Presents
THERAPY FOR A VAMPIRE
A Film by David Ruehm
Opening in New York and Los Angeles June 10th
How long do you have to be a couple in order to know everything about the other person? A few months? A few years? Does your lover leave their socks on the bedroom floor instead of putting them in the hamper? Do they slurp their soup, even in public. Is their neediness just too much to bear sometimes? How long is too long to have to endure these annoying habits? In the new festival favorite finally coming to theaters, THERAPY FOR A VAMPIRE, 500 years is enough.
Running Time: 87 minutes
Vienna, 1932. Count von Közsnöm (Tobias Moretti) has lost his thirst for life, and his eternally long marriage to Countess Gräfin Elsa von Közsnöm (Jeanette Hain) cooled centuries ago. Fortunately, Sigmund Freud (Karl Fischer), with his innovative new approach to solving life’s existential problems, is accepting new patients. During their strictly nocturnal sessions, the good doctor suggests the Count appease his vain wife, desperate to see her own reflection, by commissioning a portrait of her by his assistant, Viktor (Dominic Oley), an aspiring painter. But it’s Viktor’s headstrong girlfriend Lucy (Cornelia Ivancan) who most intrigues the Count, convinced she’s the reincarnation of his one true love. Soon, the whole crowd is a hilarious mess of mistaken identities and misplaced affections in this send -up of the vampire genre, proving once and for all that 500 years of marriage is enough.
Writer/Director David Ruehm‘s script could not be funnier. The dialogue is filled to the brim with clever double entendre. Using Freud as a go-between was a massively ingenious choice, using his dream analysis and general beliefs as a backdrop for a film that is, in all accounts, about relationships and their deeper meaning. The story is a fantastical cat and mouse game, centered around longing, jealousy, boredom, and vanity. There is not a loose end when it comes to performances. For a brief moment, I tried to imagine an American version of this film and could not think of any other actors that would have done the roles justice. Tobias Moretti, as the Count, might very well be an actual vampire for all I know. His natural comic timing is a pure delight to watch. Jeanette Hain, as the Countess, is seductive and a sheer wonder to behold on-screen. Cornelia Ivancan, as Lucy, is effortless in her 1930’s ingenue look and quirkiness. Dominic Oley‘s portrayal of Viktor is dashing and adorable all in one, as a man who idolizes his restless lover. Karl Fischer, as Dr. Freud, is genuinely funny and endearing. The cast’s chemistry is immaculate from end to end. 
The cinematography from Austria’s preeminent DP Martin Gschlacht (Goodnight Mommy, Oscar-nominated Revanch
Official Website: www.musicboxfilms.
Awards & Festivals
- Winner, Audience Award – Fantasia International Film Festival
- Official Selection – Zurich Film Festival
- Official Selection – Sarasota Film Festival
- Official Selection – Minneapolis / St. Paul Film Festival
- Official Selection – Secret Film Festival, Santa Cruz
Presents
I’ve said it before and I’ll say it again, anyone who thinks climate change is a manufactured idea, to me, is way off the rails. But, if by some chance you’re unconvinced, a new doc is resolved to change your mind. It seems like, with most threatening events in our lives, it is not until they directly affect our own families that we take the time to address them head on. It is much easier to sweep them under the rug or dismiss them as someone else’s problem. TIME TO CHOOSE may be your wake up call.
Will Allen‘s 22 years of footage appear, at first, to resemble a long-lost infomercial from the 80’s. It only takes a few minutes to realize that this is not VHS from our youth but the continuous documenting of a group of people seeking something different. What they ultimately find is a mysterious man who is nothing he claims to be. Utilizing intimate, present-day, sit down interviews with members of Buddhafield combined with Allen’s chronological documentation of the group’s daily activities, HOLY HELL is unlike anything we’ve seen before. To have such unguarded footage and insider knowledge is pretty unprecedented, especially for this length of time. From private therapy sessions to retreats, public outings and the eventual breakdown, each year is more shocking than the last. There are moments that will make you cringe, question your judgement, and certainly, times that will turn your stomach. HOLY HELL is as relevant today as it was when it began its seedling production. It will both open your eyes and terrify you.
Presents
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Almost entirely shot in the woods, our lead character Ann has only her vehicle and two small camps on a lake. Screenwriter David Ebeltoft’s immensely effective script, utilizes intermittent flashbacks to show us how Ann came to be on her own. Once traveling with her husband and infant daughter, the audience must allow themselves to be with Ann in the present in order to feel emotionally connected. She is smart and resilient. She has learned that practicality is the only way to survive. Her newly gained skills sometimes fumble, adding to the realism factor. The minute she allows her emotions to control her path, things are bound to go awry. When Ann stumbles upon Chris and his step-daughter Olivia, her motherly instinct may be her undoing. Two mindsets are at play; Stay put or keep moving. Which would you choose? Blackhurst’s use of nudity is never without purpose. There is no glamour factor here, which is much appreciated in the genre in general. Lucy Walters‘ lead performance is breathtaking. It’s not until the very end that we discover what happened to Ann’s daughter. That particular scene, which we know from the very beginning we’ve been building up to, is one of the most gut-wrenching I’ve seen on film. Maybe it’s the new Mommy hormones, maybe it’s Ebeltoft specifically crafted script, or maybe it’s the perfect storm of the two. I don’t think I have ever wept while watching a horror film until now. In a “what would you do?” scenario from hell, HERE ALONE tears your heart out and challenges how you think you’d react in a doomsday situation. When you’re down to your last bullet, it’s life or death.
Everyday, I have the urge to block friends on Facebook. The vitriolic political rhetoric being thrown around in both “article” and meme form is more over the top than it has ever been. Thank the internet gods for 
On the heels of his beautiful script for Nebraska, writer/director Bob Nelson brings heart and levity to what might otherwise seem to be a mundane scenario. The estrangement of an alcoholic father and his young son is nothing new, but by adding a religious element to the mix, it makes for a funny and honest look into the innocence of a child’s mind. Clive Owen‘s portrayal of Walt is raw and real. You empathize with his struggle to do right by his son. Speaking of Anthony, St. Vincent prodigy Jaeden Lieberher is, once again, a star. His purity in presence and intention glow as a young boy thrust into religion by his Mother. Caught in between parents of opposite end spectrum, he is an old soul, yet is constantly discovering when it is okay to push social boundaries. Owen and Lieberher are a perfect pairing. Nelson’s script allows both actors to take the reins as the story progresses. Each character has the opportunity to emotionally care for the other in a truly lovely dynamic.
The subtlety of the film is what makes it so successful. In an era of overblown CGI fare, Bob Nelson gives us an honest to goodness family story. The Confirmation is a joy.
Directed by and starring Robert Carlyle (The Full Monty, Trainspotting, 
Robert Carlyle is a real winner in his directorial debut. His portrayal of Barney is a wonderful mixture of neurotic, depressed, and pathetic Mama’s boy. A far cry from his Once Upon A Time role as Mr Gold. His skill as a director is plain to see. Barney Thomson has an upbeat and fun vibe. If you combined Baz Lurhmann‘s Strictly Ballroom, Richard Shepard’s Dom Hemingway, with a twist of Tarantino, you’ve got the eclectic style of Barney Thomson. Casting Emma Thompson as his mother, Cemolina, was pure genius. Their chemistry is unmatched. Wait until you see the prosthetics on Emma. The slightly overdone (and orange) nature of the makeup, creates the perfect backdrop for this larger than life character.
The dialogue from Richard Cowan and Colin McLaren is quippy and hilarious. Utilizing the a beautifully absurd storyline combined with rapid fire Scottish rhetoric makes for the perfect combination in style and comedy. The soundtrack is incredible and Fabian Wagner‘s cinematography is stunning. It’s clear that Carlyle knows his stuff and I, for one, look forward to any future endeavors. Barney Thomson is a hit.
Mother Nature is not one to be trifled with. The Earth is going to do as it sees fit, no matter what our plans may be as humans. THE WAVE is based on a very real “what-if” scenario. Not all too different from the horrors that will most certainly be coming our way in the future, if we don’t get out proverbial shit together. And very much like The Wave, this is not a matter of if, but when. 
The film centers around geologist, Kristian and his family. Leaving his current position as safety gatekeeper for the village, Kristian has a tough time letting go on his final day on the job, and for good reason. Testing fate is not something that comes easily when an entire population is at stake. When the alarms sound and the what-if becomes a reality, Kristian will do whatever it takes to save anyone he can from impending doom.
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