A box of letters, held in secret for nearly 60 years, ignites a 5-year exploration into a part of LGBT history that has never been told. The letters, written in the 1950s by a group of New York City drag queens, open a window into a forgotten world where being yourself meant breaking the law and where the penalties for “masquerading” as a woman were swift and severe. Using original interviews, never-before-seen archival footage and photographs and stylized recreations, P.S. BURN THIS LETTER PLEASE reconstructs this pre-Stonewall era as Lennie, Robbie, George, Michael, Jim, Henry, Claude, Tish, and Terry—former drag queens now in their 80s and 90s—reveal how they survived and somehow flourished at a time when drag queens were both revered and reviled, even within the gay community. The government sought to destroy them, then history tried to erase them, now they get to tell their story for the first time.
There’s something both nostalgic and tangible about handwritten letters. With technology at our fingertips, they are few and far between and nearly nonexistent to certain generations. In P. S. Burn This Letter Please, a box of letters from the 50s chronicles the lives of a small LGBTQ circle of friends. Through sit-down interviews with the authors, immaculate archival footage and photos, we delve into history. This documentary is phenomenally compelling. If it doesn’t make you grin from ear to ear, you’re out of your mind.
Happiness isn’t the only reaction this film elicits. It is a lesson in oppression, one that sounds all too familiar. We hear about biological family dynamics, the difference between those who accepted and those who broke these beautiful souls down. The majority of the doc is celebratory and juicy. Oh honey, the exquisite fashion. The delicious stories. Hearing the truth from those who lived it is priceless.
I learned an entirely new vocabulary. I learned about the “who’s who” of drag and female impersonators in those years. What was it like to be a performer? Who was actually running the gay clubs? That answer will shock you. To say I was fascinated would be an understatement. The dramatic readings of the letters are to die for. To think what wasn’t included in the film leaves me wanting more. Outside of its Tribeca Festival screening, you can watch P.S. Burn This Letter Please streaming on Discovery +. You will not regret jumping into its fabulousness.
NO RUNNING | JUNETEENTH PROGRAMMING
Online World Premiere
Synopsis: When high school student Jaylen Brown finds himself under suspicion after his classmate’s mysterious disappearance, prejudice quickly begins to bubble up to the surface of his small town. Working quickly to clear his own name, he begins to unravel a massive web of secrets that all point to otherworldly forces at play.
A smart, biting screenplay by Tucker Morgan takes us into the world of a young black man in very unfriendly territory. No Running has a twist to the social relevance. It’s a sci-fi film that leaves more questions than answers and that just fine by me. The story has all the makings of a franchise. No Running is Jaylen’s story but the door is left ajar for an entirely expanded world of who and why. In a town riddled with missing posters, No Running could be the beginning of something much larger. The suggestion of an otherworldly savior has endless potential.
Skylan Brooks, coming off an extraordinary performance in Archenemy, proves his star power. His ability to convey truth, relatability, and vulnerability is a gift. Each cast member elevates his performance. As you watch, you’ll easily be wrapped up in the local hostility weighed upon Jaylen. You’ll be infuriated and compelled to solve the mystery alongside this talented young man. Morgan’s script gives us a beautiful example of black excellence with Jaylen. No Running is a gem at Tribeca Festival 2021. Genre fans will connect on a multitude of levels. Congratulations to director Delmar Washington for a unique entry in this year’s lineup.
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
Director: Delmar Washington
Written by: Tucker Morgan
Cast: Skylan Brooks, Taryn Manning, Shane West, Diamond White, Rutina Wesley, Bill Engvall
Producer: Eric Fleischman, Maurice Fadida
Co-Producer: Chris Abernathy
Editor: Adam Tyree
Cinematographer: Juan Sebastian Baron
The complicated relationship that formed between the FBI analyst Bill Hagmaier and serial killer Bundy during Bundy’s final years on death row.
Amber Sealy‘s breaking the mold of our image of Ted Bundy. No Man Of God does not romanticize Bundy’s personality, but it does somehow humanize his intellect. This is the most unexpected story of friendship and trust. It just so happens to involve one of the most prolific serial killers of our times. Of all the Bundy films, this is the one we’ve been waiting for and we didn’t even know it. Through letters that progressed to sit-down interviews, Hagmaier built a bond with Bundy no other person was ever able to attain. It’s extraordinary.
Elijah Wood is a phenomenal foil for Luke Kirby. There is a measured and genuine tone to his delivery that is completely believable. You’re just buying what he’s selling. I think this might be his best dramatic performance since Set Fire To The Stars. Luke Kirby is a genius. He is slick as hell. Kit Lesser‘s dialogue allows for poetic moments, philosophical ones, as well as pure terror. It’s his manner of nonchalance that keeps you off-kilter. It is undeniably an award-winning performance.
Wood and Kirby’s incredibly natural back and forth holds your attention every single second. The emotional electricity builds to a pitch-perfect finale. This is a masterclass in scene partnering, writing, and directing. No Man Of God is nothing short of riveting. It is a must-see.
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
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.
**2021 Tribeca Film Festival: U.S. Narrative Competition**
Poser is a volatile and sensual unraveling. Lennon is attracted to the confidence of indie rock singers. In an attempt to jumpstart her new podcast, she follows acts through their underground performances, picking their brains and then some. When she meets Bobbi Kitten, the lead singer of Damn The Witch Siren, she is enamored. This close-knit community of creators allows Lennon to peek behind the curtain and gives her permission to step outside of her box, perhaps to their own detriment.
Directors Ori Segev and Noah Dixon have managed to create a film that possesses a timeless quality about self-actualization. I actually thought Dixon was a fellow Gen Xer based on a slew of very specific choices but as it turns out that’s not the case. This only proves the universality of Poser’s themes of self-doubt and the irrational decisions we make to fit in.
The chemistry between Bobbi Kitten and Sylvie Mix is magnetic. Kitten’s effortless awareness and cool girl demeanor draw the audience in immediately. She is a phenomenal foil for Mix’s portrayal of Lennon, whose guiding narration hits every beat. The vulnerability and ultimate indifference are consuming. This is the culmination of smart writing, superb casting, and kick-ass direction.
The editing and soundtrack are fly as hell. A mix of featured indie bands and a killer original score, it’s an entire character in the film. The third act should not have knocked me as hard as it did, the clues were all there. It’s a poetic injustice. That’s great writing. The wolf in sheep’s clothing metaphor is *chef’s kiss. Noah Dixon’s script is a chilling commentary on art and originality. Poser is a profoundly unique example of fighting your own perceived mediocrity. It’s creative as hell and a perfect fit for Tribeca audiences.
When the magic of movies conquers nine-year young Samay’s heart; he moves heaven and earth in pursuit of his 35mm dreams unaware of heartbreaking times that await him.
Stunningly beautiful cinematography, including thoughtful close-ups and overhead shots of Samay’s mother cooking his lunches, will make you remember the impact a great film has on all the senses. Last Film Show is the perfect way to celebrate being back in person at Tribeca. Performances from every single cast member are triumphant. It feels like an ode to film lovers. You’ll fall head over heels in love with Bhavin Rabari in particular. It’s rare that child is so spectacular in a role that you forget that’s it’s a narrative and not a documentary. Last Film Show gives us everything we’ve been missing since this pandemic began. To say much more about the plot is truly a disservice. It’s one I implore you to see for yourself. We’ve missed this more than we realized. Last Film Show is a cinematic masterpiece.
TRIBECA 2021
WORLD PREMIERE / Spotlight Narrative Competition
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
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.
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.
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
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.
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.
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?”
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
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.
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
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.
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
**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.
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
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.
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
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.
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 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!
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
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.
Due to her controversial methods, young doctor Tatiana Yurievna (Oksana Akinshina, Lilya 4-Ever) is on the precipice of losing her medical license. Her career may not be over, though. After she’s recruited by the military, Tatiana is brought to a secure science research facility to assess a very special case, that of Konstantin Sergeyevich (Pyotr Fyodorov, The Darkest Hour), a cosmonaut who survived a mysterious space accident and has returned to Earth with a unique condition: there’s something living inside of him that only shows itself late at night. The military has nefarious plans for it. Tatiana wants to stop it from killing Konstantin. And the creature itself thrives on destruction.
This intensely dark and visually frightening sci-fi film will get under your skin and stay there. The lighting choices alone, the perpetually dark and ominous choices will throw you into a state of disorientation from the very beginning. Practical effects, mixed with stunning CGI and creature design make for an enthralling watch. Performances are so strong you will be audibly rooting for our leads. As the tension builds, so does your heart rate. Oksana Akinshina as Tatiana Yurievna is a force to be reckoned with. Her measured tenacity, boldness, and bravery jump off the screen. As the sole female, her energy is what drives this film to success. Pyotr Fyodorov as Konstantin is an entirely different animal (no pun intended). His physical and emotional arch are the perfect foil for Akinshina. The emotional energy displayed onscreen will drain you as much as it must have Fyodorov. Even with a runtime of nearly 2 hrs, Sputnik keeps you on the edge of your seat wondering how it will end. So, pop some popcorn, turn down the lights, and get ready for a spine chilling tale from a secret Russian location. Sputnik will make you look differently at the stars.
Release Details: SPUTNIK opens today, Friday, August 14th, in select theaters, digital platforms, and cable VOD, courtesy of IFC Midnight. https://www.
Paul Verhoeven‘s Showgirls (1995) was met by critics and audiences with near universal derision. You Don’t Nomi traces the film’s redemptive journey from notorious flop to cult classic, and maybe even masterpiece.
Peaches Christ plays Cristal Connors in the stage production of “Showgirls! The Musical!” as featured in the documentary YOU DON’T NOMI, an RLJE Films release. Photo courtesy of RLJE Films.
Paul Verhoeven directed RoboCop, Total Recall, and Basic Instinct, three incredibly influential films of the late ’80s and early ’90s. Then he directed Showgirls. Oftentimes known as the rise and fall of Elizabeth Berkley‘s career, it is a film that gets s visceral reaction no matter what. You Don’t Nomi is a documentary about the ins and outs of the film’s effect on critics and audiences alike.
The film is edited to show his other films “reacting” to whatever scene we’re discussing. Which eventually becomes massively cathartic in juxtaposing sexual violence in Verhoeven’s films. Author Adam Nayman uses his book’s structure; Piece of Shit, Masterpiece, and Masterpiece of Shit. You can see how many of his films are wrapped into Showgirls. There is fascinating filmmaking happening once it’s broken down for you. You also meet April Kidwell, the star of I, Nomi, the Off-Broadway tribute to Showgirls. She discusses her parallel past and how performing a musical comedy based on the film has been her therapeutic outlet. Peaches Christ uses drag to, in a sense, improv shadow cast the film for sold-out crowds. The audience still loves this movie, no matter where that love comes from is a total phenomenon.
Audience at Showgirls at Midnight Mass in San Francisco in the documentary YOU DON’T NOMI, an RLJE Films release. Photo courtesy of RLJE Films.
The opposing opinions all make weird sense. I walked away feeling like I had just had a cinematic lobotomy. I still don’t know how I feel about Showgirls, but I know I want to gather friends and colleagues when this pandemic is all over and watch the hell out of it again. Same thing with this doc. You Don’t Nomi is brilliant in all the ways it challenges viewers and fellow critics to rethink Showgirls so many years later. It may just upend your brain, too.
YOU DON’T NOMI On Demand and Digital June 9, 2020
Synopsis:
Left by her fianceì for another woman, a grieving painter (Britt Lower) abandons the life she knew to join the seemingly chaotic, yet invigorating world of a one-ring circus. Intermingling live-action circus arts and animated body paint, CIRCUS PERSON follows an introspective artist through the often humorous landscape of heartbreak to reclaim her forgotten wildness.
This mixed media, sometimes stop animation, twist on a “Dear John” letter is simply amazing. Vibrantly colored, engrossingly shot, Circus Person is a little bit of every visual storytelling treat you didn’t know you needed. It’s poetic and cathartic and funny. Watching it literally makes me want to join a circus for my own set of personal reasons. The script is easily about grieving, changing, and accepting the fact that we cannot control a damn thing. I first met Britt Lower at the premiere of Beside Still Waters (which if you haven’t seen, do yourself a favor and experience some more great storytelling). This feat of acting, directing, and writing is ripe for further development. (Hint, hint) I want to know what happens next. It is smart and touching from every angle. I highly recommend you catch it while you can! You can watch Circus Person on YouTube now as part of Tribeca’s contribution to the We Are One – A Global Film Festival.
TRT: 17 min
Country:
Curated by: Tribeca Film Festival
Screening information:
CIRCUS PERSON will be available to view for 10 days at
https://www.youtube.com/watch?
Creative Team:
DIRECTOR/WRITER: Britt Lower
CREATIVE PRODUCER/EDITOR: Alex Knell
PRODUCERS: Sam Fox, Desiree Staples
CO-PRODUCERS: Alexandre Naufel, Jasmine Dickens
ASSOCIATE PRODUCERS: Elsa Gay, Tricia Lee
CINEMATOGRAPHER: Alexandre Naufel
COMPOSER: Jason Lesser
BODY-PAINTING: Christopher Agostino
CAST: Britt Lower, Philip Smithey, Jess Marks, Ramona Young
The life and career of singer Linda Ronstadt is traced from her childhood in Tucson through her decades-long career and to her retirement in 2011 due to Parkinson’s disease.
If I’m being honest, when asked to review this film, I wasn’t able to name a single Linda Ronstadt song. Growing up, The Beach Boys and Carole King were on constant rotation in Mom’s station wagon tapedeck. How then, 40 years later, was I recognizing so many hits from a woman whom I assumed was a country singer when I heard her name? Clearly I was mistaken. This film was a reeducation, and boy am I glad for it. In watching Linda Ronstadt: The Sound of My Voice I came to realize I have always been a fan.
Linda Ronstadt’s extraordinary rise to fame is almost like a fairytale. Her incomparable voice quickly rose her from the LA club scene to a record deal. She broke genres and records along the way. Her intellect and wit were evident in the way she promoted herself and other female artists. She was fearless in calling out the toxic masculinity that was rock up until that point. Her vocal range was unmatched by almost any other artist. When a producer told her not to make a certain album, she went ahead and did it anyway… and usually won awards for it. Linda Ronstadt is someone to be respected and amazed by. You can tell, simply by the number of industry stars that participated in sit down interviews (Cameron Crowe, Bonnie Raitt, Dolly Parton, Don Henley, to name a few) what an impact she made in her long and successful career. Without even knowing it, I’ve been a Linda Ronstadt fan through Blue Bayou, Don’t Know Much, A Different Drum, Rescue Me, Desperado, When Will I Be Loved, You’re No Good, It’s So Easy To Fall In Love, and many many more. She is someone I can look up to as a performer and as a woman. Linda Ronstadt: The Sound Of My Voice is a stunning lesson in music history. You will find yourself singing along and living in the music just as Linda does.
Lucky for audiences, LINDA RONSTADT: THE SOUND OF MY VOICE At-Home Movie Night with BrightFocus can
be watched for free at brightfocus.org/movie, or via Facebook Live and viewed on any computer, tablet, or phone from June 4-10. BrightFocus Foundation, a nonprofit organization funding
scientific research and promoting public awareness to end diseases of mind and sight. The at-home movie night will feature an introduction from producer James Keach, and interviews with key scientists discussing their current research.
“I believe in the power and promise of science to end disease and save lives, and this is why I am glad to showcase both the transcendent beauty of Linda’s voice in this film as well as
the bold, groundbreaking research of BrightFocus,” Keach said, noting that Ronstadt’s iconic career was cut short by a neurodegenerative disease.
Stacy Haller, BrightFocus Foundation President and CEO, added, “The scientists supported by BrightFocus are relentless in their drive to slow and end diseases that rob us of our memory and
our sight. We could not have found a better film to both bring back so many great memories and remind us how now, more than ever, the need for innovative science is abundantly clear.”
In addition to James Keach’s introduction prior to the presentation of the film, four BrightFocus- funded scientists will briefly introduce their work. They include: Sarah Doyle, PhD, Assistant
Professor in Immunology, Clinical Medicine, Trinity College Dublin; Makoto Ishii, MD, PhD, Assistant Professor of Neuroscience and Neurology, Weill Medical College of Cornell University;
Amir H. Kashani, MD, PhD, Associate Professor of Ophthalmology, the University of Southern California and Roski Eye Institute; and Yvonne Ou, MD, Associate Professor, Ophthalmology,
University of California, San Francisco. They are among over 200 scientists around the world whose ongoing research is supported by BrightFocus.
FREE VIRTUAL SCREENINGS beginning Thursday, June 4 at 7:00 PM EST to benefit the BrightFocus Foundation. More information at brightfocus.org/movie
It’s 1998 and over the course of one 12 Hour Shift at an Arkansas Hospital, A Junkie Nurse (Angela Bettis), Her Scheming Cousin (Chloe Farnworth) and a group of black market Organ-Trading criminals (Mick Foley, David Arquette, Dusty Warren) start a heist that could lead to all of their demises.
Angela Bettis is horror royalty in my book. Watching her interpret Brea Grant’s script is heaven. During this uncertain, weird, and exhausting time in our history, watching an overworked nurse with vices for days adds an extra element of terrifying WTF. Bettis is a revelation. The weight of desperation and the constant barrage of emotional abuse is palpable. It is written on her face. There is so much backstory bubbling under the surface. I would watch an entire series developed from 12 Hour Shift. (Hint, Hint)
The opening scene is divine in establishing the attitude of Bettis’ character. It’s a symphonic white trash word vomit. The attention detail of Y2K paranoia and the late ’90’s in general land perfectly between over-the-top and completely legit. If you lived through it, you’ll laugh and nod. But it’s the delicious moral dilemma that Grant has given us that keeps your eyes glued to the screen. We’re definitely rooting for bad over worse and it is fun as hell. The climax is so batshit crazy it’s like watching a ping-pong tournament; super fast and just as fantastically absurd. Performances all around are stellar. Practical FX are gagworthy and wonderful. The final scene is actually the most frightening. Brea Grant, I’ll be looking forward to a sequel to 12 Hour Shift, ASAP.
Synopsis: Sloan (Clara Mamet) has a not-so-low-key crush on Neckface, an anonymous graffiti artist. Neckface (Raúl Castillo) has less-than-resolved intimacy issues and a no relationship policy. Which he makes abundantly clear to his obsessive fan girl. That is, until Neckface realizes he and Sloan may be the same kind of crazy; and embarks on a mission to win her back. Which may or may not involve exploiting his roommate (Isiah Whitlock Jr.), stealing a much-coveted pair of sneakers, and incurring the wrath of a ferocious lunch lady.
Appearing in the New York Shorts Program at this year’s Tribeca Film Festival 2020, Sloan Hearts Neckface is something special. It’s an incredibly engaging 15 minutes. It was like watching a tennis match of NYC characters. As a New Yorker, it really felt like home. It’s visually vibrant and quite emotionally turbulent. I was lucky enough to speak with filmmaker Justin Fair on what makes Sloan Hearts Neckface as unique as it is. Check out our interview and the teaser trailer below.
Did the initial script look and feel like the now finished film?
At a divergent point in their lives, two lifelong friends (Ivanno Jeremiah, Parys Jordon) meet at their favorite South London fried chicken shop.
The directorial debut from Abraham Adeyemi, ‘No More Wings‘ in the Don’t Look Back program was the winner of the Best Narrative Short Competition at Tribeca 2020. Once you experience the film for yourself, you’ll immediately understand why. With captivating storytelling, in a mere 10 minutes, you will experience two lifetimes of memories, regrets, and choices. There is a heavy cyclical feeling you cannot shake as you watch. The authenticity of the writing, directing, and performances will stick with you long after the credits. I was lucky enough to interview Abraham during the festival and get to peek behind the curtain of the process and the mindset. I cannot wait to see what is coming to audiences next.
Abraham, thank you so much for taking the time to speak with me about this extraordinary short. This feels like a major labor of love for you. Can you describe the specific inspiration for a story that will undoubtedly resonate with so many?
Hi Liz, thank you for having me and for the kind words about the film! Sure thing. Well, whilst this film isn’t biographical… My upbringing wasn’t too dissimilar to the two characters. I was raised in South London, went to a Grammar School… What really inspired me was spending some time thinking about two friends I grew up with whose lives have turned out quite differently, and imagining what it might be like if they were to meet at this point in their lives. And, above all in some ways, trying to understand why their lives have turned out differently when things were so similar for them.
What did you learn from your mentorship with Sam Mendes?
There was something that Sam said to me on set of 1917 which I actually wrote down… He said that I needed to make sure there was somewhere on set that I could be to concentrate and watch takes alone, without anyone’s opinion and that I always needed to be sure for myself that “this is what I wanted”. As I learned whilst on set, there are times where – for a host of different reasons – people might think they hit a scene but if it’s not how you imagined it, even the smallest detail, then it means it needs to be done again until it is. And whilst I didn’t have the gigantic set-up that Sam had – it was like a blacked-out marquee with TV screens and all sorts of tech that probably cost more than our film – in our own low budget way, we were able to ensure that I could concentrate and watch takes back without anyone else’s opinions but my own.
Being both writer and director, did you find yourself changing the script as you shot?
There were no major changes whilst we were shooting, no. I did quite a lot of work on the script beforehand. I initially wrote the script with just my writer hat on. Then, eventually, I had to switch to the director hat. On the morning of the first shoot day, I made a final few tweaks – things that probably came off the back of the rehearsal we did the day before – but I went in pretty happy with what we had on paper and I was more concerned about getting great performances and how things looked visually. On occasion, actors may have asked me if they could tweak a line, or just done it off their own volition and I’m usually fine with that as I trusted the actors I was working with and their understanding of the characters they were playing.
Thank you for adding subtitles. It was helpful to put regional slang in context. It was reminiscent of how our vernacular changes when we are most comfortable.
Ah, thank you! I’m really glad the subtitles helped. That was actually a suggestion made by Sharon Badal at Tribeca and I’m really glad I took the advice if it means ultimately that it made it more accessible for a wider, global audience.
How long did you shoot for?
We shot the film over two summer nights, which also meant shorter nights! Once that sunlight even began to creep up… It was game over. The first night we shot felt straightforward but the second night… The pressure was really on. But it could have been worse, up until about ten days before the shoot I was still clinging tightly to an ambition of shooting the film as one continuous shot and my first thoughts – maybe an hour into the shoot – was that I was so glad that I was convinced to scrap that idea.
Having three distinct roles, writer, director, producer, which was most enjoyable, which the most frustrating, which did you learn more from?
Ooh I love this question! I enjoyed all of them but the one which I am without a doubt most in my element with is the writing. I always say in life that I am most at peace when I have my head buried in writing and, actually, in these strange times it’s been the saving grace for my sanity. I’d have to give the frustrating award to producing because there are just so many things that go wrong but I can’t complain because, for all the hard work I did, my producer Abiola Rufai did 100x more in producing! So my frustrations must be so minimal compared to all she has to deal with… Without a doubt, I learned the most from directing. As a producer, I’m always learning but you have to remember, this was my first time directing and prior to this, I hadn’t been to film school nor taken a conscious interest in directing. From the moment I won the competition that gave me funding for this film (where one of the rules was that whoever wins must also direct the script), I had approximately ten weeks to learn how to direct. That was reading books, studying the art of filmmaking, the great advice that my more experienced peers were able to give me and so much more. Directing was definitely a steep learning curve but I’m so excited to get behind the camera again (something I never thought I’d say!).
Can you give us any clues about your upcoming feature-length script?
Which one?! There’s a concept for a No More Wings feature.
But, as for the one I reckon you’re asking about… I’m holding it tightly to my chest but what I will say is that Richard Linklater’s Before Sunrise is one of my favorite films. The entire trilogy, in fact, I love those.
Abraham, congratulations on Tribeca. I cannot wait to share your film with our readers.
It’s been a pleasure talking with you, thank you for taking the time to watch the film and talk to me.
Out of this world Sci-Fi shorts.
Playing in this program:
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.
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 (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.
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.
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.
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.
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.
Synopsis:
AFTER CLASS follows a New York City professor (Long) as he spends a week reconnecting with his family while defending his reputation over controversial behavior at his college.
After Class is one hell of a film. Lead by Justin Long as an adjunct professor of creative writing, the plot revolves around a moment in class that triggers his students. While the script deals head-on with the MeToo movement, it’s complexity must be experienced first hand. It’s about loyalty and family and standing up for what you believe in with some goddamn conviction. While Long leads the way, this feels like an ensemble cast because of the amount of talent stacked up. There is not a loose thread in this film. I’ve never seen Fran Drescher in a role so opposite her iconic days on The Nanny. Cast this fabulous lady in all the things. Richard Schiff is excellent in his attempt to keep the peace with families old and new. Watching him keep it together (or not) is a delight. Kate Berlant is perfection as Long’s feisty sister. She feels like she’s been doing this for ages. She easily steals the attention in every scene she’s in. And now to Long. As far as I’m concerned, Juston Long can do no wrong. His eclectic body of work always catches me off guard. While we get to see his quirky comedy, we also get some serious drama and vulnerability I didn’t know would affect me as much as it did. I was particularly amused by the fact the Berlant’s character has a podcast since Long’s newest venture (and fun as hell to listen to I might add) is a podcast with his brother titled Life Is Short. Drescher appeared on an episode I have not listened to yet and now I know why. He is undeniably charming as ever in After Class, but incredibly nuanced making it easy to remember how he is able to helm so many films. The script is constantly challenging your thought process, perhaps even making you roll your eyes, depending on what generation you relate most to. That’s kind of the beauty of this film. It’s got a lot going on in all the best ways possible. Congrats to the cast as well as a big round of applause for writer-director Daniel Schechter for a sincerely heartfelt indie. Everyone should be proud.
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The film is a compelling study of a well-intentioned millennial-aged teacher overstepping the line in class in the MeToo era and dealing with the repercussions. This comes in the middle of a family emergency when his grandmother requires hospice care, and family chaos begins to consume his life. The film provides raw moments of emotional turmoil that switches between loss, comedy, and drama, providing glimpses of beautiful and awkward moments that happen in life.
Release Date: December 6, 2019 – In the theaters below and on digital/VOD nationwide:
Los Angeles – Arena Cinelounge and Galaxy Mission Grove
Orlando – Old Mill Playhouse
Cleveland – Tower City Cinemas
Boston – Entertainment Cinemas Leominster
Minneapolis – Emagine Rogers 18, East Bethel 10 and Lakeville
Seattle – Galaxy Monroe
Dallas – La Gran Plaza 8
Reno – Galaxy Victorian
Las Vegas – Galaxy Theaters Luxury and Galaxy Cannery
San Francisco – 4 Star Theater
Santa Barbara – Galaxy Colony Square
Directed by: Daniel Schechter
Written by: Daniel Schechter
Cast: Justin Long, Kate Berlant, Lynn Cohen, Becky Ann Baker, Fran Drescher &
Richard Schiff
Genre: Comedy, Drama
Specs: 93 min
Distributor: Gravitas Ventures
In the long days of summer in a beach town on the New Jersey shore, high schooler Alan (Keean Johnson) and his friends Red (Alex Neustaedter) and Smitty (Daniel Zolghadri) break into vacation homes to steal valuables, funding dates at the boardwalk and lunches at the burger stand. When Alan and his younger brother Peter (Jaeden Martell) find a bag of gold coins, they try to hide them from the others — but Red, suspicious and violently unpredictable, seems willing to do anything to get the money.
This teen thriller is so well written and acted that the foreboding behinds immediately and never lets up. Nothing good can come of white boy rage and resentment. But a whole lot of great can come from a brilliant young cast of this caliber. Jaeden Martell is captivating as younger boy scout brother Alan. There is something truly special about this young man’s ability to fill a frame with a powerful silence. Older, sort of ne’er do well brother played by Keean Johnson is a dynamic foil for Martell. Fueled by equal parts passion and pride, he inadvertently puts both boys’ lives in jeopardy. The other two young men that keep these brothers deeply mired in danger are complete opposites of one another. Daniel Zolghadri gives a phenomenal performance as Smitty, playing somewhere between a mob rat and a boy who is terrified to feel rejected. The fourth and certainly most brutal of the bunch is Red. Alex Neustaedter utilizes a physical and emotional volatility that is truly unsettling. You will keep one eye on him at all times because you know nothing good can come of his angry townie attitude. These four boys try to avoid getting caught robbing summer tourists but deceit leads the group down a deadly path. Writer-Director Kevin McMullin has crafted a real thriller. The cinematography is beautiful. Existing in a time driven by greed and favoring the elite, Low Tide proves that human nature reveals its flaws just as easily among children as it does adults. This film undoubtedly brings unsettling intrigue and true noir.
|
Written and Directed by: Kevin McMullin |
| Distributed by A24 and DIRECTV |
| Run Time: 86 Minutes |
| Rated R for language, some violence and teen drug use |
While grieving for the loss of their mother, the Connolly Sisters suddenly find they have a crime to cover up, leading them deep into the underbelly of their salty Maine fishing village.
Growing up in a small New England town, I have a full appreciation for the glorious specificity in Blow The Man Down. From the regional slang to the understanding that everyone knows everyone else’s business, this film is filled with surprises and its very own version of a Greek chorus in Maine fisherman form. A completely femme-centric story boasts magnificent performances from the entire ensemble cast. June Squib, Annette O’Toole, Marceline Hugo, Margot Martindale, Sophie Lowe, Morgan Saylor, and Gayle Rankin. Co-directors and screenwriters Bridget Savage Cole and Danielle Krudy have created a suspenseful, funny, incredibly dark murder mystery. It’s only after walking away from the screening did I realize the small clues that were sprinkled along the way and but honestly had no idea what would happen from moment to moment. It was refreshing. Martindale plays the dominant town matriarch with the skill we’ve come to expect from her. Squib, O’Toole, and Hugo are a smart trio. They cleverly play their hand close to the chest and become the saving grace of our two young leads. Sophie Lowe and Morgan Saylor are fantastic foils as sisters. Their chemistry is spot on. Gayle Rankin’s emotional journey is much larger than it might first appear. She continues to be one to watch. Blow The Man Down is in my Top 3 films from the festival this year.
AFTER MIDNIGHT (formerly titled Something Else) was one of the most unique selections in this year’s festival. Both a monster movie and a love story, the film’s deliberate structure is a standout all on its own. The writing is fresh and funny and the use of light makes it a joy to watch. There are brilliantly theatrical moments. I believe this film would actually translate incredibly well onstage! When you see it, you’ll know what I mean. It’s a complete compliment. I sat down with co-directors Christian Stella and Jeremy Gardner (who also stars and wrote the script) and star Brea Grant to chat all things AFTER MIDNIGHT. How did the script come about? What in the world were they thinking with certain choices? What did Brea think the first time she read the script? We talk favorite movie monsters, and how the filmmakers of one of my favorite films The Endless, Justin Benson and Aaron Moorhead, got on board. You can read my full review of AFTER MIDNIGHT here, but give a listen to the awesome time we all had together. Be warned, when I walked into the room, Christian, Jeremy, and Brea had all been in the super cool bathroom of our interview room at The Roxy Hotel taking a photo, and I’m disappointed in myself for not getting in on the selfie action on my way out the door. Also, when you hear us refer/talk to “Ted”, we’re actually talking to We Are Still Here and Mohawk filmmaker Ted Geoghegan who just so happened to be in our presence. No big deal. Anyhow, without further ado, here is our podcast talking all things Tribeca, monsters, and AFTER MIDNIGHT.
Jeremy Gardner and Christian Stella are the filmmakers behind the indie zombie film The Battery and survival comedy Tex Montana Will Survive! Lifelong friends, both directors were born and raised in Florida.
The members of an underground, post-apocalyptic bunker invite a psychologist from the radioactive and chaotic surface to audition for a place to live among them.
Adam Yorke is a writer/director/producer and head of development at Wildling Pictures, a ProdCo. in Toronto. He’s made two previous shorts and has had two feature scripts optioned. He’s currently writing the feature version of Bunker Burger.
The Neighbors’ Window tells the true story of a middle aged woman (Maria Dizzia) with small children whose life is shaken up when two free-spirited twenty-somethings (Juliana Canfield and Bret Lada) move in across the street.
This film is absolute perfection for anyone thinking the grass is always greener. A married New York City couple watching the progression of a neighboring couples’ lives play out over the course of about a year is simply captivating. In the city, personal space lines are thinly drawn. It can feel as if no one here owns curtains. But we make too many assumptions and cannot fully appreciate what we have until tragedy strikes. The Neighbor’s Window is about people. With stunning performances, a lovely score, it’s pure and wonderful.
Marshall Curry is a three-time Academy Award® -nominated documentary filmmaker. Many of his films have premiered at Tribeca and include the Academy Award®- and Emmy® -nominated documentary Street Fight, as well as A Night At The Garden, Racing Dreams, Point And Shoot, and If A Tree Falls: A Story Of The Earth Liberation Front.
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