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Tribeca Film Festival 2019 Review: ‘Come To Daddy’ is everything you’d want an Ant Timpson film to be.

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COME TO DADDY

Elijah Wood plays an emotionally overwhelmed uber hipster attempting to reconnect with his estranged father. Summoned to a secluded home via a mysterious letter from his dad, he finds himself in an unexpected situation. Wood, as always, is vulnerable and funny. I’ll buy anything he’s selling. His body of work is so eclectic and wonderfully bizarre, what’s not to love? Now let’s talk about Ant Timpson‘s amazing directing. As a producer, The ABC’s Of Death is off the wall fun and don’t even get me started on the insanity that is The Greasy Strangler. Come To Daddy, Timpson’s directorial debut is a genre-bending funhouse. Tribeca’s Midnight section is the perfect slot for Timpson’s work and I do mean that as a compliment. This film takes a sharp turn at 30 minutes in, then hurtles from mysterious to funny, unsettling to WTF, and it is a delight. The camera work is top-notch. There is mayhem for days. Wonderfully timed plot treats fall into our laps like a busted piñata. I simply cannot express how damn fun this film is. You will not have any clue where this is going.

COME TO DADDY

Norval’s (Elijah Wood) life has been, to put it lightly, difficult. Currently living home with his mother, the troubled young man is coming off alcohol-related struggles. So when he receives an unexpected letter from his estranged father requesting a visit, Norval catches a bus up to his dad’s secluded and scenic waterfront home. Maybe reconnecting with his father will give Norval the emotional fulfillment he’s been lacking. Before long, though, he notices something off about his dad, an uneasy feeling triggered by inappropriate comments and a possible over-dependence on booze. Norval quickly realizes that his hope of father/son bonding is doomed. Instead of a family reunion, he finds himself in waking nightmare.
FILM INFO

Review: ‘The Man Who Killed Don Quixote’ is Terry Gilliam’s fantastic passion project.

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The Man Who Killed Don Quixote 

Toby (Driver), a cynical advertising director, finds himself trapped in the outrageous delusions of an old Spanish shoe-maker (Pryce) who believes himself to be Don Quixote. In the course of their comic and increasingly surreal adventures, Toby is forced to confront the tragic repercussions of a film he made in his idealistic youth – a film that changed the hopes and dreams of a small Spanish village forever. Can Toby make amends and regain his humanity? Can Don Quixote survive his madness and imminent death? Or will love conquer all?

Decades in the making, The Man Who Killed Don Quixote is finally coming to the big screen. It was worth the wait. Adam Driver plays a young director taking on his own passion project under the financial thumb of studio execs, locals, and his own ego. No doubt is the film about as metaphorical as you can get for the wild ups and downs the legendary Terry Gilliam has endured in bringing this film to fruition. Poking fun at itself and the industry at every turn, it must have been truly cathartic for Gilliam to shoot. The visuals and writing are all so satisfying you’ll want to applaud at the twists and turns along the way. Though admittedly, you’ll most likely be just as confused as both Driver and “Don Quixote” himself, Jonathan Pryce. One of the film’s best moments perfectly sums up the controlled chaos that is this epic story. “Try to keep up with the plot.’ To which Adam Driver‘s Toby replies, “There’s a plot?!”

Having watched, there is no way these roles would have been better served by other actors. Pryce walks the perfect line between madness and sadness. His commitment from beat to beat is the glue that keeps the story moving along its absurdist pace. But it is Driver who had me belly laughing every time a “FUCK” was spewed with genuine intention. I’ll have to go back and watch again if only to count the number of “F” words, each precisely placed and completely warranted. It’s sheer perfection. There is no doubt that Toby is Terry… and Don Quixote. The love that is so obviously infused within the film will be evident to anyone familiar with Gilliam and his fantastic passion project. It’s a combination of hilarity and insanity. The Man Who Killed Don Quixote and filmmakers like Terry Gilliam are the reasons we go to the movies.

Screen Media will then give the film a theatrical run starting April 19th.

The Man Who Killed Don Quixote stars Adam Driver, Jonathan Pryce, Stellan Skarsgard, Olga Kurylenko and Jordi Molla.

8 movies from 2018 Tribeca Film Festival Available on Netflix, hulu, HBO or Showtime

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Just 1 year later, there are so many movies that are now available to stream from last year’s Tribeca Film Festival. There’s something for everyone in here whether it be the young women who dreamed up Frankenstein or a desperate man stopping at nothing to save his child.

All About Nina (2018)
Nina Geld’s passion and talent have made her a rising star in the comedy scene, but she’s an emotional mess offstage. When a new professional opportunity coincides with a romantic one, she is forced to reckon with the intersection of her life and her art
[Streaming: Netflix] [Rent or Buy]

Cargo (2018)
In the aftermath of a global pandemic, Andy (Martin Freeman) is focused on keeping his wife and their infant daughter alive as they travel across the Australian Outback. A terrible accident, however, forces him to set off on foot: A zombie bite has given Andy a mere 48 hours before he, too, is undead. Andy struggles to both find a refuge for his child and stave off the disease as the clock runs out on his humanity. On his journey, Andy crosses paths with an indigenous youngster, Thoomi (Simone Landers), who brings him into her Aboriginal community and offers a much-needed bit of hope: Her people may have a cure for the sickness.

Filmmakers Ben Howling and Yolanda Ramke defy genre fans’ zombie-based expectations with their co-directing debut. Cargo pulls no punches in its intensity, yet the duo’s thoughtful film offers a deep, emotional meditation on intimate issues, like a parent’s love, as well as larger themes, like environmental protection and cultural strife. Injecting fresh life into zombie cinema’s often cold bloodstream, Cargo is tailor-made for sophisticated horror fans.–Matt Barone

[Streaming: Netflix]
Review by: Melissa Hanson

Duck Butter (2018)
When Naima (Alia Shawkat) and Sergio (Laia Costa) meet at a club, they hit it off instantly, connecting over their disdain for the dishonesty they have experienced in their respective romantic relationships. High on their fast chemistry, the two women concoct a romantic experiment: They plan to spend the next 24 hours together, having sex on the hour. Above all, they commit to perfect honesty with each other, a theoretical remedy to the deceit they believe to be an element of modern relationships. But their relationship in a vacuum doesn’t go as planned, and soon the weight of their commitment begins to close in, threatening the ideals of the daylong experiment and their chances for a romantic future tomorrow.

The latest film from Miguel Arteta, the director behind Beatriz at Dinner and The Good Girl, Duck Butter is a blistering look at intimacy in a pressure cooker. Co-written by Shawkat and executive produced by the Duplass Brothers, the film offers a searing interrogation of modern romance, with all its dizzying highs and heartbreaking betrayals, all packed into an intense 24 hours.—Cara Cusumano

[Streaming: Netflix] [Rent or Buy]
TFF Award: Best Actress, Alia Shawkat

In a Relationship (2018)
Long-term couple Owen and Hallie are breaking up—or maybe not?—and just as their relationship reaches a turning point, Matt and Willa embark on a romance of their own. A funny and deeply felt chronicle of one summer in the lives of two couples in Los Angeles.
[Streaming: hulu, hoopla] [Rent or Buy]

Mapplethorpe (2018)
In the late 1960s, art-school dropout Robert Mapplethorpe moves into the Chelsea Hotel with dreams of stardom. He quickly becomes the enfant terrible of the photography world as the downtown counterculture of 1970s New York reaches its zenith.
[Streaming: HBO, kanopy] [Rent or Buy]
TFF Award: Narrative Second Place

Mary Shelley (2018)
Raised by her kindly bookseller father and tormented by a villainous stepmother, young Mary Wollstonecraft (Elle Fanning) longs for a life bigger than her sheltered upbringing. As she embarks on a whirlwind romance with the charismatic but mercurial poet Percy Bysshe Shelley (Douglas Booth), Mary’s dreams of a sophisticated life among the intellectual elite seem to be within her grasp at last—but this fantasy quickly dissipates when she realizes the harsh reality of her new husband’s moody and dissolute ways. That is, until one stormy night, when a friendly challenge among a rained-in cadre of Romantic writers leads her to invent one of the most iconic horror stories of all time, before she’s even 20 years old.

Saudi female filmmaker Haifaa al-Mansour (Wadjda) returns to Tribeca with this lush portrait of the author of one of Gothic literature’s most influential stories. Frankenstein, Mary Shelley’s enduring work, has remained a seminal story of creation and destruction, but al-Mansour’s film goes deeper, to depict the fraught tale of a teenage girl’s shattered romantic dreams that brought a monster to life. —Liza Domnitz

[Streaming: Showtime] [Rent or Buy]

O.G. (2018)
An inmate entering the final weeks of a twenty-plus-year sentence must navigate between old loyalties and a new protégé, while he also grapples with the looming uncertainty of his return to life outside bars.
[Streaming: HBO]
TFF Award: Best Actor, Jeffrey Wright

The Party’s Just Beginning (2018)
Lucy is a sharp-witted, foul-mouthed, heavy-drinking twenty-something who is still reeling from a recent loss. This surreal coming-of-age tale is a love letter to Gillan’s hometown in the Scottish Highlands.

It’s dark, it’s tragic. It’s fantastic.
[Streaming: hulu] [Rent or Buy]

12 Tribeca Film Festival movies already picked up

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The apollo

HBO has already snagged two documentaries: The Apollo (Opening Night), about the legendary Harlem theater, and At the Heart of Gold: Inside the USA Gymnastics Scandal, which is pretty much self-explanatory. Introducing younger audiences to the delightful Dr. Ruth Westheimer will be Ask Dr. Ruth acquired by hulu. At 90 years old, she’s still leaving her mark on the world. IFC Films will release Charlie Says from director, Mary Harron. I’m just glad they waited to make a movie until after his death. Same goes for the Ted Bundy story starring Zac Efron, Extremely Wicked, Shockingly Evil and Vile, which Netflix picked up at Sundance.

After premiering at the Berlin Film Festival, Goldie looks to be a promising tale of the pursuit of happiness. The latest Halston documentary seems to be less talking heads than Ultrasuede: In Search of Halston, which played at the 2011 Tribeca Film Festival. Dan Krauss won best documentary at the Tribeca Film Festival in 2013 for The Kill Team and has now made a narrative of the same with Nat Wolff and Alexander Skarsgård from A24.

In the documentary, Leftover Women, the story surrounds the effects of the gender imbalance of the “one child” policy in China. A24’s second release is the summertime drama, Low Tide. The documentary acquired by Sony Pictures Classics, Maiden, tells of an all-female crew in 1989 who competed in a prestigious yacht race. And last but not least, is The Quiet One from Sundance Selects, telling the story of Bill Wyman a founding member of The Rolling Stones that walked away from it all to be his own legend.

  1. The Apollo (HBO)
  2. Ask Dr Ruth (hulu)
  3. At the Heart of Gold: Inside the USA Gymnastics Scandal (HBO)
  4. Charlie Says (IFC Films)
  5. Extremely Wicked, Shockingly Evil and Vile (Netflix)
  6. Goldie (Vice Media, Fox)
  7. Halston (The Orchard, CNN Films)
  8. The Kill Team (A24)
  9. Leftover Women (MetFilm Sales)
  10. Low Tide (A24)
  11. Maiden (Sony Pictures Classics)
  12. The Quiet One (Sundance Selects)

Review: ‘The Public’ gives truth to the phrase “knowledge is power”.

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THE PUBLIC

In “The Public” an unusually bitter Arctic blast has made its way to downtown Cincinnati and the front doors of the public library where the action of the film takes place. At odds with library officials over how to handle the extreme weather event, some homeless patrons turn the building into a shelter for the night by staging an “Occupy” sit in. What begins as an act of civil disobedience becomes a stand-off with police and a rush-to-judgment media constantly speculating about what’s really happening. This David versus Goliath story tackles some of our nation’s most challenging issues, homelessness and mental illness and sets the drama inside one of the last bastions of democracy-in-action: your public library.

 

This star-studded film follows the lives of the people who come in and out of a Cincinnati Public Library. Written and directed by Emilio Estevez, each character is fully fleshed out and complex even if they aren’t on-screen for very long. It’s carefully edited. You get a real sense of relationships and circumstance from the solid writing and stellar performances from this massive ensemble cast including Emilio Estevez, Alec Baldwin, Jena Malone, Taylor Schilling, Gabrielle Union, Michael K Williams, Christian Slater, Che “Rhymefest” Smith, and Jeffrey Wright. The film is about knowledge and power in the larger sense. It’s a thoughtful commentary on the socioeconomic dynamics of the homeless, the manipulative perceptions created by the media, and the politicians and law enforcement that allow it to happen. It’s filled with humor and heartbreak from beat to beat, and the twists are surprising and impactful. The Public has amazing storytelling and a truly poignant look at class warfare.

THE PUBLIC features veteran actors Alec Baldwin (“30 Rock,” The Departed, It’s Complicated), Emilio Estevez (The Way, Bobby, The Breakfast Club), Jena Malone (The Hunger Games” series, The Neon Demon, Inherent Vice), Taylor Schilling (“Orange is the New Black,” The Lucky One, Argo), Christian Slater (“Mr. Robot,” The Wife, True Romance), Gabrielle Union (“Being Mary Jane”, Bad Boys II, Bring It On), Michael K. Williams (12 Years A Slave, “Boardwalk Empire,” “The Wire”), Jeffrey Wright (“Westworld,” “O.G.,” The Hunger Games” series), and Che “Rhymefest” Smith (co-writer and performer of “Glory” from Selma, “Jesus Walks” from Four Brothers, “Make Noise” and “Weaponized” from The Public, theatrical acting debut).

Universal Pictures Content Group will release THE PUBLIC in Theaters on April 5, 2019.

Review: ‘American Relapse’ -The profitability of addiction.

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Best Feature Documentary, Rhode Island International Film Festival

Best Feature Documentary, Alexandria Film Fest

MINT Spirit Award (Top Festival Prize), Montana International Film Festival

Best Feature Documentary, Laughlin International Film Festival

Best Feature Documentary, Mammoth Film Festival

Best Feature Documentary, Other Venice Film Festival

Social Awareness Award, Orlando Film Festival

Recovering addicts Frankie and Allie spend their lives helping other addicts, but can they stay clean themselves?

The profitability of the addicted. American Relapse is a creatively composed documentary about how it’s better business to keep addicts addicted than to help them. The film follows two former addicts turned advocates over a weekend in their lives and jobs. They fight their own urges while helping others in South Florida. The film explores how the system fails Americans. It’s a lovely balance of hope and despair with interviews from former and current victims. How does rehab help, if at all. Allie and Frankie do their research because they have been there. The editing, and this will sound strange, is super sexy. With infographics intercut with one hell of a soundtrack, it makes the film visually very appealing. The reality of where we are in terms of curing people is bleak. There is a 90% relapse rate in South Florida and that’s how the industry likes it. What is a Junkie Hunter? You’ll find out. The sicker people remain, the more money everyone earns… except the addicted individual. American Relapse is not sugar-coated and that’s the point.

AMERICAN RELAPSE tells the story of two people fighting to make a difference against the devastating heroin epidemic that’s spawning a billion-dollar treatment industry.  Against the odds, in an “Us vs. the World” mentality, two recovering addicts spend their lives pulling needles out of the arms of addicts and assist in placing them in reputable treatment facilities.  The film features Frankie and Allie who live and work in Delray Beach, Florida, the Rehab Capital of America, now referred to by some as the Relapse Capital of America. They allowed the film crew all access for one weekend. What transpires over 72 hours is not only captivating and raw, but a heartbreaking rollercoaster ride.

Frankie is 38 and has relapsed multiple times but continues to operate his F*ck Heroin Foundation with his mother. Allie is 28 and has been clean and sober for 10 years. While they are at different points on the recovery spectrum, they both share a deep belief in the 12th step: helping others. These unlikely and imperfect heroes opened their lives for the world to see, hoping to shine a light anywhere and any way they can. In the process, they show viewers and addicts alike that despite seemingly impossible odds and devastating damage, empathy and hope can restore a little bit of humanity to those who struggle and can sometimes save their lives.

AMERICAN RELAPSE is directed by Pat McGee and Adam Linkenhelt, and is produced by Pat McGee Pictures in association with Sorted Pictures and Next Up Productions.  Executive producers include Pat McGee and Stacy McPeak for Pat McGee Pictures, Ian and Jaime Manheimer of Next Up Productions and producers Terry Hahin and Adam Linkenhelt for sorted Pictures.  The film has a running time of 105 minutes and will not be rated by the MPAA.

Pat McGee Pictures will release the film in Los Angeles and New York exclusively for one week beginning March 29.  The film will screen at the Laemmle Monica Film Center in Los Angeles and Cinema Village in New York City.

Gravitas Ventures will distribute the film on VOD beginning April 2nd. Among the many platforms include iTunes, Google Play, Vimeo, and Amazon. https://itunes.apple.com/us/movie/american-relapse/id1451031005

For more information, go to: www.americanrelapse.com

 

Review: ‘Leaving Neverland’ exposes the man in the mirror. The two part doc airs this Sunday and Monday.

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PRESENTS

LEAVING NEVERLAND

Debuts on HBO March 3rd and 4th

This two-part documentary explores the separate but parallel experiences of two young boys, James Safechuck, at age ten, and Wade Robson, at age seven, both of whom were befriended by Michael Jackson. Through gut-wrenching interviews with Safechuck, now 37, and Robson, now 41, as well as their mothers, wives and siblings, the film crafts a portrait of sustained abuse, exploring the complicated feelings that led both men to confront their experiences after both had a young son of their own.

I’ve started this review many times in the past seven days. It’s been difficult to put into words how Leaving Neverland has made me feel. For my sixth birthday, I can only recall receiving one particular gift. It was Micheal Jackson’s Thriller on cassette. This was my very first album that was all mine, outside of Sesame Street or Disney songs. I had already been dancing for three years and MJ would influence my musical and performance taste going forward. In 2009, my husband and I were in the car and the radio came on with the breaking news on Michael’s death. We were stunned, devastated, conflicted. We’d lived through the accusations at the same time his accusers and fellow defenders had. Macaulay Culkin was my childhood crush and one of Jackson’s close friends. Culkin has categorically denied anything inappropriate ever happened. He and Wade Robson‘s testimony had a huge effect when Jackson went to trial. I was relieved when Michael was acquitted of all charges in the early 2000s. I wanted to believe that his hands were clean. Now, I think my idolization of this once in a lifetime artist is destroyed.

The personal risks for Wade Robson and Jimmy Safechuck coming forward now are immense. Hardcore fans are up in arms. Threatening to protest in droves at the film’s premiere at Sundance. But in the doc, we see and hear more evidence than ever before. Family photos, home video, faxes, and to top it off, voicemails, all from Michael. There is new video from inside Neverland. The sheer number of bedrooms hidden onsight should have been alarm enough. The pattern is laid out for us to see. The grooming is there. The gifts, the promises, and all the personal attention. But obviously most upsetting is the sexual abuse itself. Each act described in illicit detail. I want so badly for these stories to be lies. I do not think they are. In a time when victims’ voices are more important than ever, we have to respect Robson and Safechuck for finally feeling healthy enough, physically and emotionally, to share their stories. They are not being paid for the film. They have confronted the abuse that they were groomed to believe was love. Now, as father’s of little boys themselves, they have to come to terms with not only their hurt but the onus of their mothers who failed to protect them. There are no winners here. No amount of money can bring back the childhoods that were stolen. What emotion comes after denial? I think it’s anger. Now, after Leaving Neverland, I’m just really angry.

RT: Part 1: approx. 2 hours
Part 2 approx. 2 hours

Directed and Produced by Dan Reed
Edited by Jules Cornell
Featuring Wade Robson and James Safechuck

Love is in the air with the announcement of Rom Com Fest! Taking film submissions beginning Valentine’s Day!

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Rom Com Fest announces Call for Entries for 1st edition

of film festival celebrating the romantic comedy

(June 20-23)

Make a date for the first annual Rom Com Fest! You, too, can be a loud and proud romantic comedy lover and be surrounded by like-minded fans and filmmakers come June. To know more checkout how2txther review and learn how to text the right person for you now. This fun-filled and unique festival will not only have the usual moderated Q&As with filmmakers, panel discussions, red carpet, and additional networking events, but it will also include speed dating, craft night, and a pajama party! You had me at, “Hello”, Rom Com Fest! It aims to celebrate womanhood, love and life through visual medium including film, film art, music videos, and screenplays – anything with a romantic comedy theme. The film festival will also have a dedicated focus toward female filmmakers and strong female characters. I was lucky enough to pick the brain of Founder and Executive Director Miraya Berke about the upcoming event. Here is our interview and information about how you can submit your film for the Rom Com Fest‘s debut year. Of course, we’ll be bringing you all the updates and coverage as the details unfold. See you in June, Movie Lovers!

What was your personal inspiration in creating Rom Com Fest? 

I am an experienced designer with a background of planning community events and festivals and always am thinking of new ways to experience events. I personally love romantic comedies and feel they don’t get the recognition they deserve. Recently with the success of CRAZY RICH ASIANS and TO ALL THE BOYS I’VE LOVED BEFORE, I’ve noticed a new excitement around the genre and was inspired to create an experience to celebrate rom coms through programming of films (new + classics) and experiences to connect the community. 2.5 years ago I launched Dessert Goals in NY and since have planned 7 dessert festivals bringing together over 20,000 dessert lovers to celebrate all things sweet – my goal is to create a similarly beautiful and joyful experience for rom coms! 

 The rom com industry usually pulls in a fair bit of the market. Last year, CRAZY RICH ASIANS blew away the competition globally. Why do you think they are often dismissed as fluff and how do you think filmmakers can attract a wider audience?

I think CRAZY RICH ASIANS served as a reminder to studios and production companies of the natural widespread appeal of a great romantic comedy in the marketplace. There are so many iconic rom coms over 20-years-old that have been our longstanding classics. Because romantic comedies are focused (obviously) on the pursuit of love and happiness in relationships, they can be dismissed as frivolous entertainment. And yet, the desire to find one’s true love or make those kinds of connections is something that pretty much unites us all, right? I see an opportunity now for more films in the genre to emerge and in order for them to succeed I think they need to be inclusive, representative and relatable, still with a satisfying ending. 

 What can we expect to see from the fest in terms of classics?

We plan on programming a few classic films but, we are far from solidifying our schedule. I can say, though, that we hope we can showcase anniversaries some of the classics. 

 Will we see any familiar faces on guests’ panels?

We’ll see. Oftentimes, the ability to have appearances by filmmakers and actors are dependent on a lot of things. While, we are thinking about what we can program in terms of panels to talk about the art of romantic comedies, and of course, have filmmakers here to participate in Q&As following our screenings, there is still much that has to be determined yet when it comes to our programming.

 What are your favorite genre films? 

My all-time favorite rom coms are 10 THINGS I HATE ABOUT YOU and 500 DAYS OF SUMMER. I’m a big JGL (Joseph Gordan-Levitt) fan!

 To take a page straight out of the WHEN HARRY MET SALLY playbook (and at my husband’s request), do you think men and women can just be friends? That really is the burning question in so many of these films. The “will they, won’t they?” of it all. 

I do think men and women can just be friends and hope to see new films that can show a realistic and relatable storyline with friendships. To be a rom com though there does need to be the romantic element, so the guy friend who would a part of the story but there should still be a happy ending. 

 Music is a huge part of romantic comedies. Some of the most iconic soundtracks come from our favorites. What are three that you still play?

I adore the music of rom coms! Some of the songs on my regular playlists include I Want You To Want Me (10 THINGS I HATE ABOUT YOU), I Say A Little Prayer (MY BEST FRIEND’S WEDDING), and I’ve Had the Time of My Life (DIRTY DANCING).

 Some perhaps less familiar French titles that (as a film critic) I’ve been exposed to are LET THE SUN SHINE IN, AMÈLIE, ROMANTICS ANONYMOUS, and, A FAITHFUL MAN. Will there be any international selections this year?

We’ll see. The idea of romance has no language boundaries, right? Of course, we are still accepting submissions and scouting at other film festivals so our program isn’t set yet. I do hope we’ll get some international submissions and be able to program an international selection. 

 What do you think is the rom com’s enduring appeal? 

I think we all crave a feel-good ending and an opportunity to escape from the stress of reality, and rom coms provide the perfect treat. 

Los Angeles-based film festival will shine spotlight on the genre as well as those rethinking the form and embracing it on new media platforms. In addition to screenings, highlights will include speed dating, craft night, and a pajama party.

Los Angeles, CA (January 9, 2019) – Rom Com Fest today announced a Call for
Entries for the inaugural edition of a brand new film festival focused on and celebrating
the romantic comedy, which will take place at Downtown Independent in Los Angeles
(251 S. Main Street) on June 20-23.

Led by Founder and Executive Director Miraya Berke, Rom Com Fest will screen a mix
of new and classic romantic comedies, as well as hosting filmmaker panels, parties, and
other events to celebrate the genre and offer a touchstone on the West Coast for film
fans and filmmakers that love and create romantic comedy films and film art. Highlights
will include speed dating, craft night, and a pajama party, as well as the expected
moderated Q&A’s with filmmakers, panel discussions, red carpet, and additional
networking events.

Berke said, “We’re looking for empowered and uplifting stories that have us re-thinking
the romantic comedy genre. We will showcase all types of film (feature film, foreign,
shorts, music videos, web and television series), and even include a screenplay
component. If you’re doing something different, we will take a look. Turn in interesting art about love. Rom Com Fest is designed to both celebrate romance and the romantic
comedy, as well as examine the form, explore its future, and give it the respect and yes
– the love, we feel it deserves. You could say we take our romantic comedies seriously
at Rom Com Fest.”

Berke is a female entrepreneur – founder of Pop Productions event boutique studio and
co-founder of Dessert Goals, the popular dessert festival in New York and Los Angeles.
With a background in events and partnership and a personal love of romantic comedies,
she is passionate about the romantic comedy genre and its legitimization in the eyes of
film fans, filmmakers, and critics, in addition to the pure enjoyment of the films
themselves.

Berke added, “There’s a film festival for everything it seems – even in this city (Los
Angeles), but what about the romantic comedy? Especially nowadays, we all need
something uplifting to escape to. Routinely dismissed by film critics as a lesser genre
artistically, romantic comedies aren’t simply traditionally beloved, but also a true art form
which has produced some of the most classic and enduring films we know today. These
films should receive the recognition they deserve along with an experience to bring
together a community of film fans that flock to them. Thus, we created Rom Com Fest.”

All films submitted must have a romantic comedy theme. Films can vary in length from
two minutes to two hours. Categories will include feature film, foreign, shorts, music
videos, web/TV series, screenplay, etc..

Rom Com Fest will look to showcase female filmmakers and strong female characters.
While open to all genders, the film festival will lean towards stories that are directed
and/or written by women or have female-driven plots with dynamic female leads.

Submission Deadlines
• Early Bird: February 14, 2019
• Regular: March 10, 2016
• Late: March 30, 2019
• Extended: April 20, 2019

For more info and to submit via Film Freeway, please go to: romcomfest.com. For questions related to submissions, please email: m@romcomfest.com.

ABOUT ROM COM FEST

Rom Com Fest celebrates womanhood, love and life through visual medium including film, film art, music videos, and screenplays – anything with a romantic comedy theme. The film festival also has a dedicated focus toward female filmmakers and strong female characters. For more information about Rom Com Fest, visit romcomfest.com.

Review: ‘The Man Who Killed Hitler and Then The Bigfoot’

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A legendary American war veteran is recruited to hunt a mythical creature.

Sam Elliot is a legend of the silver screen, and at the age of 74 it’s always wonderful seeing him in new films. So it’s no surprise that he shines in The Man Who Killed Hitler and Then The Bigfoot. The story has a tongue-in-cheek fairy tale quality to it. It’s unique and phenomenally engrossing. Elliot’s character, Calvin Barr,  has done more than most men in history, combined. Now he has come to the point in his life where he thinks he’s done all he’d care to. With so much accomplished on paper,  a long lost love is the one thing haunts him most. But the government is not done with him just yet. They have one last mission in mind. He’s essentially the greatest, most badass, action hero you’ve never heard of. His nonchalant nature is the perfect balance to the over the top nature of the storytelling. Elliot is this character, somehow. He embodies a quiet strength even as he hurtles through the bizarre. The parallel between the target and Elliot’s character is almost poetic. This film is weird, wonderful, and pretty unbelievable in every sense of the word. Though I’m positive that is the point entirely.

RLJE Films will release THE MAN WHO KILLED HITLER AND THEN THE BIGFOOT in theaters and on VOD and Digital HD on Feb. 8, 2019.

Written by Robert D. Krzykowski , who is making his directorial debut, the film stars Sam Elliott (A Star is Born, The Hero), Aidan Turner (“Poldark”), Ron Livingston (Office Space, Tully), Caitlin FitzGerald (“Masters of Sex”), Larry Miller (Pretty Woman) and Ellar Coltrane (Boyhood).

Get your tickets early for the FREE Tribeca Drive-In Dinner and a Movie!

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Free and open to the public, the film screening series will take place between February 21-24 within Lower Manhattan’s magnificent Oculus 

For the third consecutive year, Westfield World Trade Center will roll out the red carpet for the Tribeca Drive-In: Dinner and a Movie film screening series, organized in partnership with the team behind the Tribeca Film Festival, and taking place from Thursday, February 21st to Sunday, February 24th – just in time for this year’s major awards season!

During the four-day series, visitors to Westfield World Trade Center’s magnificent Oculus in Lower Manhattan will be able to enjoy free movie screenings of past Oscar®-nominated and Oscar®-winning fan favorite films.

Come early for live music performances presented by Broadcast Music, Inc. (BMI); relax in custom-designed seating lounges; explore special fashion and accessories vitrines curated by local influencer and personal shopper Samantha Brown;  take advantage of one-of-a-kind, Hollywood-inspired photo ops; and partake of exclusive food and beverage service provided by some of Westfield World Trade Center’s tastiest restaurants and eateries, including: Epicerie Boulud,  Eataly NYC Downtown, Nunu Chocolates, and Sugarfina.

THE LINE UP

Thursday, February 21: As Good as it Gets

Doors open: 5:30pm / Film begins: 7pm

Friday, February 22: Field of Dreams

Doors open: 5:30pm / Film begins: 7pm

Saturday, February 23: Hugo

Doors open: 11am / Film begins 12pm

Saturday, February 23: E.T.

Doors open: 5:30pm / Film begins 7pm

Sunday, February 24: Finding Neverland

Doors open: 11am / Film begins 12pm

Review: ‘PIERCING’ is a kink roller coaster ride.

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UNIVERSAL PICTURES CONTENT GROUP

presents

SYNOPSIS:In this twisted love story, a man seeks out an unsuspecting stranger to help him purge the dark torments of his past. His plan goes awry when he encounters a woman with plans of her own. A playful psycho-thriller game of cat-and-mouse based on Ryû Murakami’s novel.

A premeditated murder plays out in an elaborate rehearsal, sound effects and all. A brunette escorts in vegas is the target of a clearly unhinged family man looking to complete his meticulous fantasy of violence. Piercing is a highly stylized and totally insane romp into madness.

Chris Abbott and Mia Wasikowska both play two distinct personalities. To go into any more detail would spoil the battle royale of bizarre that rolls out. Both are brilliant. Piercing is visually jarring and unapologetic in the surprises. Nothing goes right and it gets weirder and weirder by the minute. The tension is pretty palpable between a feeling of dread, “what the hell is happening?”, and routing for a potential villain. As the dominoes fall, and you pick your jaw up off the floor, you’ll laugh at the absurdity but go along for the ride, happily. Piercing possesses a grindhouse vibe from the titles to the music, to the very specific, almost Hitchcock-esque, shots into detailed miniatures. The fact that it’s based on a Ryû Murakami novel makes me want to read it immediately to see if the book is as messed up as the film. Because this version is nothing short of a complete mindfuck.

Universal Pictures Content Group will release the horror-suspense mystery film PIERCING in Theaters, On Demand and Digital HD on February 1, 2019.

Slamdance Film Festival Review: ‘A Great Lamp’ shines bright.

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SYNOPSIS

Set in a small riverside town in North Carolina, two sad vandals and an unemployed loner long await for a fabled rocket launch.

A Great Lamp isn’t about what you think it’s about. Although, I’m not sure what I really thought it was about until the final 30 minutes. This film is like no other. Shot in black and white, at intrusive angles, with rudimentary line animation scattered over narratives, it’s whacky and wonderful and slightly reminiscent of MTV’s Liquid Television. Three men, each unique and yet totally suited to be friends await a mysterious rocket launch. But, as I said, that’s not really what the film is about. Underneath the twisty dialogue that may or may not be completely ad-libbed, there is a dark sadness. Each man has lost a parental figure, whether literally or emotionally. Dealing with depression and emptiness among surrounding quirkiness is just another aspect that makes A Great Lamp so intriguing. It is perfect for festival goers and cinephiles alike seeking something off the beaten path.

Showings – select to order tickets:
Fri, Jan 25th, 3:00 PM @ Ballroom
  • Runtime:
    77 minutes
  • Language:
    English
  • Country:
    USA
  • Premiere:
    World Premiere
  • Director:
    Saad Qureshi
  • Screenwriter:
    Saad Qureshi, Donald R. Monroe, Max Wilde, Spencer Bang, Steven Maier
  • Producer:
    Saad Qureshi, Donald R. Monroe, Alison Donohue
  • Cast:
    Max Wilde, Spencer Bang, Steven Maier, Julian Semilian, Laura Ingram Semilian, Netta Green, Connie Stewart, Smokey, Spaz
  • Cinematographer:
    Donald R. Monroe
  • Editor:
    Max Wilde

Review: ‘EGG’ one of our Top 5 from Tribeca 2018 (hatches) in theaters today.

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In provocateur Marianna Palka’s sharp and unflinching satire, two couples and a surrogate lay bare the complications, contradictions, heartbreak, and absurdities implicit in how we think about motherhood.

Mariana Palka’s follow-up to last year’s Bitch, is just as powerful in delving into “the phases of a woman’s life”, to use a phrase directly from EGG. With an incredibly theatrical feel, as if it could play in an Off-Broadway theater with a unit set, EGG confronts art, politics, and the patriarchal structure that surround the idea of having a baby. The entire ensemble cast is phenomenal, each playing their role in a game of vapid versus broken. The writing is good, honest, and brave. There are no filters on these characters making them completely loathsome and fantastic all at once.

Egg
Feature Narrative
Country: USA
Director: Marianna Palka
Writer: Risa Mickenberg
Starring: Gbenga Akinnagbe, David Alan Basche, Alysia Reiner, Anna Camp, Christina Hendricks

Review: ‘All These Small Moments’ is what life is made of.

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SYNOPSIS: A teenage boy’s infatuation with a woman he sees on the bus further complicates his already tumultuous adolescence.

There is something about this film that stuck with me. While it might appear to be about a young man’s infatuation with an older woman he sees on the bus every day, it’s really about everything else going on around him. All These Small Moments is a film about a family breaking down. It’s about first love, and adolescence, and loss, and discovery. There is not one single loose thread in this honestly written script. It’s a true ensemble piece. I didn’t know I was missing Molly Ringwald in my life on a regular basis until I saw her in this role of Carla, a mother at the end of her emotional rope. Harley Quinn Smith does such a perfect job I thought I was watching myself in a flashback of high school… or in college. Somewhere between bold and shy, she takes the reigns of Lindsay and rides this opportunity further than one might expect from her actual time on screen. Brendan Meyer’s Howie is the driving force of this story. Giving a quirkier but completely believable performance rounds out a film that really does take the small moments and show us that each of them adds up to a much larger meaning. There are no massive explosions, no crazy otherworldly occurrences, just regular down-to-earth scenarios that happen as they would in any other family’s life in America, statistically speaking. That’s entirely the point. Although, there is a cool animated opening sequence with some pretty sweet music. You can see All These Small Moments in theaters and On Demand and Digital HD today. 

ALL THESE SMALL MOMENTS features emotionally raw performances by veteran actors Molly Ringwald (“Riverdale,” Sixteen Candles, The Breakfast Club) and Brian d’Arcy James (“13 Reasons Why,” First Man, Spotlight) with breakthrough performances from up-and-comers Brendan Meyer (“The OA,” Fear The Walking Dead: Flight 462, The Guest), Sam McCarthy  (“Condor,” “The Blacklist,” The Jim Gaffigan Show”), Harley Quinn Smith (Once Upon a Time in Hollywood, Yoga Hosers, Holidays) and Jemima Kirke (“Maniac,” “Girls,” The Little Hours). The film is the theatrical film debut for writer and director Melissa B. Miller Costanzo who previously worked in the art department on such films as IF BEALE STREET COULD TALK, THE FIGHTER and PRECIOUS.

Review: ‘ADULT LIFE SKILLS’ finds humor in overwhelming darkness.

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ADULT LIFE SKILLS 

**Winner of 2016 Tribeca Film Festival’s Nora Ephron Prize**

Anna (Jodie Whittaker) is comfortable living in her mom’s garden shed making funny videos all day, but as she approaches 30, she starts feeling the pressure to move on and “grow up” without compromising her youthful spirit.

There is something whimsical about Adult Life Skills that takes hold of your heart. Jodie Whittaker plays Anna, a woman on the brink of turning thirty living in the backyard shed of her family’s home. Attempting to hold on tight to her childhood, she pushes back on growth as she is still reeling from the death of her twin brother. Reliving her relationship through the wonderfully absurd movies they created together for their website, Anna reluctantly takes a lonely neighbor boy (whose mother is dying of what we presume to be cancer) under her wing. Through his growing attachment, she learns to assess her emotional journey and come to terms with her reality. Whittaker is charming and honest. Each beat has depth and humor under the very real sadness. The surrounding ensemble of female family and friends pushes Adult Life Skills to the next level of indie darling. It’s a creative film version of depression. It delves into the mind of sadness with a visually interesting and fully uniquely fleshed out storyline The soundtrack is catchy and haunting as hell. On the whole, Adult Life Skills is simply lovely.

In Theaters and On Demand January 18, 2019 

Starring: Jodie Whittaker (“Doctor Who”) and Edward Hogg (“Harlots,” “Misfits”)

Written & Directed by: Rachel Tunnard

Review: ‘WHAT IS DEMOCRACY?’ is poignant and timely and terrifying.

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WHAT IS DEMOCRACY? could not be coming at a more tumultuous time in history. How did we get here? Director Astra Taylor poses the question to people from every corner of the globe in this poignant documentary. The film explores the past, present, and theorizes what will become of our future if we do not pause to learn from our previous mistakes. The world is in what feels like total upheaval but it is not the first time we as a civilization have been on the precipice of either disaster or triumph. We march, we vote, we are inundated with fake news, and yet the people continue to strive for peace and equality against all odds. But democracy goes both ways. That’s the very essence of the word itself. Can good prevail without its counterpart? What we gather, on the whole, is that the naive promise of democracy is beginning to feel like an unfulfilled promise. That no matter the world’s location, race, socio-economics, and money rule. Let us not become numb to the negative but continue to seek compromise and understanding. Truly, WHAT IS DEMOCRACY? should be required viewing in every high school civics class. Hell, it should be required viewing by every human being.

Acclaimed director Astra Taylor‘s WHAT IS DEMOCRACY? (TIFF 2018) opens Jan. 16, 2019 at IFC Center in New York via Zeitgeist Films in association with Kino Lorber, followed by theatrical engagements nationwide.

Synopsis: Coming at a moment of profound political and social crisis, What Is Democracy? reflects on a word we too often take for granted. Director Astra Taylor’s (Zizek! and Examined Life) idiosyncratic, philosophical journey spans millennia and continents: from ancient Athens’ groundbreaking experiment in self-government to capitalism’s roots in medieval Italy; from modern-day Greece grappling with financial collapse and a mounting refugee crisis to the United States reckoning with its racist past and the growing gap between rich and poor. The film features Cornel West, Angela Davis, theorists, activists, asylum seekers and a diverse cast of people from around the world.

DOC NYC review: ‘TO KID OR NOT TO KID’ is about supporting women.

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Parenting is not for everyone. Some women are adamantly against having children. There is a stigma that’s attached to that choice. TO KID OR NOT TO KID speaks directly to that choice and the backlash it predominantly receives.  How does this choice affect others and more importantly, is it anyone’s else’s right to have an opinion on the matter at all? When I was younger, I thought I’d never have children. It wasn’t until I was 26 and was riding the subway when I saw a baby in a knitted strawberry hat and my body ached. Boom. I knew I was meant to be a mother. But it wasn’t until almost 10 years later that I actually gave birth. I was busy traveling the world, using the best equipment, like the best coolers for the money you can get (much like filmmaker Maxine Trump) The only difference is I already knew I’d regret it.

The film explores not only the decision but the potential for that regret. It also addresses the fears that all women have about losing their identity. As someone who is a SAHM to two kids under three, 15months apart,  there are many days I feel like “I’m just Mom.” I yearn for adult conversation and most definitely experience postpartum anxiety. Thankfully, the film also addresses these emotions. It doesn’t skirt the conversation about getting pregnant and the potential difficulties involved. Motherhood is endless judgment. But so is the opposite. A woman cannot win either way. We don’t judge men in the same way, but I suppose that’s no surprise. Women’s rights are once again under scrutiny. Be it the government, doctors, the economy, the societal pressure to reproduce is unreal when you break it down by dollars and cents. Director Maxine Trump speaks with women from all backgrounds and life choices to see where they’re coming from as she tries to find her own truth about wanting to have kids with her husband. It’s an incredibly thoughtful film that made me feel more normal, frankly. TO KID OR NOT TO KID is wonderfully relevant in a time when women feel like they finally have more of a voice. The world is changing and women’s honesty will make the world a better place. We need to hold one another up not tear each other down. There are too many forces at hand already trying their best to divide us.

WORLD PREMIERE Filmmaker Maxine Trump turns the camera on herself and her close circle of family and friends as she confronts the idea of not having kids. While exploring the cultural pressures and harsh criticism child-free women regularly experience, as well as the personal impact this decision may have on her own relationship, Maxine meets other women reckoning with their choice: Megan, who struggles to get medical permission to undergo elective sterilization, and Victoria, who lives with the backlash of publicly acknowledging that she made a mistake when she had a child.

 

Official Site: https://www.tokidornottokid.com/
On Twitter: MaxineTrump
On Facebook: https://www.facebook.com/tokidornottokid/
Director: Maxine Trump
Producer: Josh Granger
Cinematographer: Maxine Trump
Editor: Maxine Trump
Running Time: 75
Language: English
Country: USA, England, Wales
Year: 2018

DOC NYC review: ‘FAMILY IN TRANSITION’ is more complicated than it appears.

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This doc explores the boundaries we push for love and acceptance. Amit is a husband, a father, and business owner. She is also transgender. This story is about her transition and how it affects the family and friends that surround her. It’s a timely film here in the US as the government is attempting to legally discredit transgender identity by legally defining gender as a biological, immutable condition determined by genitalia at birth. Amit has four children with her wife Galit. Daughter Agam is beyond wise for her years and the most vocal about their unique family dynamics. She understands that people’s ignorance is not her problem. She chooses to surround herself with open-minded peers. The emotional toll of transitioning seems endless. It has the highest highs and lowest lows. How does a marriage survive when circumstance completely changes? What happens after she goes to Thailand for gender reassignment surgery for a month? It’s not a glamorous film. It’s real, it’s honest. It’s exactly what people need to see. Family in Transition is a story of unconditional love and the ultimate sacrifices we make to become whole from the inside out.

DOC NYC International Premiere on November 11 / Opening Nov 16 in LA and Nov 23 in NY

Amit, a husband, and father of four, living in Nahariya, Israel, reveals to his family that he’s a transgender woman. Amit’s wife, Galit, decides to stick with Amit through this journey. Despite personal difficulties and social stigmas, the family insists on staying together, believing that love will overcome all difficulties.

DOC NYC review: ‘We Are Not Done Yet’ shines a spotlight on PTSD

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HBO’s powerful new documentary short WE ARE NOT DONE YET, airing November 8thand produced by actor Jeffrey Wright (HBO’s Westworld), follows the stories of ten U.S. veterans striving to combat their traumatic military histories through art, poetry and performance. At a workshop led by poet Seema Reza and Community Building Art Works, they share their fears, vulnerabilities and victories, using the written word to heal, bond, encourage and empower. Their work culminates in a live performance at Washington D.C.’s Lansburgh Theater under the direction of Wright. As much of an activist as he is an actor, Wright produced the short and has been heavily involved with veteran organizations for years. He was so inspired by the group’s process and motivation during the workshop that he knew he had to get a camera crew inside and help share their stories.

There is something so cathartic about standing onstage and bearing one’s soul. When it’s your own written word it’s on another level. When the words are true, it’s the most powerful of all. WE ARE NOT DONE YET gives a literal voice to a group of veterans living with PTSD. They have used performance art to share their stories, lives, and emotions with an audience now far beyond the Lansburgh Theater. HBO has given us a gift in this short. It has opened the door for others to speak,  hope, and feel connected in a new way. Watching these fine people is nothing short of breathtaking. I’m not sure you can sit back and hold back the tears as a human being as you experience their trauma through their writing. Not of a moment of this film feels exploitative from an observer with zero military background. I’m hoping it reads the same for those who might believe they are alone. WE ARE NOT DONE YET aired this evening and will be available on HBO Now and HBO Go. This is important filmmaking. The message is clear. We cannot ignore the trauma, we must embrace it and do better for all our veterans.

Review: Paul Dano’s directorial debut ‘Wildlife’ is an instant classic

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Wildlife focuses on a struggling family in 1960 and is mainly from the perspective of the 14-year-old son, Joe, played by Australian actor, Ed Oxenbould. At the post-screening Q&A with the director, Paul Dano admits that he only shot in digital because he was worried they’d have to do a lot of takes with a young actor. Turns out, Oxenbould was quite perfect from the first take. I would not have guessed digital as the color and tone was quite rich and retro.

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With no previews, the film started and I was instantly struck by how the camera didn’t move with the action and often dialogue took place off-screen. The film begins with mother, father, and son in the same shot at the kitchen table and slowly erodes throughout the film to only show close-ups with the characters, rarely showing them together. Once you see it, it becomes so obvious. Art imitating life. It’s brilliant.

Carey Mulligan is somehow old and young, frustrating and empathetic. It’s mind-boggling that she’s old enough to have a 14-year-old. Her character does the most outlandish things yet the audience somehow forgives her. While he doesn’t have as many scenes as Mulligan, Jake Gyllenhaal gives a desperate and hopeful performance as the father. However, the most expressive and stoic performance comes from the young Ed Oxenbould.

After this tragic yep hopeful film, Film Comment put on a free talk with writer/director Paul Dano and the author of the novel on which it was based, Richard Ford. It’s a very interesting talk, as you discover that Richard Ford did not want Paul Dano to make a scene-for-scene recreation of his novel, he wanted him to take inspiration and make it his own.

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