yasmine Mathurin) 
After a Haitian-born youth is racially profiled at an Indigenous basketball tournament, he wrestles with his shaken sense of belonging in his Indigenous adoptive family while attempting to heal from his past.
2021, 88 min, Documentary, Virtual/Theater

WE STILL HERE (Dir. Eli Jacobs-Fantauzzi) 
An introduction to the incredible youth activists of Comerío, Puerto Rico, who navigate the aftermath of Hurricane Maria, a disaster that brought an unprecedented level of devastation to an island already in economic and political crisis.
2021, 100 min, Documentary, Virtual

YOU DON’T KNOW ME (Dir. Jon Kent) 
A documentary film about Tennessee death row inmate Abu-Ali ‘Abdur Rahman and the celebrated attorney and justice system that failed him following one of Nashville’s most notorious crimes.
2020, 100 min, Documentary, Theater/Virtual


NARRATIVE SPOTLIGHT

A CHIARA (Dir. Jonas Carpignano)

A 15-year-old girl doggedly searches for the truth behind her adored father’s sudden abandonment in Calabria.
2021, 121 min, Drama, Theater/Virtual

C’MON C’MON (Dir. Mike Mills) 
Johnny (Joaquin Phoenix) and his young nephew (Woody Norman) forge a tenuous but transformational relationship when they are unexpectedly thrown together in this delicate and deeply moving story about the connections between adults and children, the past and the future.
2021, 108 min, Drama, Theater

MEMORIA (Dir. Apichatpong Weerasethaku) 
From the extraordinary mind of Palme D’or winning director Apichatpong Weerasethakul, and starring Academy Award-winner Tilda Swinton, comes a meditative mystery about a Scottish woman who begins experiencing a mysterious sensory syndrome while traversing the jungles of Colombia.
2021, 136 min, Drama, Theater

PETITE MAMAN (Dir. Céline Sciamma) 
8-year-old Nelly has just lost her beloved grandmother and is helping her parents clean out her mother’s childhood home. While exploring the surrounding woods where her mother used to play, she meets another little girl who seems eerily familiar. Nelly’s new friend takes her to a house that is a mirror of her own.
2021, 72 min, Drama, Theater/Virtual

I WAS A SIMPLE MAN (Dir. Christopher Makoto Yogi) 
As Masao (Steve Iwamoto) gets sicker, he is visited by ghosts of his past, including his wife, Grace (Constance Wu), who helps shepherd him into the beyond. Merging dream, family history, romantic period piece, all bridged by gently psychedelic observations of nature.
2021, 101 min, Drama, Virtual

SECRET SCREENING
One of the most daring and moving films of the year! You won’t want to miss this.
2021, 142 min, Theater


DOCUMENTARY SPOTLIGHT

ALIEN ON STAGE (Dirs. Danielle Kummer and Lucy Harvey) 

Bus Drivers from Dorset, England stage a homemade homage of Ridley Scott’s ALIEN, with special effects needing “more luck than judgement.”
2021, 86 min, Documentary, Theater/Virtual

FLEE  (Dir. Jonas Poher Rasmussen) 
Recounted mostly through animation to director Jonas Poher Rasmussen, Amin Nawabi tells of his extraordinary journey as a child refugee from Afghanistan.
2021, 90 min, Documentary, Theater/Virtual

MAURICE HINES: BRING THEM BACK (Dir. John Carluccio) 
An intimate portrait of an outspoken showman who with humor and grace navigates the highs and lows of a seven-decade career, and a complex relationship with his superstar brother, Gregory Hines.
2021, 95 min, Documentary, Virtual

THE MUSHROOM SPEAKS (Dir. Marion Neumann) 
A film about the fungal reign explores the theme of renewal, and questions what connects us when the world seems to be falling apart.
2021, 89 min, Documentary, English, VirtuaL

SISTERS WITH TRANSISTORS (Dir. Lisa Rovner)
Beautifully narrated by Laurie Anderson, this documentary is about electronic music’s women pioneers, including Clara Rockmore, Daphne Oram, Bebe Barron, Pauline Oliveros, Delia Derbyshire, Maryanne Amacher, Eliane Radigue, Suzanne Ciani, and Laurie Spiegel.
2021, 86 min, Documentary, Virtual


DEPARTURES
Films That Depart from Expectations

BUNKER (Dir. Jenny Perlin) – WORLD PREMIERE

The debut feature film of renowned filmmaker Jenny Perlin investigates the lonely lives of American men who have decided to live in decommissioned military bunkers and nuclear missile silos, and follows the process of building and selling these structures to the wealthy and not-so-wealthy alike.
2021, 92 min, Documentary, Theater/Virtual

MANY FIRES THIS TIME WE THE 100 MILLION (Dir. Jason R.A. Foster)
A poetic docudrama about the 1 in 3 Americans living in economic insecurity. It follows the journey of poet and activist A Scribe Called Quess? as he connects with fellow activist poets and the communities they represent from Oakland to Chicago to Kentucky to his hometown of New Orleans.
2021, 70 min, Documentary, Virtual

NORTH BY CURRENT (Dir. Angelo Madsen Minax)
A family death spurs a first-person study on the nature of grief, time, and origins.
2021, 86 min, Documentary, Theater/Virtual

PROCESSION (Dir. Robert Greene)
A group of survivors of sexual abuse by Catholic priests battle for justice.
2021, 119 min, Documentary, Theater

STE. ANNE (Dir. Rhayne Vermette)
Shot over the course of two years, Ste. Anne traces an allegorical reclamation of land through personal, symbolic and historical sites all across Treaty 1 Territory, heartland of the Métis Nation.
2021, 80 min, Drama, Virtual


SOUNDS
Films That Celebrate Music

ELDER’S CORNER (Dir. Siji Awoyinka)

ELDER’S CORNER is a historical music documentary showcasing the lives and work of Nigeria’s pioneering musicians.
2021, 97 min, Documentary, Theater/VirtuaL

LISTENING TO KENNY G (Dir. Penny Lane) 
Penny Lane’s documentary takes a witty and provocative look at the easy-listening saxophonist’s story while asking: what makes music good or bad?
2021, 97 min, Documentary, Theater/Virtual

POLY STYRENE: I AM A CLICHE (Dirs. Celeste Bell and Paul Sng)
The life and work of X-Ray Spex singer-songwriter and punk icon Poly Styrene is explored by her daughter in this dynamic yet delicate personal film. There are also explorations of Styrene’s identity as a half-Somali woman in the largely white punk scene.
2021, 96 min, Documentary, Theater/Virtual

REZ METAL (Dir. Ashkan Soltani Stone)
A documentary about the metal band I Don’t Konform and the vibrant heavy metal scene throughout the Navajo reservation.
2021, 75 min, Documentary, Virtual


HOMETOWNER FEATURES
Films From Memphis Filmmakers

A BALLET SEASON (Dirs. David Goodman, Steven J. Ross)

A year in the life of Ballet Memphis, a southern dance organization dedicated to putting diversity on the stage while challenging preconceptions about regional ballet. This predominantly observational documentary follows the many individuals and artists who collaborate together as a community over the course of a dizzying pre-pandemic season (2018-2019).
2021, 56 min, Documentary, Theater/Virtual

THE LUCKY ELEVEN (Dir. George Tillman)
A group of eleven young men from the south side of Memphis began their journey in Jr High and made their way to the NFL.
2021, 66 min, Documentary, Theater/Virtual

KILLER (Dir. A.D. Smith, 90 min)
After a pandemic strikes the nation, ten friends decide to quarantine under the same roof. Unfortunately, one of them is a killer.
2021, Horror, Theater/Virtual

LIFE AIN’T LIKE THE MOVIES (Dir. Robert Butler)
An awkward 16 year old black teen comes of age and learns about love, bullying, tragedy and how to connect to his father who he’s extremely different from.
2021, Drama, Theater/Virtual

REEL ROCK: BLACK ICE (Dirs. Peter Mortimer & Zachary Barr)
A crew of aspiring ice climbers from the Memphis Rox gym travels to the frozen wilds of Montana, where mentors Manoah Ainuu, Conrad Anker and Fred Campbell share their love of winter adventure in the mountains.
2021, 45 min, Virtual/Theater


REVIVALS/ RESTORATIONS

CHAMELEON STREET (Dir. Wendell B. Harris Jr.)

In this seminal work in African-American independent film, William Douglas Street is bored with his life. Working for his father is getting to him, his wife wants more money, and he’s had enough. His solution is to re-invent himself. He becomes a chameleon, taking on whatever role suits the situation.
1989, 94 min, Comedy/Drama, Theater 

DEEP BLUES (Dir. Robert Mugge)
Music critic Robert Palmer narrates the insightful story of Delta blues and North Mississippi hill country blues.
1992, 91 min, Documentary, Theater

RADIO ON (Dir. Chris Petit)
Set in 1970’s Britain, a man drives from London to Bristol to investigate his brother’s death. The purpose of his trip is offset by his encounters with a series of odd people.
1979, 104 min, Drama, Theater


SPECIAL SCREENING
Don Meyers Memorial Retrospective

A collection of some of the notable films by actor, filmmaker, artist, and Memphis legend, Don Meyers.
2021, 180 min, Theater

GRIMMFEST turns lucky 13 for this year’s hybrid addition. Here are some of the films we’re screaming about.

GRIMMFEST 2021

It’s no secret that the most buzz-worthy films come through only a handful of genre festivals. GRIMMFEST is on that shortlist. The festival turns a lucky 13 this year and it’s ready to rock audiences’ socks with a plethora of titles for every single viewer. After being completely virtual last year, a hybrid platform is back in action with a mix of in-person screenings from October 7th to 10th and online from October 14th to 17th. I can say that this year’s lineup is filled with everything from gore to absurdity, thrills to purest moments of wow. These are the films that will be on everyone’s lips. You can find out about tickets and schedules at https://grimmfest.com/

Do yourself a favor and mark your calendars now. There’s a lot to see.


THE BETA TEST

A Hollywood agent, engaged to be married in a few weeks, receives a mysterious letter inviting him for an anonymous sexual encounter and thus becomes ensnared in a sinister world of lying, infidelity, and digital data.

This genre-shattering film takes aim at Hollywood, toxic masculinity, horror, satire, all with co-writer-director Jim Cummings playing a sharp lead. His last film, The Wolf Of Snow Hollow, has a legit cult following now. Cummings has a distinct voice and I cannot wait to see if The Beta Test becomes another calling card on his resume.


THE RIGHTEOUS

A burdened man feels the wrath of a vengeful God after he and his wife are visited by a mysterious stranger…

There is something so striking about modern black & white cinematography. in The Righteous, writer-director Mark O’Brien also stars as the mysterious stranger in question. This horror film is filled with symbolism and will give any god-fearing viewer the vapers.


WHEN THE SCREAMING STARTS

When the Screaming Starts is a comedy-horror mockumentary about an inept, aspiring serial killer at the beginning of his “career” and a fledgling filmmaker willing to do anything to achieve his ambition.

A little bit of Vicious Fun meets Satanic Panic, I cannot wait to laugh and gag. Horror and comedy pair so well together and since everyone is a true-crime connoisseur who thinks they could commit the perfect murder, I am delighted to consume this one.


THE SPORE

The lives of ten strangers intersect through a terrifying chain of events as a mutating fungus begins to spread through a small town wiping out everyone that comes into contact with it.

Will this film be a little too close to home considering we’re still experiencing a global pandemic? I guess we’ll find out when we’re forced to look through the lens of writer-director D.M Cunningham.


HOTEL POSEIDON

Dave inherited the dingy and dilapidated Hotel Poseidon from his late father. He lives there and works as manager, and rarely seems to leave the place. The days and nights all bleed together. His existence is a hopeless one. When a young woman knocks at the hotel’s doors one night looking for a room, and his best friend shows up wanting to throw a party in the backroom, Dave’s world starts to spiral out of control, and his sense of reality starts to be shaken by recurring nightmares.

I have seen the title sequence for this film and it is hands down one of the coolest in all of cinematic history. I said what I said. If the rest of the film lives up to the initial visual, Hotel Poseidon will wow Grimmfest audiences.


ALONE WITH YOU

As a young woman painstakingly prepares a romantic homecoming for her girlfriend, their apartment begins to feel more like a tomb when voices, shadows, and hallucinations reveal a truth she has been unwilling to face.

Listen, you tell me Barbara Crampton is in a film and I’m watching it. Add on Emily Bennett who was fantastic in King Of Knives last year and I’m sold. Not only does she star, but she co-wrote and co-directed the film. Give me an all-female horror film every day of the year.



FULL VIRTUAL FESTIVAL LINE UP:

● FOR ROGER (Aaron Bartuska, USA)

● FATHER OF FLIES (Ben Charles-Edwards UK / USA)

● SLAPFACE (Jeremiah Kipp, USA)

● THE NIGHTS BELONG TO THE MONSTERS (Sebastian Perillo, Argentina)

● HAPPY TIMES (Michael Mayer, Israel / USA)

● NIGHT AT THE EAGLE INN (Erik Bloomquist, USA)

● VAL (Aaron Fradkin, USA, 77 min)

● THE SPORE (D.M. Cunningham, USA)

● THE PIZZAGATE MASSACRE (John Valley, USA)

● MOTHERLY (Craig David Wallace, Canada)

● SHOT IN THE DARK (Keene McRae, USA)

● NIGHT DRIVE (Brad Baruh, USA)

● MIDNIGHT (Oh-seung Kwon, South Korea)

● FACELESS (Marcel Sarmiento, USA)

● WE’RE ALL GOING TO THE WORLD’S FAIR (Jane Schoenbrun, USA)

● THE FREE FALL (Adam Stillwell, USA)

● ON THE THIRD DAY (Daniel de la Vega, Argentina)

● THE GUEST ROOM (Stefano Lodovichi, Italy)

● HOTEL POSEIDON (Stefan Lernous, Belgium)

● FORGIVENESS (Alex Kahuam, Mexico)

● TWO WITCHES (Pierre Tsigaridis, USA)

● KING KNIGHT (Richard Bates Jnr, USA)

● TARUMAMA / LLANTO MALDITO (Andres Beltran, Colombia)

● THE RIGHTEOUS (Mark O’Brien, Canada)


 

Passes and tickets can be purchased from www.grimmfest.com.

NYFF59 Announces Spotlight section and if you’re not freaking out, you should be.

FILM AT LINCOLN CENTER ANNOUNCES SPOTLIGHT FOR THE
59th NEW YORK FILM FESTIVAL

Film at Lincoln Center just announced Spotlight for the 59th New York Film Festival. The Spotlight section is NYFF’s showcase of the season’s most anticipated and significant films. We’re pretty excited to see what’s on the schedule, including a double dose of Timothée Chalamet in DUNE and THE FRENCH DISPATCH. Sean Baker’s newest film RED ROCKET starring Simon Rex will sure to have sparks flying. Maggie Gyllenhaal‘s directorial debut THE LOST DAUGHTER and Mike Mills’ C’MON C’MON. 20th Century Women was my favorite title from NYFF54, so I’m eager to see what story he has for audiences this year.  You can find the entire Spotlight lineup listed below.


“Our Spotlight section is a new part of our reshaped New York Film Festival, a place that this year encompasses a range of cinema, new and old,” said Eugene Hernandez, Director of the New York Film Festival. “Of the new work, we’re showcasing a selection of anticipated films (and talent) from recent festivals (Wes & company! Olivia! Timmy! Jane & Charlotte! Joaquin! and more), while also looking back at our roots, celebrating the history of NYFF and New York City’s film culture by shining a special light on Amos Vogel. We hope that our Spotlight section, in year two, will again engage, enlighten, and entertain!”

Among the highlights are Denis Villeneuve’s highly anticipated adaptation of Dune; Academy Award–nominated director Mamoru Hosoda’s Belle, a visually extraordinary tale about a shy teenager who becomes an online sensation as a pop star; Mike Mills’s C’mon C’mon, starring Joaquin Phoenix as a warmhearted radio journalist; Wes Anderson’s latest, The French Dispatch, showcasing his unmistakable cinematic style with a cast of familiar collaborators; directorial debuts from Charlotte Gainsbourg, profiling her legendary mother Jane Birkin in Jane By Charlotte, and Maggie Gyllenhaal, adapting Elena Ferrante’s novel The Lost Daughter, with a brilliant performance by Oscar-winner Olivia Colman; veteran Italian filmmaker Marco Bellocchio’s Marx Can Wait, a heart-wrenching examination of the legacy of his twin brother’s suicide, on the occasion of a family reunion in his hometown of Piacenza; and Red Rocket, Sean Baker’s newest depiction of contemporary America as a playground for hustlers and con men, set against the backdrop of the 2016 presidential election.

NYFF59 also pays tribute to the centenary of late film programmer and festival co-founder Amos Vogel—who offered the city “films you cannot see elsewhere,” and whose uncompromising dedication to the medium’s radical possibilities inspired NYC film culture as it exists today—with a special Spotlight sidebar. Vogel’s wide-ranging curatorial career spanned his many years running Cinema 16, America’s most influential film society; his foundational work at Lincoln Center; his time at Grove Press; and his classic study Film as a Subversive Art, which will soon be reissued by The Film Desk. FLC’s tribute focuses on the NYFF period, bookended by screenings devoted to his work before and after his involvement with the festival, including films from Glauber Rocha, John Huston, and trailblazers of the Czech New Wave; a program from NYFF5 sidebar The Social Cinema in America, featuring Lebert Bethune’s Malcolm X: Struggle for Freedom, Santiago Álvarez’s dispatch from post-revolutionary Cuba, Now, and David Neuman and Ed Pincus’s snapshot of Civil Rights-era Mississippi, Black Natchez; and works from the era’s burgeoning avant-garde scene, such as Tony Conrad’s The Flicker and a world premiere restoration of Robert Frerck’s Nebula II.


FILMS & DESCRIPTIONS

Belle
Mamoru Hosoda, 2021, Japan, 121m
Japanese with English subtitles
In his densely beautiful, eye-popping animated spectacle, Academy Award–nominated director Mamoru Hosoda (Mirai) tells the exhilarating story of a shy teenager who becomes an online sensation as a princess of pop. Still grieving over a childhood tragedy, Suzu has a difficult time singing in public or talking to her crush at school, yet when she takes on the persona of her glittering, pink-haired avatar, Belle, in the parallel virtual universe known as the “U,” her insecurities magically disappear. As her star begins to rise, Belle/Suzu finds herself drawn to another “U” fan favorite—a scary but soulful monster whose “real” identity, like Belle’s, becomes a source of fascination for legions. Both a knowing riff on the Beauty and the Beast fairy tale and a moving commentary on the duality of contemporary living, Belle is a thrilling journey into the matrix and a deeply human coming-of-age story, packed with unforgettable images and dazzlingly styled characters. A GKIDS release.

C’mon C’mon
Mike Mills, 2021, USA, 108m
After gracing audiences with Beginners and 20th Century Women (NYFF54), writer-director Mike Mills returns with another warm, insightful, and gratifyingly askew portrait of American family life. A soulful Joaquin Phoenix plays Johnny, a kindhearted radio journalist deep into a project in which he interviews children across the U.S. about our world’s uncertain future. His sister, Viv (a marvelously intuitive Gaby Hoffmann), asks him to watch her 9-year-old son, Jesse (Woody Norman, in one of the most affecting breakout child performances in years), while she tends to the child’s father, who’s suffering from mental health issues. After agreeing, Johnny finds himself connecting with his nephew in ways he hadn’t expected, ultimately taking Jesse with him on a journey from Los Angeles to New York to New Orleans. Anchored by three remarkable actors, C’mon C’mon is a gentle yet impeccably crafted drama about coming to terms with personal trauma and historical legacies. An A24 release.

Dune
Denis Villeneuve, 2021, USA, 155m
A mythic and emotionally charged hero’s journey, Dune tells the story of Paul Atreides, a brilliant and gifted young man born into a great destiny beyond his understanding, who must travel to the most dangerous planet in the universe to ensure the future of his family and his people. As malevolent forces explode into conflict over the planet’s exclusive supply of the most precious resource in existence—a commodity capable of unlocking humanity’s greatest potential—only those who can conquer their fear will survive. Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Josh Brolin, Stellan Skarsgård, Dave Bautista, Stephen McKinley Henderson, Zendaya, Chang Chen, Charlotte Rampling, Jason Momoa, and Javier Bardem lead the all-star ensemble in visionary filmmaker Denis Villeneuve’s adaptation of Frank Herbert’s seminal novel. A Warner Bros. Pictures release.

​​The French Dispatch
Wes Anderson, 2021, USA, 107m
English and French with English subtitles
North American Premiere
Wes Anderson’s unmistakable cinematic style proves delightfully suited to periodical format in this missive from the eponymous expatriate journal, published on behalf of the Liberty, Kansas Evening Sun from the picturesque French town of Ennui-sur-Blasé. Brought to press by a corps of idiosyncratic correspondents, the issue includes reports on a criminal artist and his prison guard muse, student revolutionaries, and a memorable dinner with a police commissioner and his personal chef. As brimming with finely tuned texture as a juicy issue of a certain New York–based magazine to which the film pays homage, The French Dispatch features precision work from a full masthead of collaborators (including Bill Murray, Timothée Chalamet, Tilda Swinton,  Benicio del Toro, Frances McDormand, and Jeffrey Wright), each propagating inventive dedication to detail. Anderson’s deadpan whimsy is complemented by the film’s palpable sense of nostalgia. A Searchlight Pictures release.

Jane by Charlotte
Charlotte Gainsbourg, 2021, France, 86m
French with English subtitles
North American Premiere
In creating a documentary portrait of a parent, as actor Charlotte Gainsbourg does in her directorial debut, one could overly flatter the subject or iron out the tough creases. Gainsbourg avoids these traps in her wise and wondrous film about her legendary mother, the singer and actress Jane Birkin. Consisting of several intimate conversations between parent and child, as well as footage of Birkin performing onstage, the result is a spare, loving window into the emotional lives of two women as they talk about subject matter that ranges from the delightful to the difficult: aging, dying, insomnia, celebrity, and their differing memories of their shared past, which includes Charlotte’s father and Jane’s husband, Serge Gainsbourg. Jane by Charlotte is an unexpected, imaginatively visualized work that affords intimate access to someone whom many of us only think we know.

The Lost Daughter
Maggie Gyllenhaal, 2021, USA/Greece, 121m
In her striking feature directorial debut, Maggie Gyllenhaal adapts the 2006 novel of the same name by Elena Ferrante, a potent work of psychological interiority that follows Leda, a divorced professor on a solitary summer vacation who becomes intrigued and then oddly involved in the lives of another family she meets there. Oscar-winner Olivia Colman brilliantly embodies this quietly tempestuous character, finely shading in the enigmatic relationships she creates with strangers. A moving, sometimes unsettling inquiry into motherhood and personal freedom, Gyllenhaal’s adaptation maintains Ferrante’s signature ambiguity and matter-of-fact style, and features an outstanding supporting cast, including Jessie Buckley, Ed Harris, Dakota Johnson, Paul Mescal, Alba Rohrwacher, and Peter Sarsgaard. A Netflix release.

Marx Can Wait
Marco Bellocchio, 2021, Italy, 95m
Italian with English subtitles
North American Premiere
In his most achingly personal film to date, legendary Italian filmmaker Marco Bellocchio—an NYFF mainstay from the very beginning, from Fists in the Pocket (NYFF3) to The Traitor (NYFF57)—uses the occasion of a family reunion in his hometown of Piacenza to excavate and discuss a traumatic event: the death his twin brother Camillo, who committed suicide in the late ’60s at age 29. Through detailed conversations with his siblings, archival footage providing context about 20th-century Italian leftist politics, and occasional clips from his films, many of which were in some way imbued with this defining family tragedy, Bellocchio conducts a personal and historical exorcism. Reckoning with the push-pull the director has long felt between the twin poles of family and politics, Marx Can Wait is an attempt at reconciliation and understanding from a filmmaker in his eighties whose work has never shied away from the challenging or the provocative.

Red Rocket
Sean Baker, 2021, USA, 128m
Adding to his gallery of jet-fueled portraits of economic hardship within marginalized pockets of the U.S., director Sean Baker (The Florida Project, NYFF55) trains his restless camera on an unforgettable protagonist. Mikey, a wildly narcissistic former porn star fallen on hard times, has returned from L.A. to his depressed, postindustrial hometown of Texas City, reconnecting with his skeptical, drug-dependent estranged wife and mother-in-law, and using his wily charms to ingratiate himself into a community of people he couldn’t care less about. As played by a brilliantly cast Simon Rex (a star MTV VJ in the ’90s), Mikey is a charismatic force of nature—and destruction—who exploits the innocence and goodwill of everyone around him. Pointedly set against the backdrop of the 2016 presidential election, Red Rocket is an aptly steamed-up depiction of contemporary America as a playground for hustlers and con men. An A24 release.

The Souvenir
Joanna Hogg, 2019, UK/USA, 119m
The follow-up to her 2013 feature Exhibition finds Joanna Hogg mining her own autobiography to craft a portrait of the artist as a young woman in early 1980s London. Caught between her dreams of becoming a filmmaker and her commitment to a toxic romance, 24-year-old Julie (an excellent Honor Swinton Byrne) comes home each night from film school to the Knightsbridge apartment owned by her mother (Tilda Swinton) only to discover some new, unpleasant surprise proffered by her boyfriend, Anthony (Tom Burke), a dandyish junkie whose sophisticated aura masks an abyss of selfishness and desperation. An eminently refined and moving bildungsroman about the ties that inexplicably bind, The Souvenir—as its title suggests—is also an absorbing evocation of a time, place, and national mood. An A24 release.  The Souvenir Part II is an NYFF59 Main Slate selection.


AMOS VOGEL CENTENARY RESTROSPECTIVE

Program 1, 113m
Cinema 16
At a time when moviegoing in New York was dominated by Hollywood offerings, Amos Vogel, a young Austrian émigré, and his wife Marcia saw the need for a new kind of venue. In the fall of 1947, they founded Cinema 16, inspired by European film societies as well as the daily screenings at the Museum of Modern Art, the shows Maya Deren organized of her own work at the Provincetown Playhouse in Greenwich Village, and Frank Stauffacher’s Art in Cinema series in San Francisco. The organization, named after the gauge of the independent filmmaker, would become the most important film society of its era. Unlike a typical movie theater, Cinema 16 was based on a subscription model, with members paying a fee for a season of programs—an approach that allowed for financial stability, and a means by which to thwart the local censorship board. By the 1950s, 7,000 adventurous cinephiles had joined.

It was through Vogel that many of the period’s most vital auteurs were introduced to New York audiences. As historian Scott MacDonald has noted, Cinema 16 “was one of the first, if not the first, American exhibitor to present the work of Robert Breer, John Cassavetes, Shirley Clarke, Bruce Conner, Joseph Cornell, Brian DePalma, Georges Franju, Robert Gardner, John Hubley, Alexander Kluge, Jan Lenica, Richard Lester, Norman McLaren, Jonas Mekas, Nagisa Oshima, Yasujiro Ozu, Sidney Peterson, Roman Polanski, Alain Resnais, Tony Richardson, Jacques Rivette, Lionel Rogosin, Carlos Saura, Arne Sucksdorff, François Truffaut, Stan Vanderbeek, Melvin Van Peebles, Agnes Varda, and Peter Weiss.”

The significance of Cinema 16, however, lies not simply in what was shown, but how. Vogel would routinely bring together strikingly different works—pairing, for instance, an abstract animation with a science film, allowing both to be understood, contrapuntally, in a new light. For this screening, we’ve recreated the May 1950 program, with Vogel’s original notes.

The Lead Shoes
Sidney Peterson, 1949, USA, 16mm, 18m
A surrealist exploration of two ballads, “Edward” and “The Three Ravens,” scrambled in jam session style and interwoven with a boogie-woogie score. Produced by Workshop 20 at California Institute of Fine Arts.

Unconscious Motivation
Lester F. Beck, USA, 1949, 16mm, 40m
Produced by Dr. Lester F. Beck of the University of Oregon, this astonishing 40-minute motion picture is an unrehearsed, authentic clinical record, showing the inducement of an artificial neurosis by hypnotic suggestion in a young man and a young woman. Upon reawakening, the subjects, by means of dream analysis, ink blot and word association tests, gradually realize first the existence of a traumatic experience and then its content by slowly reconstructing the bogus events which caused it. Their reactions, discussion and self-analysis were spontaneous, unrehearsed and unpredictable: the result is a most unusual motion picture. Print courtesy of Indiana University Libraries Moving Image Archive.

The Battle of San Pietro
John Huston, USA, 1945, 35mm, 38m
A master of the cinema, John Huston (Treasure of the Sierra Madre) portrays the horror of battle and the cruelty of its aftermath in unforgettable images that make this one of the great anti-war films of all time. Print preserved by the Academy Film Archive.

The Work of Oskar Fischinger
Study No. 11, Germany, 1932, 16mm, 4m
Allegretto, USA, 1936-43, 35mm, 2.5m
Motion Painting No. 1, USA, 1947, 35mm, 11m
The father of the “absolute film” and internationally famous film experimentalist is here represented by three films: Absolute Film Study No. 11 is an abstraction set to Mozart’s “Divertissement;” Allegretto, a non-objective color film accompanied by jazz; Motion Painting No. 1—hand-painted in oil on glass—won the Grand Prix 1949 at the International Experimental Film Festival in Belgium. [NB: “Absolute Film” was not part of Fischinger’s title for this film, and its accompaniment is Mozart’s “Eine Kleine Nachtmusik,” not “Divertissement.”] All Fischinger prints courtesy of Center for Visual Music, Allegretto preserved by CVM.

The New York Film Festival, 1963-1968
Cinema 16 came to a close in 1963. That same year Vogel co-founded the New York Film Festival with Richard Roud, and, as the head of Lincoln Center’s film department, laid the groundwork for the FLC of today. For our tribute, we’ll be highlighting a number of works that were presented during Vogel’s tenure at the festival, each of which reflects, in different ways, his long-standing preoccupations as a programmer.

Program 2
Barravento
Glauber Rocha, 1962, Brazil, 16mm, 78m
Portuguese with English subtitles
The first edition of NYFF included in its main slate Barravento, a seminal work of Cinema Novo and the debut feature of Glauber Rocha, whose work Vogel would champion for decades thereafter. The film—shot on location in sensuous black and white, and deeply attuned to the rhythms of collective labor and religious ritual—centers upon a Bahian fishing village. The community finds itself caught in the net of capitalist exploitation and likewise bound by mystical belief, a situation that one man, returning to his hometown after years spent in the city, seeks to change. Though Rocha’s visual style would continue evolving with later works like Antonio das Mortes, his insurrectionary imperatives, aesthetic as well as political, were already evident in Barravento. “The Tricontinental cinema,” he would famously declare, “must infiltrate the conventional cinema and blow it up.” Print courtesy of the Reserve Film and Video Collection of The New York Public Library for the Performing Arts.

Program 3
Pearls of the Deep / Perličky na dně
Jiří Menzel, Jan Němec, Evald Schorm, Věra Chytilová, and Jaromil Jireš, Czechoslovakia, 1965, 107m
Czech with English subtitles
Among Vogel’s many contributions to film culture in America, especially notable is the platform he gave to work coming out of Eastern Europe during the 1960s and ’70s, a particularly rich moment for filmmaking in the region. Emblematic of this era is the omnibus Pearls of the Deep, which played at the New York Film Festival in 1966. Each of its five sections, from the wonderfully morbid opening chapter, set against the backdrop of a motorcycle race, to its closer, a tender study of young love, is directed by a different filmmaker and based on a short story by Bohumil Hrabal; the work as a whole, with its forays into the absurd, is now regarded as a kind of manifesto for the Czech New Wave. “This astonishing, tightly knit group of young filmmakers represented the values of the first post-Stalinist generation,” Vogel would go on to remark. “It was striking to note how similar their views were to those of the West’s rebellious youth, which, from a different starting point, had also become engaged in a search, without illusions, for possible ideals and provisional truths. It seemed that the world was perversely backing into an enforced brotherhood, which would universalize such problems as individual freedom in a bureaucratic society, estrangement between generations, the failure of dogmatic ideologies, and eternal confrontations of imperfect innocence as against the corruption of so-called maturity.”

Program 4, 105m
The New American Cinema, 1966
The Fourth New York Film Festival featured a sampling of the New American Cinema, bringing the underground uptown. Two of the works screened that year, Tony Conrad’s The Flicker and Peter Emmanuel Goldman’s Echoes of Silence, reflect the range of avant-garde activity flourishing at the time: the former, a landmark of structural filmmaking, reduces the cinema to its most fundamental elements, while the latter suggested alternative paths for the narrative feature.

The Flicker
Tony Conrad, 1966, USA, 16mm, 30m
“This film contains no images at all,” wrote Vogel of The Flicker. “Its subject is light and its absence. It consists of combinations of alternating white and black frames, flashing by in constantly changing patterns and causing a continuous stroboscopic flicker effect of great complexity. Whether its frequency is momentarily static or changeable (it ranges from 24 flashes down to 4 flashes per second throughout its 30 minute duration), the effect is literally hypnotic. This concerted ‘overload’ of the retina and nervous system provokes an endless variety of changing shapes, patterns and, most surprisingly, colors, whose nature differs with each viewer (even varying from performance to performance). The electronic soundtrack was generated by relays and components carrying different types of information; the various frequencies are orchestrated by the director. This ‘pure’ film deals with perception itself; its hallucinatory effect—despite absence of image, content, or meaning—reveals an unsuspected congruity with deep emotional needs.” Please note: This film may affect viewers who are susceptible to photosensitive epilepsy and other photosensitivities.

Echoes of Silence
Peter Emmanuel Goldman, 1965, USA, 16mm, 75m
Echoes of Silence, by contrast, chronicles the lives of twentysomethings adrift in New York City, locating tremendous feeling in the smallest moments: a furtive glance across a museum gallery, women putting on makeup, a stroll beneath the gleaming lights of Times Square marquees. Unencumbered by diegetic sound, its shadowy images of youthful flaneurs are paired with evocatively hand-painted title cards and a dynamic soundtrack drawn from the artist’s LPs that, when combined, produce an unforgettable ballad of sexual dependency. Though little remembered today, Goldman was hailed by Vogel (along with Godard, Mekas, and Sontag) as a major new talent.

Program 5, 92m
The Social Cinema in America, 1967
The Fifth New York Film Festival featured a sidebar on “The Social Cinema in America,” which surveyed the new directions of documentary filmmaking, with an emphasis on cinema verité and the possibilities opened up by more portable recording equipment (the program introduced New York audiences to now-classic works like Peter Adair’s Holy Ghost People, Allan King’s Warrendale, and Frederick Wiseman’s Titticut Follies). One screening, reprised here, brought together Lebert Bethune’s Malcolm X: Struggle for Freedom, Santiago Álvarez’s Now, and David Neuman and Ed Pincus’s Black Natchez.

Malcolm X: Struggle for Freedom
Lebert Bethune, 1964, France, 22m
Bethune, a Jamaican filmmaker who had become a notable figure within Paris’s Black expatriate milieu, created a remarkable portrait of a political icon, and his film features some of the very last interviews with Malcolm X, recorded during his travels in Europe and Africa mere months prior to his assassination.

Now
Santiago Álvarez, 1965, Cuba, 35mm, 6m
A brief but incendiary dispatch from postrevolutionary Cuba, Now blasts forth as a machine-gun montage of violent imagery from the American civil rights era while Lena Horne provides a soaring soundtrack with her titular protest anthem, sung to the tune of “Hava Nagila.”

Black Natchez
David Neuman and Ed Pincus, 1967, USA, 64m
In Black Natchez, we encounter the struggle for freedom again, though articulated in a different form. “The advent of portable sync-sound equipment in the early ’60s meant, for the first time in the sound era, that filmmakers could go to the subject as opposed to bringing the subject to the camera,” Pincus would later explain. “The ability to take a camera out into the world created the desire to ‘get it right,’ to film the world independent of the act of filmmaking. In the U.S., all sorts of rules were being created in documentary film—no script, no narration, no interviews, no lighting, no mic boom, no collusion between subject and filmmaker.

In 1965, the second year of intense voter registration drives in Mississippi, we decided to make a film in the southwest corner of the state. Little civil rights work had been done there because of the danger in the region. Our approach was to seek out several story lines and then continue with the most interesting. A car bombing of a civil rights leader while we were there changed everything. The event emphasized the rifts in the Black community around the demands for equality. Rifts between teenagers and women on one hand and the Black business community on the other. Rifts between Black males forming armed protection groups and the call for nonviolence by the major civil rights groups. And rifts between grassroots organizations and more traditional leadership organizations such as the FDP (Freedom Democratic Party) and the NAACP.”

New digitization courtesy of Ed Pincus Film Collection, Amistad Research Center, Tulane University, New Orleans, Louisiana. Digitization was supported by a Digitizing Hidden Collections grant from the Council on Library and Information Resources (CLIR). The grant program is made possible by funding from The Andrew W. Mellon Foundation.

Program 6, 69m
Personal Cinema, 1968
1968 marked Vogel’s final year of overseeing the NYFF, and, as with the festival’s previous iterations, many remarkable (and even today underappreciated) works were selected. One program in particular from that edition stands out. Dubbed “Personal Cinema,” it included several key examples of how the medium was being democratized, with the camera made accessible to those who had previously enjoyed limited or no access to the tools of production. In The Jungle, members of North Philadelphia’s 12th & Oxford Street gang dramatize the internal workings of their group, and, in so doing, put forward a vivid, unvarnished image of urban life in America, while Jaime Barrios’s Film Club showcases the activities of a storefront workshop that allowed Puerto Rican teenagers living on the Lower East Side to make their own movies. In The Spirit of the Navajo, Mary J. and Maxine Tsosie likewise drew from their own community, here focusing on their grandfather, a well-known medicine man, as a way to document the traditions of their tribe in their own style, on their own terms.

The Jungle
12th and Oxford Street Film Makers, 1967, USA, 35mm, 22m
35mm preservation print courtesy of the UCLA Film & Television Archive.

Film Club
Jaime Barrios, 1968, USA, 16mm, 26m

The Spirit of the Navajo
Maxine Tsosie and Mary J. Tsosie, 1966, USA, 16mm, 21m
Print courtesy of The Museum of Modern Art.

Program 7, 90m
Film as a Subversive Art
Long a source of inspiration for film programmers, Film as a Subversive Art is a guidebook to cinema’s outer limits, replete with tantalizing descriptions of some of the most radical movies ever made. First published in 1974, this lavishly illustrated volume can be seen as a culmination of Vogel’s work over the previous decades, chronicling as it does the taboo-busting potential of cinema, at the level of form as well as content. For this program, we foreground one of the book’s most iconic titles, WR: Mysteries of the Organism (a still featuring its star, Milena Dravić, with clenched fist raised, graces Vogel’s cover), alongside an altogether different piece: Nebula II, one of its most obscure entries. The precise abstraction of the latter stands in contradistinction to the messy fantasies, sexual and political, of the former, yet they emerge from a similar moment—and, in true Vogelian style, complement one another, suggesting unexpected affinities. His notes on the films are below.

WR: Mysteries of the Organism
Dušan Makavejev, 1971, Yugoslavia/West Germany, 35mm, 85m
English, German, Russian, and Serbo-Croatian with English subtitles
Banned in Yugoslavia, hailed at international film festivals, this is unquestionably one of the most important subversive masterpieces of the 1970s: a hilarious, highly erotic political comedy which quite seriously proposes sex as the ideological imperative for revolution and advances a plea for Erotic Socialism. Only the revolutionary Cubist Makavejev—clearly one of the most significant new directors now working in world cinema—could have pulled together this hallucinatory melange of Wilhelm Reich; excerpts from a monstrous Soviet film, The Vow (1946), starring Stalin; a transvestite of the Warhol factory; A.S. Neill of Summerhill; several beautiful young Yugoslavs fucking merrily throughout; the editor of America’s sex magazine Screw having his most important private part lovingly plaster-cast in erection; not to speak of a Soviet figure-skating champion, Honored Artist of the People (named Vladimir Ilyich!), who cuts off his girlfriend’s head with one of his skates after a particularly bountiful ejaculation, to save his Communist virginity from Revisionist Yugoslav Contamination. It is an outrageous, exuberant, marvelous work of a new breed of international revolutionary, strangely spawned by cross-fertilization between the original radical ideologies of the East, Consciousness III in America, and the sexual-politics radicalism of the early Wilhelm Reich, who equated sexual with political liberation and denied the possibility of one without the other…

Preceded by:
Nebula II
Robert Frerck, 1971, USA, 16mm, 5m
World premiere of restoration
After Jordan Belson, one might have thought no further mandala films could be fruitfully made; Nebula II quickly dispels this notion. As the ever-changing circular patterns become more complex and change in increasingly rapid fashion, the incessant bombardment of our senses with flicker effects, visual transmogrifications, pulsating color, and enforced forward movement via zoom, finally set up a sensory overload both hypnotic and overpowering in its beauty and mystical revelation. Print restored by Anthology Film Archives with support from Cinema Conservancy.


The NYFF59 Spotlight retrospective will be followed by tributes at repertory cinemas across New York City—Anthology Film Archives, Film Forum, Light Industry, Metrograph, MoMA, and the Museum of the Moving Image—in an unprecedented collaboration.

The Spotlight section is programmed by Eugene Hernandez and Dennis Lim. NYFF’s Amos Vogel centenary celebration is organized by Thomas Beard, Dennis Lim, and Tyler Wilson.

NYFF59 will feature in-person screenings, as well as select outdoor and virtual events. In response to distributor and filmmaker partners and in light of festivals returning and theaters reopening across the country, NYFF will not offer virtual screenings for this year’s edition.

Proof of vaccination will be required for all staff, audiences, and filmmakers at NYFF59 venues. Additionally, NYFF59 will adhere to a comprehensive series of health and safety policies in coordination with Lincoln Center for the Performing Arts and state and city medical experts, while adapting as necessary to the current health crisis. Visit filmlinc.org for more information.

Presented by Film at Lincoln Center, the New York Film Festival highlights the best in world cinema and takes place September 24 – October 10, 2021. An annual bellwether of the state of cinema that has shaped film culture since 1963, the festival continues an enduring tradition of introducing audiences to bold and remarkable works from celebrated filmmakers as well as fresh new talent.

Festival Passes are now on sale through this Sunday, August 22 only. NYFF59 tickets will go on sale to the general public on Tuesday, September 7 at noon ET, with early-access opportunities for FLC members and pass holders prior to this date. Learn more here. Support of the New York Film Festival benefits Film at Lincoln Center in its nonprofit mission to promote the art and craft of cinema


Tribeca Film Festival 2021 is back with a vengeance. Here’s what we’re stoked to see.

Tribeca Film Festival is back and it’s the 20th anniversary, baby. This year’s lineup not only features a slew of incredible new films but will also include titles that didn’t get the chance to screen at the 2020 festival due to Covid. Audiences can experience Tribeca in a multitude of ways. You can enjoy outdoor screenings or watch from the comfort of your couch with Tribeca At Home. There are podcasts, live talks, immersive programs, and so much more. This festival is reliable for churning out crowdpleasers and this year is no exception. Here is a mere handful of films we are excited to share with our readers.

Werewolves Within

SYNOPSIS:
After a proposed gas pipeline creates divisions within the small town of Beaverfield, and a snowstorm traps its residents together inside the local inn, newly arrived forest ranger FINN (Sam Richardson) and postal worker CECILY (Milana Vayntrub) must try to keep the peace and uncover the truth behind a mysterious creature that has begun terrorizing the community.
When everyone is talking about a film before it even premieres you know you have to check it out. The pairing of Milana Vayntrub and Sam Richardson is pure comic genius. The screenplay from Mishna Wolff gives this duo a chance to shine and the audience nonstop belly laughs. In fact, this ensemble cast will blow you away. The hidden social commentary inside a werewolf mystery heightens everything. You do not want to miss this one.
Virtual Screening
Available Starting

Thu June 17 – 6:00 PM

At Home

$15

Streaming Tribeca at Home is not available outside the USA. Purchased films remain available to stream on demand from the above date through June 23


Poser

Lennon exists timidly on the sidelines of the thriving Columbus, Ohio indie music scene, yearning for a personal connection that might shepherd her into the inner sanctum of warehouse concerts, exclusive backstage, house parties and the cutting-edge art scene. As she 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. Enter Bobbi Kitten, an enigmatic, striking and talented half of a popular, indie pop duo, who takes Lennon under her confident wing—unwittingly entangling herself in a dark obsession.
This is a film that will connect with multiple generations. It’s a story about finding your niche but that’s a really glossy explanation. The script is nuanced in a way that you will not see coming.
Available Starting

Fri June 11 – 6:00 PM

At Home

$15

Streaming Tribeca at Home is not available outside the USA. Purchased films remain available to stream on demand from the above date through June 23.


Settlers

Remmy and her parents, refugees from Earth, have found peace on the Martian outskirts—until strangers appear in the hills beyond their farm. Told as a triptych, the film follows Remmy as she struggles to survive in an uneasy landscape.

An unexpected feminist tale, Settlers script makes the heart beat faster, ceaselessly begging the question, “What would you do to survive?”

Available Starting

Fri June 18 – 8:00 PM

At Home

$15

Streaming Tribeca at Home is not available outside the USA. Purchased films remain available to stream on demand from the above date through June 23


How It Ends

In this feel-good apocalyptic comedy, Liza (Zoe Lister-Jones) embarks on a hilarious journey through LA in hopes of making it to her last party before it all ends, running into an eclectic cast of characters along the way.

Having a massively successful run on the festival circuit, Zoe Lister-Jones stars in a cameo-filled, riotous, and thoughtful film about coming to terms with the traumas of our childhood. You will laugh (a lot) and cry. This one will undoubtedly hit all the right notes.

Available Starting

Mon June 21 – 6:00 PM

At Home

$15

Streaming Tribeca at Home is not available outside the USA. Purchased films remain available to stream on demand from the above date through June 23


We Need To Do Something

After Melissa and her family seek shelter from a storm, they become trapped. With no sign of rescue, hours turn to days and Melissa comes to realize that she and her girlfriend Amy might have something to do with the horrors that threaten to tear her family – and the entire world, apart.

This is one of the first titles to get picked up before its premiere. That always makes a film extra buzzy. The idea of being trapped in a bathroom with my family already gives me anxiety. Add on the horror element and you’d push anyone’s nerves beyond their breaking point.

Available Starting

Wed June 16 – 6:00 PM

At Home

$15

Streaming Tribeca at Home is not available outside the USA. Purchased films remain available to stream on demand from the above date through June 23


Ultrasound

**World Premiere** – Midnight

Driving home late at night during a heavy rainstorm, Glen experiences car trouble. Near where his car gets stuck, he spots a house, knocks on the door and is greeted by an oddly friendly middle-aged man, Arthur, and his younger wife, Cyndi. The strange couple pours him a drink, and then more drinks, followed by an unexpected offer that Glen can’t refuse. Elsewhere, a young woman, Katie, is feeling emotionally weighed down by a secret romantic arrangement that feels like a textbook case of gaslighting. And at the same time, in a nondescript research facility, medical professional Shannon begins questioning her role in a bizarre experiment, fearing that she’s doing more harm than good.

When I tell you that you aren’t ready for Ultrasound, I mean that as the highest compliment. This is a film best viewed totally unaware of the plot. Frankly, that’s not too difficult as the script provides dizzying twists over and over again. This is a film that people will be talking about. It’s one you’ll want to watch again and again.

Available Starting

Wed June 16 – 6:00 PM

At Home

$15

Streaming Tribeca at Home is not available outside the USA. Purchased films remain available to stream on demand from the above date through June 23


Claydream

A modern day Walt Disney, Will Vinton picked up a ball of clay and saw a world of potential.  Known as the “Father of Claymation,” Vinton revolutionized the animation business during the 1970s, ’80s, and ’90s.  But after 30 years of being the unheralded king of clay, Will Vinton’s carefully sculpted American dream came crumbling down at the hands of an outside investor, Nike’s Phil Knight.

The poster alone screams nostalgia for a generation brought up on Saturday morning cartoons. With sitdown interviews and behind-the-scenes clips, fall in love with Will Vinton and his creations all over again.

Available Starting

Sun June 13 – 7:00 PM

At Home

$15

Streaming Tribeca at Home is not available outside the USA. Purchased films remain available to stream on demand from the above date through June 23


No Man Of God

In 1980, Ted Bundy was sentenced to death by electrocution. In the years that followed, he agreed to disclose the details of his crimes, but only to one man.  NO MAN OF GOD is based on the true story of the strange and complicated relationship that developed between FBI agent Bill Hagmaier and an incarcerated Ted Bundy in the years leading to Bundy’s execution.

We often hear about how charming Ted Bundy was. Director Amber Sealey‘s No Man Of God puts the audience in the room with him as writer Kit Lesser used actual transcripts from Bundy and Hagmaier’s conversations. Brimming with complexity and boasting amazing performances from Luke Kirby and Elijah Wood, leave your expectations at the door. 
Available Starting

Sat June 12 – 6:00 PM

At Home

$15

Streaming Tribeca at Home is not available outside the USA. This purchased film will remain available to stream on demand from the above date through 6/14 at 6 PM EST


Creation Stories

 Creation Stories charts the true story of the rise and fall of Creation Records and its infamous founder, Alan McGee; the man responsible for supplying the “Brit Pop” soundtrack to the 90s, a decade of cultural renaissance known as Cool Britannia.  From humble beginnings to Downing Street soirées, from dodging bailiffs to releasing multi-platinum albums, Creation had it all. Breakdowns, bankruptcy, fights and friendships… and not forgetting the music. Featuring some of the greatest records you have ever heard, we follow Alan through a drug-fueled haze of music and mayhem, as his rock’n’roll dream brings the world Oasis, Primal Scream, and other generation-defining bands.

Drugs, music, risk, and passion drove Allen McGee to change the face of music in the 90s. Creation Stories comes at you like a freight train with a visceral energy that makes you wanna get up and dance. If you are a fan of Trainspotting, also penned by Irvine Welsh, this is right up your alley. Be on the lookout for our upcoming interview with director Nick Moran!

Available Starting

Wed June 16 – 8:00 PM

At Home

$15

Streaming Tribeca at Home is not available outside the USA. Purchased films remain available to stream on demand from the above date through June 23


My Heart Can’t Beat Unless You Tell It To

Two mysterious siblings find themselves at odds over care for their frail and sickly younger brother.

This is another film that is best experienced without prior knowledge of the plot. My Heart Can’t Beat Unless You Tell It To comes out of left field in a genre-bending tale of morality. The emotional gut-punch that the film becomes will consume you.


TRIBECA FILM FESTIVAL 21 runs from June 9th to the 20th. For more information visit https://tribecafilm.com/festival and stayed tuned to Reel News Daily for reviews and updates.

Review: IFC Midnight’s ‘Hunter Hunter’ is one of the most intense films of 2020.

HUNTER HUNTER

HUNTER HUNTER follows a family living in the remote wilderness earning a living as fur trappers. Joseph Mersault (Devon Sawa), his wife Anne (Camille Sullivan), and their daughter Renée (Summer H. Howell) struggle to make ends meet and think their traps are being hunted by the return of a rogue wolf. Determined to catch the predator in the act, Joseph leaves his family behind to track the wolf. Anne and Renée grow increasingly anxious during Joseph’s prolonged absence and struggle to survive without him.  When they hear a strange noise outside their cabin, Anne hopes it is Joseph but instead finds a man named Lou (Nick Stahl), who has been severely injured and left for dead. The longer Lou stays and Joseph is away, the more paranoid Anne becomes, and the idea of a mysterious predator in the woods slowly becomes a threat much closer to home.

The contentious relationship between Devon Sawa and Camille Sullivan is what makes the initial framework of this film so intriguing. With Anne longing for more traditional stability for her family, Joe thrives in the wilderness. Trapping is just not meeting their monetary needs any longer. With their daughter Renee to protect, they are in for a bigger surprise than running out of food and a rogue wolf on the prowl. Hunter Hunter goes to a place so dark, you won’t be able to get it out of your head.

The survivalist and tracker methods ring true. Sawa, who has been churning out films the past few years, once again holds the audience captive with his presence. I’ve stated before that his talent is often overlooked. His commitment to a role is stellar and he’s a lovely human in real life. Here his portrayal of Joe is steadfast and loyal, with a side of heroic intention. His chemistry with Summer H. Howell as daughter Renee is a touch reminiscent of Ben Foster and Thomasin McKenzie in Leave No Trace. Howell gives a “raised off the grid”, tough as nails, but thoroughly innocent age-appropriate performance. It’s just right. Nick Stahl and Devon Sawa in one movie together, have made my schoolgirl fantasies a reality… in the most satisfying, genre nerd girl way. Stahl is downright scary. You can read the unspoken backstory he’s given himself in his posture and gaze. It’s startling.

Camille Sullivan has been written as a fully nuanced woman, forced to activate her Mother Bear instincts. The power she brings to this film is unmatched. This cast has to not only contend with a terrifying script but the elements of filming in the wilderness. I have so many questions since the credits rolled but the mystery that remains isn’t even relevant when the screen goes black. You are simply left in shock.

That sharp turn in the plot blows up everything you think you know about how this story will end. Your heart will be in your throat for the final 3rd. Writer/director Shawn Linden has given us one of the most disturbing films of 2020. The utter carnage, both emotional and physical, inflicted on this cast is brutal. The visceral horror of that befalls the viewer is skin-crawling and nausea-inducing. Hunter Hunter is complex and precisely crafted. Camille Sullivan‘s performance will go down as one of the most iconic final girls, ever.

STARRING:

Devon Sawa – Nick Stahl – Camille Sullivan – Summer Howell

DIRECTED AND WRITTEN BY:

Shawn Linden

IN SELECT THEATERS, ON DIGITAL & ON DEMAND – DECEMBER 18, 2020

Review: ‘Girl With No Mouth’ has so much to say.

GIRL WITH NO MOUTH

In Girl With No Mouth, a group of children who suffer from deformities due to a toxic explosion, embark on an adventure in a war-torn post-apocalyptic region. The Turkish production comes from Can Evrenol, director of the successful TIFF Midnight Madness selection Baskin, and the horror film Housewife (currently available on Shudder).

This beautifully shot film tells the tale of a ragtag group of deformed children running from the evil Corporation responsible for their plight. Each is missing a key feature on their face, making for creative ways to communicate with one another. Captain finds Peri (our titular character) after she has fled her corrupt uncle’s clutches. With her father murdered and her uncle tracking her down to kill her, she escapes alongside her newfound friends. Captain is without eyes, Yusuf is missing his nose, and little Badger has no ears. This band of “Pirates” protects each other in search of sanctuary. Peace is coming, which means The Corporation must find any remaining children and destroy “the evidence” of wrongdoing.

Each child brings a different strength to their journey. Captain is a master tracker and relies on his heightened hearing to map. Peri uses science. Yusuf cooks and Badger scavenges. They happen upon an adult who is not a complete psychopath. The widow of the man responsible for all the agony caused by The Corporation. With her help and Peri’s engineering, can our group reach safety in time? The script is carefully crafted by director Can Evrenol and Kutay Ucun. There is undoubtedly a Peter Pan and The Lost Boys vibe to it. Add the tragic post-apocalyptic aspect and it goes from enchanting to unbelievably thrilling. You would never think this is the kind of film that would come from the director of Baskin. I’m so happy this film is now on people’s radars. I think it truly extraordinary.

This cast is outstanding. Their chemistry is pure magic. The film’s cinematography is simply stunning combined with a fantastic script, Girl With No Mouth is a captivating take of resilience and guts. You will be rooting for these kids. Their ingenuity and spirit are what hold you tightly to your seat. The finale strikes a gorgeous balance between heartbreaking and triumphant. Girl With No Mouth speaks volumes in a year where death and capitalism reign supreme. This film will have you cheering out loud at your screen. Do not sleep on this one.

 Girl With No Mouth is due to release on Blu-Ray, DVD and VOD across North America on December 8th via Indiecan Entertainment

 

INDIECAN ENTERTAINMENT focuses on independent, low-budget films. As a distributor, Avi Federgreen follows the same principle that earned him his reputation as a filmmaker; bringing audiences films they want to watch. Aside from the traditional distribution route, INDIECAN leans heavily on digital delivery. INDIECAN helps films find more opportunities with audiences through TV, Netflix, iTunes, websites, Facebook, Twitter, Instagram, and other social media platforms. The jarvee provide the best tools to improve the growth of your social media platform.  INDIECAN’s vision is to not only support Canadian production but to encourage the viewing of quality independent films by North American audiences. Indiecanent.com

Book Review: Filmmaker Steve Balderson’s ‘Filmmaking Confidential’ should be on your holiday shopping list.

Reel News Daily Holiday recommendation:

FILMMAKING CONFIDENTIAL

Steve Balderson gets back to the basics. You don’t need a fancy budget or a studio’s money to get your film made. This book is unpretentious and essentially a step-by-step guide for any age. With chapters like ‘Needs Stars?“, “Product Placement“, and “Marketing: You Vs The Big BoysFilmmaking Confidential is a down and dirty look into how Hollywood works and how you can get into the game. The chapters are short and concise, I’m talking 3-5 pages. It would make an awesome holiday gift for anyone in your life that wants to enter the industry. This is the perfect year as indie films are on top of everyone’s list. The more creative, the better. Balderson is actually the perfect person to write this book. His career is comprised of award-winning, risky, and visually striking films that have since become cult classics. He strips back the cliche and gets to the heart of it all. With Filmmaking Confidential you’re getting a guerilla-style film school class in 208 pages. It’s great.

I spoke with Steve in 2016 about three of his films. You can find our interview and the reviews of Hell Town, El Ganzo, and Firecracker here

Filmmaking Confidential

It’s the most wonderful time of the year! Fantasia International Film Festival 2020 is here!!!

If you did not sing the title of this article, then shame, shame, I know your name. It is no secret that Fantasia International Film Festival is my favorite of the entire year. While this year the fest is strictly virtual (because that’s the responsible thing to do), there are a plethora of amazing films to check out from the comfort of your own couch. Fantasia is always a sure bet for the films that will be talked about nonstop all year. Since we’re all stuck inside we might as well escape the scary reality with some scary unreality. Throw in the weird and wonderful and you’ve got yourself an annual good time.

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Here are just a few titles that should pique your interest, people.

MORGANA

How does one woman go from lonely housewife to Feminist pornstar? Morgana is an extraordinary documentary about sex positivity, self-worth, mental illness, and new beginnings. Stunningly visual and creatively edited, Morgana will knock your socks off… and maybe more. *Wink, wink. You can find our coverage of the film here.

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MINOR PREMISE

Attempting to surpass his father’s legacy, a reclusive neuroscientist becomes entangled in his own experiment, pitting ten fragments of his consciousness against each other.

 

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THE BLOCK ISLAND SOUND

Something terrifying is happening off the coast of Block Island. A strange force is thriving, influencing residents and wildlife alike. Birds are dropping out of the sky. Some people have been dropping too, into inexplicable emotional collapse. Harry Lynch (Chris Sheffield, THE STANFORD PRISON EXPERIMENT) has always been a bit of an outsider in town. Now, he watches in dread as his father (Neville Archambault, 13 CAMERAS) grows increasingly forgetful and confused. And angry. Very, very angry. His sister Audry (Michaela McManus, THE VILLAGE), whose work in marine biology will soon prove invaluable, returns to town with her daughter and immediately sees what Harry sees. Her explorations into the increasingly grisly wildlife phenomena intersect with the triggers of her father’s actions, leading them all towards chilling revelations that no one is prepared for. Revelations that will affect her family in unimaginable ways.

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BLEED WITH ME

With BLEED WITH ME, her feature debut, director Amelia Moses invites us on an intimate cabin trip where boundaries and relationships collapse. Rowan (Lee Marshall), a shy and awkward young woman, struggles to integrate herself on a weekend getaway with her best friend, Emily (Lauren Beatty) and her unfriendly boyfriend, Brendan (Aris Tyros). Feeling like a third wheel, she drinks to calm her nerves, pushing her body and mind deep into a hazy trance, where she begins to witness nightmarish late-night visions that make her feel increasingly unwelcome, unsure and unstable. A slow-burn thriller with arresting visuals, BLEED WITH ME, captures a vulnerability and discomfort as it explores issues related to self-harm and social isolation. Set against a wintry backdrop, BLEED WITH ME uses the limits of a small budget to its full potential.

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YUMMY

The young woman wants a breast reduction. … Wandering through an abandoned ward the boyfriend stumbles upon a young woman, gagged and strapped to an operating table; she is the result of an experimental rejuvenation treatment.

 

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THE MORTUARY COLLECTION

A kid is being interviewed for a job at the local mortician’s office and is asked to tell his scariest stories. What results is a collection of 4 of the scariest stories ever told spanning into 4 decades starting from the 50s to the 80s.

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LUCKY

Luck doesn’t seem to be with self-help author May Ryer (Brea Grant) lately. Her books aren’t selling like they used to, and one night, a masked intruder breaks into the house she shares with her husband Ted (Dhruv Uday Singh). To make matters worse, Ted seems strangely unconcerned about the incident, talking about it in matter-of-fact terms as if it’s just something to be accepted, and an investigating cop actually says they’re lucky things didn’t go worse. Then things do become worse as the attacker appears again… and again… and again, continuing to terrorize May no matter how valiantly she fights back. He seems to have supernatural properties, and when May seeks help, she’s met with indifference and condescension. One of her books is called Problem Solving for Staying Alive, and now she’s faced with a dilemma that seems to have no solution, and that may indeed claim her life.

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Shorts Programs

Do not miss out on the amazing short film programs. I am always partial to the Born Of Woman section, myself.

 

Fantasia 2020 officially opened last night.
You can purchase tickets and check out the amazing lineup of films and events at https://fantasiafestival.com/en/

 

 

Review: ‘FAIRYTALE’ is nothing short of magic.

Synopsis: United States, the 50s. Amongst stuffed poodles, whiskey-infused teas, sinful mambo lessons, and threats of alien invasion, Mrs. Fairytale spends her days locked in her dream home and without a moment to breathe. A surreal world where anyone can finally be who they want to be, but behind which hides another upsetting reality.

Sebastiano Mauri‘s directorial debut, based on Filippo Timi‘s play, Fairytale is a deliciously eccentric cinematic experience. The glorious opening shots where Mrs. Fairytale’s face is hidden are simply genius. The over-the-top 1950’s sets, with their saturated color schemes and patterns, not to mention the glaringly flat and ever-changing window visuals, make for the highly stylized wonder that is Fairytale. And that is the literal first minute of this film. The sheer absurdity of every single aspect of this film is magic. The physical theatricality of the blocking, performances, and lighting is such a deliberate choice it must mirror Timi’s original staged version. I could not imagine this film being presented in any other way.

Mrs. Fairytale is what happens when you combine Miss Yvonne and Pee-Wee Herman and make them take the Playhouse scenario seriously. I genuinely mean this as a compliment. Fairytale has all the markings of a cult classic. The visual transitions between scenes are colorful dreams. The underlying message is what’s most important. Fairytale is about living your truth and loving who you want to love. It’s wrapped in a farce, making it all the more entertaining. The very final act takes a sharp left turn, but it more of a “why not?” moment. It is equally as enchanting and impactful.

Filippo Timi as our lead is perfection. If someone doesn’t give him an award I will be angry. I said it, angry. You cannot overlook the specificity of his individual beats. They are so funny because they are so genuine. Think Lucille Ball level of hilarity. If you aren’t belly laughing, someone needs to check your pulse. Supporting cast members are all spectacular. The costumes are a beautiful mix of garish and period-accurate. They add another element to the performances you’ll have to see to understand.  Trust me when I say they have weight to them.

You can watch Fairytale today on DVD and VOD. There is nothing like it. I see 100’s of films a year. I have no doubt Fairytale will land in my top ten list in 2020.

Tribeca Film Festival 2020 Shorts Program review: ‘Update Required’

Tribeca Film Festival 2020 Shorts Program- UPDATE REQUIRED

Out of this world Sci-Fi shorts.

Playing in this program:

Toto

Rosa Forlano, a 90-year-old Nonna, falls in love with a Robot while teaching it how to make spaghetti. Unfortunately, her recipe is forgotten after a software update.

A charming look at companionship through the eyes of a 90-year-old woman and her robot. Marco Baldonado, writes, directs, produces, and voices our titular character. It’s a lovely look at generational relationships in more ways then you’d expect.

Abducted

A tongue-in-cheek Southern thriller about a rookie cop’s (Jenna Kanell) first date gone horribly wrong.

This film immediately sent me into panic mode as a woman. Never leave your drink unattended. Don’t worry, the universe works in mysterious ways.

Jack and Jo Don’t Want to Die

Jack (Justin Kirk) works at a suspension facility where people choose to halt their lives. On the night of his suspension, Jack’s life takes a turn when he meets Jo.

Justin Kirk plays a heartbroken man who is confronted with his own mortality. This film beautifully explores the small moments that make living so wonderful.

A Better You

Living in a dystopian, neo-steampunk world, a shy young man named Douglas (Seán T. Ó’Meallaigh) invests in a customizable carbon clone to help him win the girl of his dreams.

This shirt is a gorgeously stylized look at being confident in your own skin. It’s one of the most endearing performances of the festival this far.

Carmentis

An injured and grief-stricken miner (Ben Mortley) on the desolate planet Carmentis must overcome his personal demons in order to survive, but can he get there before the planet freezes?

Human instinct Vs the AI created to protect it. This short is completely unpredictable. It’s a beautiful commentary on the fragile human spirit.

The Light Side

An aging Sith Lord (Joseph Ragno) must come to grips with his past and discover why humility may be the greatest force in the galaxy.

Utilizing a booming voice over from Tim Plewman combined with lead actor Joseph Ragno’s physical performance, this film shines with true humor. It is pure fandom fun with a side order of redemption.

System Error

George works at a convenience store, desperately hoping for a friend. But George is a robotic service unit, and robotic service units do not have friends. Not yet, anyway.

This short challenges how emotion and information alter a being’s perception of others. It will leave the imagination running wild. I can safely say I would watch an entire series or full-length feature based on the storytelling laid out in this 13-minute cut. It sounds like I’ll be getting my wish, as the filmmakers have a development deal at Screen Australia for a dystopian rom-com TV show based on the characters in System Error. I could not be more excited. There is so much more to explore and laugh at here.

I’m Baaaaaack….and Here’s My Top 50 of the Decade

Hello all! It’s been nigh on four years since I last dropped some knowledge on you here at Reel News Daily. I went off and got a Master’s degree, new job and all that, but have still been rocking films from all over the world. I’m happy to be back in the fold here at Reel News Daily and look forward to contributing more this year. Don’t you feel lucky?

So, I figured my phoenix rising from the ashes post should be something that might start a little conversation – my Top 50 films of the last decade. There were so many great films to choose from, which made this list very difficult. After two days of whittling it down and moving films around, I feel confident with what I decided on. I’m sure I missed a few of your favorites, but this is my list so you’ll just have to deal with it.

Here we go:

50) Shoplifters (2018) dir. by Hirokazu Koreeda
49) Spider-Man: Into the Spider-Verse (2018) dir. by Bob Perischetti, Peter Ramsey & Rodney Rothman
48) Gone Girl (2014) dir. by David Fincher
47) A Hidden Life (2019) dir. by Terrence Malick
46) Annihilation (2018) dir. by Alex Garland
45) Under the Skin (2013) dir. by Jonathan Glazer
44) Her (2013) dir. by Spike Jonze
43) The Favourite (2018) dir. by Yorgos Lanthimos
42) Take Shelter (2011) dir. by Jeff Nichols
41) Leviathan (2012) dir. by Lucien Castaing-Taylor & Verena Paravel
40) Upstream Color (2013) dir. by Shane Carruth
39) Death of Stalin (2017) dir. by Armando Iannucci
38) Columbus (2017) dir. Kogonada
37) Holy Motors (2012) dir. by Leos Carax
36) Shame (2011) dir. by Steve McQueen
35) Scott Pilgrim Vs. the World (2010) dir. by Edgar Wright
34) Midnight in Paris (2011) dir. by Woody Allen
33) Stories We Tell (2012) dir. by Sarah Polley
32) Cold War (2018) dir. by Pawel Pawlikowski
31) Mad Max: Fury Road (2015) dir. by George Miller
30) Inside Llewyn Davis (2013) dir. by Ethan & Joel Coen
29) The Look of Silence (2015) dir. by Joshua Oppenheimer
28) We Need to Talk About Kevin (2011) dir. by Lynne Ramsay
27) BlacKkKlansman (2018) dir. by Spike Lee
26) First Reformed (2017) dir. by Paul Schrader
25) Carol (2015) dir. by Todd Haynes
24) Winter’s Bone (2010) dir. by Debra Granik
23) Citizenfour (2014) dir. by Laura Poitras
22) Animal Kingdom (2010) dir. by David Michôd
21) A Separation (2011) dir. by Asgar Farhadi
20) Meek’s Cutoff (2010) dir. by Kelly Reichardt
19) La La Land (2016) dir. by Damien Chazelle
18) Phantom Thread (2018) dir. by Paul Thomas Anderson
17) The Lobster (2015) dir. by Yorgos Lanthimos
16) Calvary (2014) dir. by John Michael McDonagh
15) Best of Enemies: Buckley Vs. Vidal (2015) dir. by Robert Morgan & Morgan Neville
14) Looper (2012) dir. by Rian Johnson
13) Frances Ha (2013) dir. by Noah Baumbach
12) Beasts of the Southern Wild (2012) dir. by Benh Zeitlin
11) Lady Bird (2018) dir. by Greta Gerwig
10) A Girl Walks Home Alone at Night (2014) dir. by Ana Lily Amirpour
9) Moonlight (2016) dir. by Barry Jenkins
8) Only Lovers Left Alive (2013) dir. by Jim Jarmusch
7) Zero Dark Thirty (2012) dir. by Kathryn Bigelow
6) The Tree of Life (2014) dir. by Terrence Malick
5) You Were Never Really Here (2017) dir. by Lynne Ramsay
4) Ex Machina (2014) dir. by Alex Garland
3) Melancholia (2011) dir. by Lars Von Trier
2) The Act of Killing (2012) dir. by Joshua Oppenheimer

1) The Master (2012) dir. by Paul Thomas Anderson

So there you have it. It was a tough job, but I was happy to do it. Here are a few that nearly made the list: Everybody Wants Some!! (underrated Richard Linklater that more people should watch), Tomas Alfredson’s slow burn spy thriller Tinker Tailor Soldier Spy and Paul Thomas Anderson’s hippie noir adaptation of Thomas Pynchon’s Inherent Vice. Admittedly, it was hard to weave many of the films from 2019 into the list as they’ll need to sit me a longer. I will say that Bong Joon Ho’s Parasite and Noah Baumbach’s Marriage Story nearly edged their way on.

Here’s to hoping that the next ten years brings as many great films as the last ten have.