BEUYS, a documentary portrait of Joseph Beuys, one of the 20th century’s most influential and controversial artists, directed by Andres Veiel, will have it’s U.S. theatrical premiere with an exclusive theatrical engagement at Film Forum in New York City, starting Wednesday, January 17. The film expands to other national markets in February and March, 2018.
Charismatic and controversial German artist Joseph Beuys (1921-1986) was a messianic figure, alternately considered a shaman, a kook, a radical political activist, and a breakthrough artistic genius. Filmmaker Andres Veiel mines a rich trove of never-before-seen archival footage, showing how Beuys’s teachings (at the Kunstakademie Düsseldorf), installations (using felt and fat), ‘happenings’ (covering himself in honey and gold leaf in How to Explain Paintings to a Dead Hare or locking himself in a room with a coyote in I Like America and America Likes Me), and lectures (“money shouldn’t be a commodity”) argued for a more expansive view of the role of art in our lives.
Always recognizable in his trademark fedora, Beuys was a visionary who, 30 years after his death, continues to influence artists as well as confound and entertain the rest of us. BEUYS will have a two-week engagement, from January 17 to January 30, at Film Forum.
https://www.youtube.com/watch?v=Sn2VSGwzMsEFilms
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BEUYS, Documentary on Controversial Arrtist Joseph Beuys, Sets January Theatrical Release Date | Trailer
BEUYS, a documentary portrait of Joseph Beuys, one of the 20th century’s most influential and controversial artists, directed by Andres Veiel, will have it’s U.S. theatrical premiere with an exclusive theatrical engagement at Film Forum in New York City, starting Wednesday, January 17. The film expands to other national markets in February and March, 2018.
Charismatic and controversial German artist Joseph Beuys (1921-1986) was a messianic figure, alternately considered a shaman, a kook, a radical political activist, and a breakthrough artistic genius. Filmmaker Andres Veiel mines a rich trove of never-before-seen archival footage, showing how Beuys’s teachings (at the Kunstakademie Düsseldorf), installations (using felt and fat), ‘happenings’ (covering himself in honey and gold leaf in How to Explain Paintings to a Dead Hare or locking himself in a room with a coyote in I Like America and America Likes Me), and lectures (“money shouldn’t be a commodity”) argued for a more expansive view of the role of art in our lives.
Always recognizable in his trademark fedora, Beuys was a visionary who, 30 years after his death, continues to influence artists as well as confound and entertain the rest of us. BEUYS will have a two-week engagement, from January 17 to January 30, at Film Forum.
https://www.youtube.com/watch?v=Sn2VSGwzMsE
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VIDEO: Watch Nollywood Romantic Comedy THE ROYAL HIBISCUS HOTEL Trailer
The Royal Hibiscus Hotel, one of the three African films featured at the 2017 Toronto International Film Festival, released a new official trailer on New Years Day.
In the Nollywood romantic comedy, directed by Ishaya Bako, a chef returns to her home in Lagos, Nigeria to reinvigorate the food and hospitality at her family’s hotel, only to find that her parents are planning on selling out to a rich, attractive buyer.
The Royal Hibiscus Hotel stars Zainab Balogun, Kenneth Okolie, Deyemi Okanlawon, Kemi ‘Lala’ Akindoju, O.C. Ukeje, Rachel Oniga, Jide Kosoko, Olu Jacobs and Joke Silva.
https://www.youtube.com/watch?v=0RfZ4gqdKiE
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James Baldwin Documentary I AM NOT YOUR NEGRO Premieres on PBS’ Independent Lens on January 15
In 1979, James Baldwin wrote a letter to his literary agent describing his next project, to be called Remember This House. The book was to be a revolutionary, personal account of the lives and successive assassinations of three of his close friends — Medgar Evers, Malcolm X and Martin Luther King, Jr. But at the time of Baldwin’s death in 1987, he left behind only 30 completed pages of his manuscript.
Now, in his incendiary documentary, I Am Not Your Negro, master filmmaker Raoul Peck envisions the book James Baldwin never finished. The result is a radical, up-to-the-minute examination of race in America, using Baldwin’s original words, spoken by Samuel L. Jackson, and a flood of rich archival material. I Am Not Your Negro is a journey into black history that connects the past of the Civil Rights movement to the present of #BlackLivesMatter. It is a film that questions black representation in Hollywood and beyond. And, ultimately, by confronting the deeper connections between the lives and assassination of these three leaders, Baldwin and Peck have produced a work that challenges the very definition of what America stands for.
The box office hit and nominee for the Academy Award for Best Documentary, Raoul Peck’s I Am Not Your Negro premieres on Independent Lens on Monday, January 15, 2018, 10:00-11:30 PM ET on PBS.
“For a project like this one, a lot of patience, time and risks are involved,” said Peck. “And at the early stage it’s almost impossible to convince anyone about the film to come. And then after a lot of research, writing and editing, in that order, there comes a time when what you really, really need above all is: trust. In this case, it was ITVS and executive producer of Independent Lens Lois Vossen who came at the right time, with courage and conviction. This is rare today among funders.”
“Working with Raoul for four years on I Am Not Your Negro has been one of the most rewarding experiences of my career,” said Vossen. “Baldwin’s writing has been a touchstone in my own life and I couldn’t imagine a filmmaker more perfectly suited to make a film on Baldwin than Raoul. Funding this project was a no-brainer. His masterpiece captures Baldwin’s extraordinary clarion voice in a film that will continue to illuminate for generations.”
https://www.youtube.com/watch?v=rNUYdgIyaPM
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VIDEO: Watch Trudie Styler’s FREAK SHOW Trailer Starring Bette Midler, Laverne Cox
Here is the trailer for Trudie Styler’s debut film Freak Show featuring an electric ensemble cast. The film opens January 12th, 2018 in New York City, and January 19th, 2018 in Los Angeles from IFC FILMS.
Freak Show stars Alex Lawther (Billy Bloom), Abigail Breslin (Lynette), AnnaSophia Robb (Blah Blah Blah), Ian Nelson (Flip), Celia Weston (Florence), Willa Fitzgerald (Tiffany), Laverne Cox (Felicia Watts), John McEnroe (Coach Carter), Charlotte Ubben (Sesame), Mickey Sumner (Dr. Veronica Vickers), Michael Park (Principal Onnigan), Daniel Bellomy (Bo-Bo), Christopher Dylan White (Bernard), Walden Bryan Hudson (Bib), Larry Pine (William), and Bette Midler (Muv).
Billy Bloom (Alex Lawther, The Imitation Game) is one-of-a-kind: a fabulous, glitter-bedecked, gender-bending teenager whose razor-sharp wit is matched only his by his outrageous, anything-goes fashion sense. When his glamorous mother (Bette Midler) is forced to send him to live with his straight-laced father (Larry Pine), Billy finds himself a diva-out-of-water at his new ultra-conservative high school. Undaunted by the bullies who don’t understand him, the fearless Billy sets out to make a big statement in his own inimitable way: challenging the school’s reigning mean girl (Abigail Breslin) for the title of homecoming queen. This proudly offbeat comedy is an irresistible ode to outsiders and nonconformists of all stripes. With Laverne Cox.
https://www.youtube.com/watch?v=drg74wOy8z8
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VIDEO: Watch New Trailer for David Moscow’s Horror/Thriller DESOLATION
You should never fall in love with a movie star. Check out the new trailer for David Moscow’s horror/thriller Desolation, starring Dominik García-Lorido. Desolation opens theatrically in New York City and Los Angeles on January 26th, 2018.
Small town Katie (Dominik García-Lorido, City Island) meets heartthrob actor Jay (Brock Kelly, Pitch Perfect). Jay charms Katie, brings her to L.A. where she falls hard for him. When Jay gets a movie and has to leave town, Katie awaits his return. That’s when everything begins to unravel. Katie is robbed, her keys and wallet taken. When she reports it, the police question and then attack her. Terrified, with no money, and stuck in L.A., she keeps calling her friends at home, but just gets a ‘wrong number.’ Frantically, she asks Jay to wire her money and come back, but neither he nor the money show. When Katie’s home town newspaper is delivered to her door in L.A., it includes her obituary. And she realizes there is some greater evil at play.
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The Holocaust Documentary THE NUMBER ON GREAT-GRANDPA’S ARM to Debut on HBO
When 10-year-old Elliott asks his 90-year-old great-grandfather, Jack, about the number tattooed on his arm, he sparks an intimate conversation about Jack’s life that spans happy memories of childhood in Poland, the loss of his family, surviving Auschwitz, and finding a new life in America.
Directed and produced by Emmy® winner Amy Schatz, the short film The Number on Great-Grandpa’s Arm weaves in haunting historical footage and hand-painted animation to tell a heartbreaking story of Jewish life in Eastern Europe before and during the Holocaust. The film, presented by HBO with the Museum of Jewish Heritage – A Living Memorial to the Holocaust, debuts Saturday, January 27, 2018 (6:00-6:20 pm ET/PT), International Holocaust Remembrance Day, exclusively on HBO.
The film will also be available on HBO On Demand, HBO NOW, HBO GO and affiliate portals.
This gently powerful family documentary centers on Elliott’s love for his beloved great-grandfather and his wish to keep alive Jack’s memories and lessons from that terrible time. “His story has changed a lot of people,” 10-year-old Elliott says. “You need to know it to understand and stop it from happening in future generations.”
Jack’s story is brought to life through documentary and archival footage and stills, as well as the dynamic rotoscope animation of acclaimed artist Jeff Scher.
The Number on Great-Grandpa’s Arm will be included in a signature initiative that is part of the robust education program offered by the Museum of Jewish Heritage – A Living Memorial to the Holocaust. This effort is designed to use the film, a companion special installation, and curriculum to connect stories of the Holocaust across generations.
Director-producer Amy Schatz’s notable HBO projects include the recent “Saving My Tomorrow” series, “An Apology to Elephants,” the “Classical Baby” series, “A Child’s Garden of Poetry,” “‘Twas the Night,” “Goodnight Moon and Other Sleepytime Tales” and “Through a Child’s Eyes: September 11, 2001.” Schatz’s work has won five DGA Awards, seven Emmy® Awards, and three Peabody Awards.
Animator Jeff Scher’s work is found in the permanent collections of the Museum of Modern Art, Academy Film Archives, Hirshhorn Museum and the Pompidou Centre.
https://www.youtube.com/watch?v=VntlYm0u7B0
The Number on Great-Grandpa’s Arm was directed and produced by Amy Schatz; executive producer, Sheila Nevins; producer, Lynn Sadofsky; edited by Tom Patterson; animation by Jeff Scher; director of photography, Alex Rappoport; music composed by Keith Kenniff; production executive, Susan Benaroya; supervising producer, Lisa Heller.
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Documentary DAVID BOWIE: THE LAST FIVE YEARS to Debut on HBO on January 8
In the last years of his life, David Bowie ended nearly a decade of silence to engage in an extraordinary burst of activity, producing two groundbreaking albums and a musical. Exploring this unexpected end to a remarkable career, the illuminating documentary DAVID BOWIE: THE LAST FIVE YEARS, debuts Monday, January. 8, 2018, (8:00-9:35 p.m. ET/PT), on what would have been his 71st birthday, exclusively on HBO.
On the 2003-2004 “Reality” tour, David Bowie had a frightening brush with mortality, suffering a heart attack during what was to be his final full concert. He then disappeared from public view, only re-emerging in the last five years of his life to make some of the most important music of his career. Made with remarkable access, Francis Whately’s documentary is a revelatory follow-up to his acclaimed 2013 documentary “David Bowie: Five Years,” which chronicled Bowie’s golden ’70s and early-’80s period.
While illuminating iconic moments of his extraordinary and prolific career, DAVID BOWIE: THE LAST FIVE YEARS focuses on three major projects: the albums “The Next Day” and the jazz-infused “Blackstar” (released on Bowie’s 69th birthday, two days before his death in 2016), and the musical “Lazarus,” which was inspired by the character he played in the 1976 film “The Man Who Fell to Earth.”
Dispelling the simplistic view that his career was simply predicated on change, the film includes revealing interviews with many of Bowie’s closest creative collaborators, including: Tony Visconti, Bowie’s longtime producer; musicians who contributed to “The Next Day” and “Blackstar”; Jonathan Barnbrook, the graphic designer of both albums; Robert Fox, producer of “Lazarus,” along with cast members from the show, providing a unique behind-the-scenes look at Bowie’s creative process; and Johan Renck, director of Bowie’s final music video, “Lazarus,” which was widely discussed as foreshadowing his death.
The documentary also features excerpts from many of Bowie’s biggest hits, including “Fame,” “Rebel Rebel,” “‘Heroes'” and “Space Oddity,” as well as songs from his last two albums, juxtaposing footage from the music videos “The Stars (Are Out Tonight),” “Blackstar” and “Lazarus” with studio performances by the musicians on the albums.
On Feb. 12, 2017, David Bowie posthumously swept the 2017 Grammy Awards with five wins for “Blackstar,” including: Best Rock Performance, Best Alternative Music Album, Best Recording Package, Best Engineered Album, Non-Classical and Best Rock Song.
https://www.youtube.com/watch?v=OwuuDpwPYxo
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TROPHY, Documentary on Big-game Hunting and Wildlife Conservation, to Debut on CNN
TROPHY, the critically-acclaimed film exploring big-game hunting and wildlife conservation, will premiere on CNN on Sunday, January 14, 2018, at 9:00pm Eastern & Pacific, with limited commercial interruption. The film is directed by award-winning photojournalist, cinematographer, and filmmaker Shaul Schwarz and co-directed by award-winning photojournalist, cinematographer, and filmmaker Christina Clusiau.
“TROPHY explores the complex stakes surrounding sport hunting and wildlife conservation,” said Amy Entelis, executive vice president for talent and content development for CNN Worldwide, “and then lets viewers make up their own minds about the value of these majestic creatures.”
From the film’s opening images of an American father and child hunting together in Texas, the filmmakers immediately frame the multidimensional nature of the controversy at the heart of the film. Character stories featuring hunters, anti-poaching security officials, reserve owners, animal welfare organizations, government officials, and hunting clubs establish why the intersecting issues are rippled with emotion and, in respect to those species which are endangered, the issues are also urgent.
“We wanted to explore the idea of what it means when we place economic value on wildlife. Could it be a tool to help conserve wildlife populations or does it hinder conservation efforts?” asked the filmmakers.
TROPHY takes viewers on an international visual safari, visiting the countries that are home to the ‘big five,’ the African wildlife most-prized by big-game hunters: lion, buffalo, rhino, leopard, and elephant. Pausing at the conference for Safari Club International (SCI) held annually in Las Vegas, the film lingers at exhibits for hunting outfitters, guns, taxidermy services, conservation seminars, and safari licenses. SCI, which attracts 20,000 visitors from around the world each year, hosts this broad array of interests and businesses, all at the same convention.
Hunting clubs and organizations like SCI argue that the trophy permit fees secured by hunters engaged in legal activity make important contributions to African economies and also fund conservation efforts. But even legal hunting can have unintended consequences. While countries like South Africa sell big-game hunting licenses which partially-fund its conservation activities, hunting instructor Tim Fallon says, “man has kind of screwed this up. We have encroached on so much natural land, that the species, all the species, have to be managed…”
Since just 1970, the film says the world has lost more than 60% of all wild animals, and some species seem to have fared even worse. Populations of elephants have plummeted from 10,000,000 animals in 1900 to 1,300,000 in 1979, to only 350,000 elephants in 2015. In 2008, the year prior to South Africa’s moratorium on the sale of rhino horn, 83 rhinos were poached. In the year after the ban, 333 rhinos were poached, and in 2014, more than 1200 rhinos were illegally killed.
Extraordinary aerial footage of vast African vistas shown in the film is interwoven with close images of swaths of cultivated lands. The film demonstrates that while hunting and habitat encroachment have an impact on wildlife reduction, it’s poaching, often connected to both corruption and terrorism, that’s having the most dramatic and deleterious impacts.
John Hume, owner of the world’s largest rhino breeding reserve, sees harvesting the horns from farm-raised rhinos as integral to saving his beloved animals. Rhino horn is “more expensive than gold or heroin by weight” Hume says. But, Hume asserts, animals do not go extinct while farmers can make money from breeding them. Hume’s procedure for harvesting rhino horn keeps the animals alive and re-growing more keratin horn. Hume feels that if he can demonstrate that raising rhinos and safely harvesting their horns offers an income, others may also similarly cultivate the animals, and thereby rescue them from being endangered. Ecologist Craig Packer believes Hume’s farm is a potential model success story for saving the rhino.
The film explores most of the challenges of balancing conservation, sport, human population growth, and the commerce associated with big-game hunting. Central to TROPHY, are the open questions of the appropriate economic value of wildlife. The film leaves the unanswered questions for viewers to ponder.
https://www.youtube.com/watch?v=GPPlH_yKgr4
Image: Buffalo Dream Ranch, North West Province, South Africa – November 2016: John Hume, the worlds largest rhino breeder walks among his Rhinos. Mr. Hume had invested more than 50 Million US dollars into his rhino project. He currently is the custodian of over 1500 Rhinos, and fears that without legalization in the trade of Rhino Horn his project will come to an end.
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VIDEO: Watch New HOSTILES Trailer Starring Christian Bale
Here is the new trailer for Hostiles directed by Scott Cooper and starring Christian Bale. Hostiles opens on December 22nd in New York & Los Angeles, expands into top 10 US markets and the U.K. on January 5th. The film opens nationwide on January 19th.
Set in 1892, Hostiles tells the story of a legendary Army Captain (Christian Bale), who after stern resistance, reluctantly agrees to escort a dying Cheyenne war chief (Wes Studi) and his family back to tribal lands. Making the harrowing and perilous journey from Fort Berringer, an isolated Army outpost in New Mexico, to the grasslands of Montana, the former rivals encounter a young widow (Rosamund Pike), whose family was murdered on the plains. Together, they must join forces to overcome the punishing landscape, hostile Comanche and vicious outliers that they encounter along the way.
It features a cast that also includes Q’Orianka Kilcher, Adam Beach, Timothée Chalamet, Ben Foster, Tanaya Beatty, Jonathan Majors, Jesse Plemons, Rory Cochrane, Ryan Bingham, David Midthunder and John Benjamin Hickey.
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Morgan Spurlock’s “Super Size Me 2: Holy Chicken!” Pulled from Sundance Film Festival
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Morgan Spurlock in Super Size Me 2: Holy Chicken![/caption]
Morgan Spurlock’s latest documentary “Super Size Me 2: Holy Chicken!” has being pulled from the 2018 Sundance Film Festival, just days after he published his online confession where he admitted to past sexual misconduct.
The Washington Post is reporting that the other partners – Jeremy Chilnick and Matthew Galkin in his production company Warrior Poets, said Friday in a statement that “this is not the appropriate time” for the film to premiere.
In his online confessional, titled “I am Part of the Problem” Spurlock wrote, that “When I was in college, a girl who I hooked up with on a one night stand accused me of rape.”
I am Part of the Problem As I sit around watching hero after hero, man after man, fall at the realization of their past indiscretions, I don’t sit by and wonder “who will be next?” I wonder, “when will they come for me?” You see, I’ve come to understand after months of these revelations, that I am not some innocent bystander, I am also a part of the problem. I’m sure I’m not alone in this thought, but I can’t blindly act as though I didn’t somehow play a part in this, and if I’m going truly represent myself as someone who has built a career on finding the truth, then it’s time for me to be truthful as well. I am part of the problem. Over my life, there have been many instances that parallel what we see everyday in the news. When I was in college, a girl who I hooked up with on a one night stand accused me of rape. Not outright. There were no charges or investigations, but she wrote about the instance in a short story writing class and called me by name. A female friend who was in the class told be about it afterwards. I was floored. “That’s not what happened!” I told her. This wasn’t how I remembered it at all. In my mind, we’d been drinking all night and went back to my room. We began fooling around, she pushed me off, then we laid in the bed and talked and laughed some more, and then began fooling around again. We took off our clothes. She said she didn’t want to have sex, so we laid together, and talked, and kissed, and laughed, and then we started having sex. “Light Bright,” she said. “What?” “Light bright. That kids toy, that’s all I can see and think about,” she said … and then she started to cry. I didn’t know what to do. We stopped having sex and I rolled beside her. I tried to comfort her. To make her feel better. I thought I was doing ok, I believed she was feeling better. She believed she was raped. That’s why I’m part of the problem. Then there was the time I settled a sexual harassment allegation at my office. This was around 8 years ago, and it wasn’t a gropy feely harassment. It was verbal, and it was just as bad. I would call my female assistant “hot pants” or “sex pants” when I was yelling to her from the other side of the office. Something I thought was funny at the time, but then realized I had completely demeaned and belittled her to a place of non-existence. So, when she decided to quit, she came to me and said if I didn’t pay her a settlement, she would tell everyone. Being who I was, it was the last thing I wanted, so of course, I paid. I paid for peace of mind. I paid for her silence and cooperation. Most of all, I paid so I could remain who I was. I am part of the problem. And then there’s the infidelity. I have been unfaithful to every wife and girlfriend I have ever had. Over the years, I would look each of them in the eye and proclaim my love and then have sex with other people behind their backs. I hurt them. And I hate it. But it didn’t make me stop. The worst part is, I’m someone who consistently hurts those closest to me. From my wife, to my friends, to my family, to my partners & co-workers. I have helped create a world of disrespect through my own actions. And I am part of the problem. But why? What caused me to act this way? Is it all ego? Or was it the sexual abuse I suffered as a boy and as a young man in my teens? Abuse that I only ever told to my first wife, for fear of being seen as weak or less than a man? Is it because my father left my mother when I was child? Or that she believed he never respected her, so that disrespect carried over into their son? Or is it because I’ve consistently been drinking since the age of 13? I haven’t been sober for more than a week in 30 years, something our society doesn’t shun or condemn but which only served to fill the emotional hole inside me and the daily depression I coped with. Depression we can’t talk about, because its wrong and makes you less of a person. And the sexual daliances? Were they meaningful? Or did they only serve to try to make a weak man feel stronger. I don’t know. None of these things matter when you chip away at someone and consistently make them feel like less of a person. I am part of the problem. We all are. But I am also part of the solution. By recognizing and openly admitting what I’ve done to further this terrible situation, I hope to empower the change within myself. We should all find the courage to admit we’re at fault. More than anything, I’m hopeful that I can start to rebuild the trust and the respect of those I love most. I’m not sure I deserve it, but I will work everyday to earn it back. I will do better. I will be better. I believe we all can. The only individual I have control over is me. So starting today, I’m going to be more honest with you and myself. I’m going to lay it all out in the open. Maybe that will be a start. Who knows. But I do know I’ve talked enough in my life … I’m finally ready to listen Spurlock stepped down from the company after the publication of the online confessional. Warrior Poets released a statement confirming his departure to Deadline, signed by Chilnick and Matthew Galkin, who is listed as a partner of the company along with Spurlock. On behalf of Warrior Poets, we as partners have always supported our company and its endeavors. As of today, Morgan Spurlock will be stepping down effective immediately. We will continue to lead the company as equal partners, producing, distributing & creating from our independent production company. Respectfully, Co-Founder & Partner Jeremy Chilnick and Partner Matthew Galkin YouTube Red also announced that the streaming company will no longer release his film Super Size Me 2: Holy Chicken! which was snagged for a reported $3.5 million after it premiered at the Toronto International Film Festival. A spokesman for YouTube said: “We feel for all of the women impacted by the recent statements made by Morgan Spurlock. In light of this situation, we have decided not to distribute Super Size Me 2 on YouTube Red.”I am Part of the Problem
Read: https://t.co/MfRAtm3fcv — Morgan Spurlock (@MorganSpurlock) December 14, 2017
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VIDEO: Watch Trailer + Poster for THE STRANGERS: PREY AT NIGHT Starring Christina Hendricks
Check out the brand new poster and trailer for THE STRANGERS: PREY AT NIGHT, starring Christina Hendricks, Martin Henderson, Bailee Madison and Lewis Pullman, hitting theaters March 9, 2018.
In the film a family’s road trip takes a dangerous turn when they arrive at a secluded mobile home park to stay with some relatives and find it mysteriously deserted. Under the cover of darkness, three masked psychopaths pay them a visit to test the family’s every limit as they struggle to survive.
Johannes Roberts directs this horror film inspired by the 2008 smash hit THE STRANGERS.
https://www.youtube.com/watch?v=4_geUW08phI
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9 Foreign Language Films Advance in 90th Academy Awards Race
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Loveless[/caption]
Nine foreign language feature films have been selected to advance to the next round in the Foreign Language Film category for the 90th Academy Awards. Ninety-two films had originally been considered in the category.
Four of the nine films premiered at the 2017 Berlin International Film Festival: the winner of the Golden Bear, On Body and Soul by Ildikó Enyedi (Hungary); the Competition entries Félicité by Alain Gomis (Senegal), which won the Silver Bear Grand Jury Prize, and A Fantastic Woman by Sebastián Lelio (Chile), which took home the Silver Bear for Best Screenplay; as well as the opening film of the Panorama, The Wound by John Trengove (South Africa).
Nominations for the 90th Academy Awards will be announced on Tuesday, January 23, 2018.
The 90th Oscars will be held on Sunday, March 4, 2018, at the Dolby Theatre at Hollywood & Highland Center in Hollywood, and will be televised live on the ABC Television Network at 6:30 p.m. ET/3:30 p.m. PT.
The films, listed in alphabetical order by country, are:
Chile, “A Fantastic Woman,” Sebastián Lelio, director;
Germany, “In the Fade,” Fatih Akin, director;
Hungary, “On Body and Soul,” Ildikó Enyedi, director;
Israel, “Foxtrot,” Samuel Maoz, director;
Lebanon, “The Insult,” Ziad Doueiri, director;
Russia, “Loveless,” Andrey Zvyagintsev, director;
Senegal, “Félicité,” Alain Gomis, director;
South Africa, “The Wound,” John Trengove, director;
Sweden, “The Square,” Ruben Östlund, director.
