

I’m not quite sure which is more interesting: the life of Edward Jay Epstein or the stories he investigates. Add to that an original documentary style and Hall of Mirrors turns into an accessible, artistic, and entertaining documentary. First-time filmmaker sisters, Ena Talakic and Ines Talakic spent four years writing, directing and editing after a chance meeting with Epstein at a party.
Rather than the boring chronological story style, the directors move back and forth between the life of Epstein his investigations. At first, it’s almost confusing, then as you’re watching you start to realize what an amazing life he’s lead and what a huge contribution he’s made to journalism. It’s quite inspiring.
If you’re in the Washington D.C. area, the film has just been announced at the Double Exposure Investigative Film Festival.
HALL OF MIRRORS
Washington, DC Premiere
Directors Ena Talakic and Ines Talakic
Italy / United States
Saturday, October 21, 2017 – 2:30 PM
Naval Heritage Center
http://doubleexposurefestival.
Edward Jay Epstein has built a career on taking a deeper look at hidden trends and unquestioned scripts that enter mainstream thinking. In Hall of Mirrors, he delves into Edward Snowden’s historic leak of data on U.S. government surveillance, delighting in the absurdities he discovers.
Filmmakers in attendance.
Books of Edward Jay Epstein:
- Inquest: The Warren Commission and the Establishment of Truth (1966)
- Counterplot (1968)
- News from Nowhere. Television and the News (1973)
- Between Fact and Fiction: The Problem of Journalism (1975)
- Agency of Fear: Opiates and Political Power in America (1977)
- Cartel (1978)
- Legend: The Secret World of Lee Harvey Oswald (1978)
- The Rise and Fall of Diamonds: The Shattering of a Brilliant Illusion (1982)
- Deception: The Invisible War Between the KGB & the CIA (1989)
- The Assassination Chronicles: Inquest, Counterplot, and Legend (1992)
- Dossier: The Secret Life of Armand Hammer (1996)
- The Big Picture: Money and Power in Hollywood (2000)
- The Hollywood Economist: The Hidden Financial Reality Behind the Movies (2010)
- The Annals of Unsolved Crime (2013)
- The JFK Assassination Diary: My Search for Answers to the Mystery of the Century (2013)
- How America Lost Its Secrets: Snowden, the Man and the Theft (2017)
TRT: 87 min
Country: USA
Language: English
Directors: Ena Talakic, Ines Talakic
Producers: Ena Talakic, Ines Talakic
Editors: Ena Talakic, Ines Talakic
Directors of Photography: Ena Talakic, Ines Talakic

A Skin So Soft
BOOM FOR REAL The Late Teenage Years of Jean-Michel Basquiat
BPM (Beats Per Minute)
Caniba
Dragonfly Eyes
Félicité
Good Luck
Jane
Occidental
Sea Sorrow
Spoor
The Day After
The Florida Project
Western
Zama
NYFF55 talks also include On Cinema: Richard Linklater and Directors Dialogues with Lucrecia Martel, Agnès Varda & JR, Hong Sang-soo, and Philippe Garrel
Let the Sun Shine In
Lover for a Day
Mrs. Hyde
Piazza Vittorio
Speak Up
The Meyerowitz Stories (New and Selected)
The Rape of Recy Taylor
The Worldly Cave
Tonsler Park
Hall of Mirrors
Joan Didion: The Center Will Not Hold
Last Flag Flying
No Stone Unturned
The Opera House
Trouble No More
Voyeur
Wonder Wheel


Writer/Director Mike Mills knows women. He appreciates the ins and outs, the nuances of age and stage and the humor in everyday life. Annette Bening asks one of her tenants Abbie, and son’s high school aged best friend, Julie to teach him how to be a food man. Since his father is out of the picture and mother Dorothea has trouble keeping an age appropriate man around for long, she had enlisted help. thankfully she has been thus far successful in raising an open-minded and perfectly curious boy. His inspiration for exploring the world is only enhanced by the eclectic females he is surrounded by. The film is funny and sweet. It’s a bit if a time capsule and yet somehow remains timeless in the theme of self discovery. The transitions are like colorful music videos mixed with punk music from Talking Heads and Black Flag.
After seeing Stewart and Assayas team up on the NYFF52 film Clouds of Sils Maria, there was doubt that we were in for a unique treat in Personal Shopper. Some might still be skeptical of Stewart’s work if they’ve only been exposed to The Twilight franchise. She admits that it most definitely gave her the option to choose her work. Her indie film roles are nothing short of impressive. Clouds allowed her to be the first American actress to win France’s most prominent Cesar award. Stewart plays Maureen, dealing or not dealing with the death of her twin brother, she floats through life by attending to a spoiled supermodel’s fashion needs all while suspecting her brother is trying to contact her from the beyond. Caught between her own sanity and a murder mystery, Stewart bares all in an emotionally wrought and frightening tale that makes us ponder our own beliefs and life choices. With some of the world’s most beautiful fashion as eye candy, Paris and London as our backgrounds, and the trust Assayas has with his leading lady, I was constantly on edge and intrigued. The pace is great and the use of texting as a major plot point brings technology to the forefront in more than one way. Assasya’ long lingering shots, he admitted in the press conference following the screening, were half by choice and half due to the performance Stewart was giving at any moment in time. Their relationship is very clear as you watch. She is in almost every frame. that is a lot to carry as a young actress, but she 100% owns this film. I was able to ask both Assayas and Stewart if they believed in the paranormal and their answers were perfection. you can watch the footage below. If eerie movies are your thing, then this is most likely one you’re enjoy. If you want to see a gorgeously shot film with a stellar leading lady, this too fits the bill. If you’re open minded about things that are considered other worldly, if nothing else, Personal Shopper begs the question, “Is death the end?”
Sieranevada takes a peek inside a grieving family and the reality of being stuck in a small space with the people you love and hate. Days after the death of the family patriarch and the recent Charlie Hebdo attacks, we find our cast gathered together to honor their beloved father. While they wait for the priest to arrive, we discover, little by little, the chaos, the meddling, the selfish, emotionally unstable ways that only your own family can throw at you all at once. Director Cristi Puiu, makes us, the audience, a fly on the wall for 3 solid hrs. This might pose a challenge for some viewers. The camera, mostly stationary, pans back and forth in place for extended periods of time, catching whispers, shouts, and much chain smoking predominantly from a hallway position. While the actors try desperately not to step on each other or wake the baby while they wait to eat once the elusive priest finally arrives. The dialogue is a beautiful mix of over the top arguments, manic bereavement, and laughter at internet conspiracy theories. It’s undeniably relatable. Only a big family dynamic can get your blood boiling and creative juices flowing for that long. 
Having graduated drama school only blocks from the NYFF, I can relate to The Rehearsal on a very personal level. Based on the novel Eleanor Catton‘s debut novel of the same name. Director/writer Alison Maclean‘s film version is slightly different but the themes remain the same. Teachers taking advantage of their students. It was lovely to see the authenticity of a performing arts school portrayed on the big screen. It’s been a while since both the discipline and seemingly ridiculous have been combined to give the viewer a slice of life in a conservatory style education. No one is nice to you. everyone is competition. The teachers are their to teach you with hard life lessons. But this story is also about the emotional responsibility of not only the teachers, but the students as they grow into mature adults. Our main plot revolves around the lives and work of the kids. More specifically, their final project. The dialogue is evenhanded in humor and drama. The performances are extremely solid.The final scene is cinematic perfection. 













































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