The woods are scary. This isn’t a concept that’s too difficult to grasp. Nature scares people. The uncontrollable elements scare people. Bears scare people. Witches scare people. All these things are in the woods and, unless I’m with at least three other people who run slower than me, I won’t be. However, if your inclination is to tell me that I’m more afraid of myself than I am the forest, not only would you be correct, you’d be the perfect audience for Lorcan Finnegan’s debut feature, Without Name.
When Eric (Alan McKenna) is contracted to survey a land known as gun ainm (literal translation being, you guessed it, “without name”), he finds himself spending more time investigating the area’s history than the land itself. Leaving behind a wife (Olga Wehrly) and teenaged son (Brandon Maher) but accompanied by his colleague and occasional mistress, Olivia (Niamh Algar), Eric becomes obsessed with the land’s previous owner, William Devoy (Brendan Conroy), who left behind a field guide to the surrounding forests, its plants, and potentially supernatural properties before succumbing to its powers, where he was found catatonic and nearly dead with no concrete explanation.
Undisturbed but morbidly curious, Eric’s grasp on reality grows thin as the mysteries surrounding Devoy’s current mental state and explorations in the forest pose more questions than they answer. Meanwhile, Eric and Olivia become close with a traveling local, Gus (James Browne), who tries to open their minds to the possibilities of nature as sentient beings that communicate with each other in a complicated ecosystem beyond human comprehension.
Bursting with an energy rarely seen outside of a debut feature, Without Name is a challenging, unnerving, and ultimately rewarding film about the relationship between man and the surroundings which he cannot control through distinctly human concepts like infrastructure and property lines. Finnegan, with cinematographer Piers McGrall, uses the camera to breathe a life into these woods that’s rarely seen in the movies. The film’s most visceral moments have a tendency to erase the barrier between viewer and screen, leaving you as disoriented as the characters you’re watching.
While we’re on the topic of character, it took watching this movie to realize how long it’s been since I’ve seen a horror movie with three-dimensional human beings to root for. I can’t emphasize enough how refreshing it was to hear people talking on-screen without desperately wanting one of them to be murdered mid-sentence. By avoiding the “creepy local” trope entirely and allowing the horror to come from within Eric and as a result of his surroundings, Finnegan is able to foster these distinct relationships amongst the characters that imbue his film with a sense of purpose with which the worst horror films don’t even bother.
However, that same energy and attention to detail that characterize the best debut features are occasionally offset by a narrative structure commonly associated with first films on the negative end of that spectrum. For all of its risks, Without Name‘s screenplay sometimes slips into more telegraphed territory, which actively works against the mystery that makes this film a lot of what it is. All the more disappointing because the film’s highs are high. It’s a confident debut that sometimes doesn’t trust itself to go the distance and shed any semblance of the reference points and visual cues that most first-time directors rely on to find an audience.
Similarly, Without Name has a tendency to bare its micro-budget teeth that no amount of editing can hide, including a third act that, while visually stunning and genuinely breathtaking to behold, utilizes overly simplistic (read: cheap) setups to get its point across, including an altercation between two nude men in a forest that’s probably a lot goofier than it was intended to be.
These are all minor gripes, though. The bottom line of Without Name is that it’s daring, it’s unnerving, it’s gorgeously shot, impeccably scored, masterfully edited, and only occasionally clunky. I predict nothing but good things for director Lorcan Finnegan and his writing partner, Garret Shanley, who are well on their way to being the next Adam Wingard/Simon Barrett one-two punch of a writer who understands the genre with a bold vision, and a director who’s able to manifest that vision into something that’s not only watchable, but potentially transcendent. In its closing shot, Finnegan confirms that he already knows the one thing most horror directors tend to avoid: killing your characters isn’t the best or only way to scare your audience, as there are many, many fates worse than death.
Grade: B+
https://www.youtube.com/watch?v=cd4K6qICqC8Films
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Film Review: Lorcan Finnegan’s WITHOUT NAME
The woods are scary. This isn’t a concept that’s too difficult to grasp. Nature scares people. The uncontrollable elements scare people. Bears scare people. Witches scare people. All these things are in the woods and, unless I’m with at least three other people who run slower than me, I won’t be. However, if your inclination is to tell me that I’m more afraid of myself than I am the forest, not only would you be correct, you’d be the perfect audience for Lorcan Finnegan’s debut feature, Without Name.
When Eric (Alan McKenna) is contracted to survey a land known as gun ainm (literal translation being, you guessed it, “without name”), he finds himself spending more time investigating the area’s history than the land itself. Leaving behind a wife (Olga Wehrly) and teenaged son (Brandon Maher) but accompanied by his colleague and occasional mistress, Olivia (Niamh Algar), Eric becomes obsessed with the land’s previous owner, William Devoy (Brendan Conroy), who left behind a field guide to the surrounding forests, its plants, and potentially supernatural properties before succumbing to its powers, where he was found catatonic and nearly dead with no concrete explanation.
Undisturbed but morbidly curious, Eric’s grasp on reality grows thin as the mysteries surrounding Devoy’s current mental state and explorations in the forest pose more questions than they answer. Meanwhile, Eric and Olivia become close with a traveling local, Gus (James Browne), who tries to open their minds to the possibilities of nature as sentient beings that communicate with each other in a complicated ecosystem beyond human comprehension.
Bursting with an energy rarely seen outside of a debut feature, Without Name is a challenging, unnerving, and ultimately rewarding film about the relationship between man and the surroundings which he cannot control through distinctly human concepts like infrastructure and property lines. Finnegan, with cinematographer Piers McGrall, uses the camera to breathe a life into these woods that’s rarely seen in the movies. The film’s most visceral moments have a tendency to erase the barrier between viewer and screen, leaving you as disoriented as the characters you’re watching.
While we’re on the topic of character, it took watching this movie to realize how long it’s been since I’ve seen a horror movie with three-dimensional human beings to root for. I can’t emphasize enough how refreshing it was to hear people talking on-screen without desperately wanting one of them to be murdered mid-sentence. By avoiding the “creepy local” trope entirely and allowing the horror to come from within Eric and as a result of his surroundings, Finnegan is able to foster these distinct relationships amongst the characters that imbue his film with a sense of purpose with which the worst horror films don’t even bother.
However, that same energy and attention to detail that characterize the best debut features are occasionally offset by a narrative structure commonly associated with first films on the negative end of that spectrum. For all of its risks, Without Name‘s screenplay sometimes slips into more telegraphed territory, which actively works against the mystery that makes this film a lot of what it is. All the more disappointing because the film’s highs are high. It’s a confident debut that sometimes doesn’t trust itself to go the distance and shed any semblance of the reference points and visual cues that most first-time directors rely on to find an audience.
Similarly, Without Name has a tendency to bare its micro-budget teeth that no amount of editing can hide, including a third act that, while visually stunning and genuinely breathtaking to behold, utilizes overly simplistic (read: cheap) setups to get its point across, including an altercation between two nude men in a forest that’s probably a lot goofier than it was intended to be.
These are all minor gripes, though. The bottom line of Without Name is that it’s daring, it’s unnerving, it’s gorgeously shot, impeccably scored, masterfully edited, and only occasionally clunky. I predict nothing but good things for director Lorcan Finnegan and his writing partner, Garret Shanley, who are well on their way to being the next Adam Wingard/Simon Barrett one-two punch of a writer who understands the genre with a bold vision, and a director who’s able to manifest that vision into something that’s not only watchable, but potentially transcendent. In its closing shot, Finnegan confirms that he already knows the one thing most horror directors tend to avoid: killing your characters isn’t the best or only way to scare your audience, as there are many, many fates worse than death.
Grade: B+
https://www.youtube.com/watch?v=cd4K6qICqC8
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Five Indie Horror Films, Halloween Releases You May Have Missed or Never Heard Of
[caption id="attachment_17694" align="aligncenter" width="1000"]
Gehenna[/caption]
At this point, it’s almost treason to not watch a horror movie on Halloween. Most people go straight for the classics, dusting off that Friday the 13th DVD while pre-gaming for that unmissable party happening later in the night. But for those us, like myself, who’d rather spend Halloween far away from the killer clowns and tedious prosthetics that take a week to wash off, here are five independent horror releases that may have flown under your radar.
1. Recovery
Release Date: October 28th
Runtime: 82 Minutes
Darrell Wheat’s debut feature (one of two he has coming this year) concerns a group of beautiful young teenagers who use the Find My iPhone app to locate their friend, whose been kidnapped by a masked psychopath outside of a Los Angeles nightclub. In a continued trend of using new technology to breathe life into old plots, Recovery‘s trailer – from its “Based on Actual Events” title card to the trailer itself, which is comprised almost entirely of corny dialogue and jump scares – confirms suspicions that viewers probably won’t be getting themselves into anything they haven’t seen before. With that said, it does look like it has the potential to be pretty fun, and friends looking to throw back a couple drinks and laugh at stupid teenagers should look no further.
Recovery will be screened in a limited engagement on October 27th before a VOD release on October 28th.
https://www.youtube.com/watch?v=9wV-JP0XvUY
2. The Windmill
Release Date: October 28th
Runtime: 85 Minutes
A young Australian woman, Jennifer (Charlotte Beaumont), is running from the past, doing her best to stay incognito with a group of tourists who are scheduled to visit Holland’s most famous windmills. However, when they start getting picked off one by one, secrets come to light, pasts are revealed, and blood is shed. The trailer for this one seems to be running with a “you can never escape the past” thesis that’s always a great starting point for clever writing and gruesome kills. Whether or not the film actually follows through with either remains to be seen, but the trailer shows some promise, offering quick glimpses into what could be a bloody fun mind-boggler.
The Windmill hits VOD on October 25th, with a limited release starting October 28th. The morbidly curious can check out director Nick Jongerius’ original concept teaser here.
https://www.youtube.com/watch?v=FIHpfivxayY
3. The Unspoken
Release Date: October 28th
Runtime: 90 Minutes
Creepy kids, creepy houses, unspoken secrets, murders, trauma, and violence. You’ve seen this before and you’re definitely going to see it again, but The Unspoken, director Sheldon Wilson’s latest, insists on existing anyway. The only real reason to check this one out is as a comparison piece with star Jodelle Ferland’s other notable horror performance as Patience in Drew Goddard’s The Cabin in the Woods. A more dedicated person than me might even want to make a game out of seeing all the cliches present in Wilson’s film that Goddard’s had ruthlessly mocked.
The Unspoken is currently available for rent on Amazon, and hits theaters on October 28th.
https://www.youtube.com/watch?v=SgxHjZsbaeo
4. Gehenna
Release Date: October 30th
Runtime: 105 Minutes
The directorial debut of creature effects sculptor Hiroshi Katagiri seems to be a study in contrast. While watching the trailer, I couldn’t help but ask myself, “Why does this movie look so good but feel so wrong?” I got my answer as soon as I scanned Katagiri’s IMDb page. With sculpting and effects work dating back to the mid-90s, and credits on some pretty major productions (Spielberg’s War of the Worlds and del Toro’s Pacific Rim are just two of many), Katagiri is a tried and true professional. His directorial skills are still up for debate, however, and – if nothing else – Gehenna will surely have some genuinely unnerving practical effects to drool over.
Gehenna will start making the rounds at festivals on October 30th.
https://www.youtube.com/watch?v=tc4Q2qbhCbY
5. Hostage to the Devil
Release Date: October 31st
Runtime: 90 Minutes
If any of you want to know what I’ll be watching on Halloween, look no further than Hostage to the Devil, a documentary about the life of Father Malachi Martin, one of the world’s most renowned exorcists. Through interviews, dramatic recreations, and archival footage, director Martin Stalker paints a thoroughly unnerving and complete portrait of a controversial man working in an even more controversial profession. Judging by the trailer, the film doesn’t seem to be imposing one truth or another, and with its gorgeously staged recreations, there are echoes of 2012’s The Imposter, which was one of my favorite documentaries of that year. Only watch this trailer if you’re prepared to cancel your Halloween plans and see the movie instead.
Hostage to the Devil‘s release schedule has been a little bit wonky, with releases in the UK/Ireland but no confirmed dates for the US. From what I gathered, an October 31st US release seems likely, but it might be time to break out that Hola Unblocker for those of us who are too impatient.
https://www.youtube.com/watch?v=i17wAIXbgs0
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Five Documentaries You Might Want to See This Weekend
[caption id="attachment_17784" align="aligncenter" width="1000"]
Oasis: Supersonic[/caption]
Halloween might not be your thing. That’s cool. Razor-laden apples. Knife-wielding clowns. Butterfingers. There’s a lot to be scared of out there, and if Hostage to the Devil doesn’t sound like your idea of a good time, here are five new documentaries that might offer some respite from the spookiest week of the year.
1. Oasis: Supersonic
If you could find it in your heart to forgive Oasis for birthing a generation of cheesy white dudes who play “Wonderwall” on their acoustic guitar at every party, this documentary – comprised of previously unreleased archival footage and interviews with the Gallagher Bros themselves – might end up being pretty enjoyable. Two decades later, Oasis represents an idea of what the music industry was at the peak of their fame. Even if you can’t stand their music (I can’t claim to be one of those people as I’m listening to “Champagne Supernova” while writing this list), there’s something to be said for how quickly Oasis was on course to define a generation, and this film aims to understand the cultural landscape that allowed such a rapid ascent to superstardom.
Unfortunately, Oasis: Supersonic will only be featured in theaters for one night on October 26th, but a VOD release is sure to follow pretty soon after.
https://www.youtube.com/watch?v=7wZJqUrJyDs
2. Gimme Danger
And while the millennials go see Oasis: Supersonic, their parents can go see Gimme Danger, the second of the weekend’s two music documentaries. Directed by Jim Jarmusch, this ode to The Stooges and its endlessly fascinating frontman, Iggy Pop, is clearly a labor of love from its director, who featured “Down on the Street” in his 2003 film Coffee and Cigarettes.
Gimme Danger opens in New York on October 28th and expands nationwide on November 4th.
https://www.youtube.com/watch?v=6fgiW_S2Hgk
3. Before the Flood
In addition to being one of the most successful and handsome actors in the history of mankind, Leonardo DiCaprio is also an environmentalist – as if he couldn’t get any dreamier! Featuring conversations with Barack Obama, Elon Musk, and Pope Francis, DiCaprio’s quest for environmental awareness culminates in a speech to the UN. It’s kind of like The Revenant with less knife-fighting.
Before the Flood opened in theaters on October 21st and will have an October 30th, worldwide premiere on National Geographic.
https://www.youtube.com/watch?v=6UGsRcxaSAI
4. By Sidney Lumet
Some people argue that a director’s last handful of films is often his or her worst. The evidence in favor of that theory is actually pretty damning. We’ve all borne witness to Woody Allen’s heartbreaking decline in recent years. John Cassavetes’ last, Big Trouble, was also his worst. The list goes on and on. However, looking back at the films of Sidney Lumet – which include 12 Angry Men, Serpico, Network, Dog Day Afternoon, and Before the Devil Knows You’re Dead – what you have is a director who let himself change with the world around him, try new things, succeed, fail, and then try again. Even his lesser work (read: much of the late 80s through the 90s) is constructed with the care of someone who really loves what he does. By Sidney Lumet, a never-before-seen 2008 interview, in which the director takes viewers through his expansive career of over 50 years, hits theaters for the first time this week.
By Sidney Lumet hits theaters on October 28th.
https://www.youtube.com/watch?v=GnS1NrKRri8
5. Finding Babel
In 1940, a Russian-Ukrainian writer named Isaac Babel was executed. 75 years later, his grandson set out to learn more about grandpa Babel’s life, the world he lived in, and the circumstances that led to his execution. Featuring Liev Schreiber as the voice of Isaac Babel – as well as animated sequences set to stories of the writer’s life – Finding Babel aims to resurrect one of the great Russian novelists of the 20th century, whose life and legacy were cut short by a totalitarian government that did what it could to silence its people, its artists, and its creators.
Finding Babel hits NY/LA theaters on October 28th.
https://www.youtube.com/watch?v=V9VQ-UZi-lU
Honorable Mentions:
- Portrait of a Garden: In a historical vegetable garden on a Dutch estate, the 85 year-old pruning master and the gardener tend to the espaliers. As they prune, the men chat about food, the weather, the world and they share their knowledge of horticulture. Fifteen years they have spent working on the pear arbour. Will it finally close over this year? (Source)
- A Billion Lives: A true story of the vaping revolution and tragic corruption leading to a billion deaths around the world. (Source) [side note: this looks incredibly stupid and I can’t wait to watch it.]
- You’ve Been Trumped, Too: A timely film exploring the confrontation between a feisty 92-year-old Scottish widow and her family and a billionaire trying to become the most powerful man in the world. (Source)
- An Eye for an Eye: A true story of hate, revenge, understanding, remorse and redemption as lived by Mark Stroman on the Texas Death Row. (Source)
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Don McHoull Creatively Uses GIFs to Preserve the Silent Era
The discovery and preservation of silent films, especially those that are considered “lost” or destroyed, is a lifelong pursuit for some of the world’s most dedicated movie buffs. Like all historical and anthropological studies, the foundations of film help us understand where we’ve been, and where we’re going. Don McHoull, creator of SilentMovieGIFs, is putting his own twist on this idea, using silent films as the foundation for a series of some pretty wonderful images while utilizing one of the newest imaging technologies to hit the internet. I had a chance to ask Don a couple of questions about his GIFs, including his Halloween-themed images that showcase some of Old Hollywood’s most beloved characters.
http://i.imgur.com/qg2bmRs.gifv
Josef: The most obvious question here is, what inspired you to create these GIFs in the first place? It’s such an odd juxtaposition between classic film and a very modern form of imaging, but one that works extremely well.
Don: I was a fan of silent film, and GIFs just seemed like a natural medium for taking some of the amazing visual ideas in silent movies and sharing them. I’d seen some silent movie GIFs that were really well received on places like Reddit, even though some of them were clearly made from poor quality source material. I had Photoshop and some Chaplin and Keaton Blu-rays, and I figured I’d try to make some cleaner looking GIFs. I think a lot of people have the idea that the image quality of silent films wasn’t that great, but with movies that have been well-preserved and carefully restored the picture quality can actually be really good.
http://i.imgur.com/TKhfDW0.gifv
J: Do you attribute any significance to that juxtaposition? In other words, was it a conscious decision to pair the oldest form of cinema available with the newest form of imaging?
D: The GIF is a popular medium that’s strictly visual, so it just seems like a perfect fit for silent movies. My preferred way to watch a silent film would be a in theatre, ideally with live music, but GIFs can take a gag or another visual from a silent movie and make it really easy to share online. I’ve had quite a few GIFs now that have racked up over a million views, and a lot of other ones in the hundreds of thousands. Ideally, someone might see, for example, a few Buster Keaton GIFs, and be interested enough to actually seek out and watch some of his movies, but even if they just watch some GIFs, a least they would have some appreciation for Keaton’s work.
I hope that the GIF can be a sort of gateway drug for silent films, similar to how TV introduced people to silent films. I made a Charley Chase GIF last week for his birthday that’s up to 238,000 views, even though Chase doesn’t really have anything like the name recognition of Chaplin or Keaton (most people seem to be much more familiar with the adult film star of the same name.) I thought it was pretty cool that 92 years later there was still a good sized audience of people who could appreciate the brilliance of Chase’s (and his brother’s) performance.
http://i.imgur.com/qMVWgU8.gifv
J: A recent album you posted, one that features GIFs from classic silent horror films, really emphasizes the care and precision that went into the prosthetic and costume design of the era. Do you think recent horror films have lost that attention to detail, and have you noticed any contemporary films that are clearly inspired by the designs of the silent era?
D: The Babadook had a real kind of Expressionist vibe to it. And it seems like most modern depictions of vampires owe a lot to Nosferatu. Obviously makeup and special effects have made huge leaps over the last 90 or so years, and it would be fascinating to see what someone like Lon Chaney or Jack Pierce could do with the stuff that’s out there today.
http://i.imgur.com/n6uSO1A.gifv
J: What’s your process for selecting which shots and films you end up turning into GIFs, and can you give us a sneak peek as to what your followers might expect from you in the coming weeks?
After I watch a movie, I like to go through it and pick out scenes that I think could work well as GIFs. I try to cover a wide range of silent films, from different time periods and genres, but my mainstay will probably always be Keaton/Chaplin/Lloyd GIFs.
For the rest of October, I’ll be focusing on the horror genre. I’m interested in the connections between different eras. Today I was looking connections between Nosferatu and Dracula, but there’s also a lot of links you could draw between movies like Frankenstein and King Kong and the silent era. Tonight I’m watching Haxan, so there should be some GIFs from that.
After October, maybe I’ll focus on a different genre, like science fiction, or the invention of the gangster movie. I’ve also been working my way back through Chaplin’s short films, and I’ve noticed that his later feature films return to a lot of ideas and visuals from his early work, I think that would be an interesting thing to explore.
These GIFs and many more can be seen on Reddit (/r/silentmoviegifs) or on his Twitter page (@SilentMovieGIFs)
http://i.imgur.com/Tj8dhsE.gifv
http://i.imgur.com/sU4aRaj.gifv
http://i.imgur.com/sroL9XO.gifv
http://i.imgur.com/qilDHlE.gifv
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Short Film: How To Say I Love You
Casually say “I love you” to an adolescent without inducing a panic attack. No manual exists to equip teens for that first experience, but of course this is the era of Google and so I looked to the internet for guidance.
Then I found the British short film ‘How To Say I Love You.’
When I first watched this short film as a teenage girl, filled with angst and unidentified urges, I praised the romance. Now, seeing it as a woman, I recognize the faults of its idealism and its undertone of misogyny (as the man invades the woman’s privacy and personal space). Outraged by his advances, I was gearing up to punch younger me in the face for loving such garbage, however, I continued watching and saw the woman scope through his vulnerabilities in return. It’s a matter of context that keeps this short film from the deep end of cliche. Yes, it is a cliche as well as a fresh example of how to express one’s love.
This exchange between strangers values the simplicity of love. Those who know the song “More Than Words”, by Extreme, might be ahead of this analysis and ready to fully appreciate this piece of art. (I highly encourage that you listen to that song in case you are unfamiliar with it.) Without the title of this piece directing us, though the innocence of their interaction is beautiful, the message would be incomplete. Absent of title, this film may read as a “boy meets girl” love story, pretty basic. Neither of the characters ever say the words, but through observation there is love in his attentiveness, in her willingness, and especially in their weighted silence. We are gifted with a glimpse of what could occur when people are open to each other.
Kudos to this title for saving the day and the creators of this piece for giving us love without words. Love is possible even among strangers, once one is willing to come out of themselves and into the word. Take a look for yourself
https://www.youtube.com/watch?v=yJ7Et8aO-n8
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Sean Ellis’ World War II drama, ANTHROPOID Sets US Release Date
[caption id="attachment_14085" align="aligncenter" width="1280"]
Anthropoid[/caption]
Sean Ellis’ World War II drama, ANTHROPOID, will be released in the US via Bleecker Street on Friday, August 12, 2016, after its World Premiere as opening night film of the Karlovy Vary International Film Festival.
The film is based on the extraordinary true story of “Operation Anthropoid,” the code name for the Czech operatives’ mission to assassinate SS officer Reinhard Heydrich.
Heydrich, the main architect behind the Final Solution, was the Reich’s third in command behind Hitler and Himmler and the leader of Nazi forces in Czechoslovakia. The film follows two soldiers from the Czech army-in-exile, Josef Gabčík (Cillian Murphy) and Jan Kubiš (Jamie Dornan), who are parachuted into their occupied homeland in December 1941. With limited intelligence and little equipment in a city under lock down, they must find a way to assassinate Heydrich, an operation that would change the face of Europe forever.
Directed by Sean Ellis (Metro Manila, Cashback) from a screenplay by Ellis and Anthony Frewin, the film also stars Charlotte Le Bon, Ana Geislerová, Harry Lloyd, Bill Milner and Toby Jones. Mickey Liddell, Pete Shilaimon and Sean Ellis produced.
Andrew Karpen, CEO of Bleecker Street commented, “Sean Ellis’ film drops you right into the center of resistance in WWII and takes viewers on an emotional ride all the way through its heart-stopping finale. We’re proud to partner with Mickey and Pete on this film which we feel will resonate with adult audiences this summer.”
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Watch TRAILER for THE FUNDAMENTALS OF CARING Starring Selena Gomez
[caption id="attachment_11531" align="aligncenter" width="1500"]
THE FUNDAMENTALS OF CARING[/caption]
The trailer has been released for the new Netflix original film, The Fundamentals of Caring which will premiere exclusively on the service on Friday, June 24, 2016.
Based on the novel by Jonathan Evison and written, directed and produced by Rob Burnett,The Fundamentals of Caring stars Paul Rudd, Craig Roberts, Selena Gomez, Jennifer Ehle, Megan Ferguson and Frederick Weller.
The film follows the story of Ben, a retired writer who becomes a caregiver after suffering a personal tragedy. After 6 weeks of training, Ben meets his first client, Trevor, a foul-mouthed 18-year-old with muscular dystrophy. One paralyzed emotionally, one paralyzed physically, Ben and Trevor take an impromptu road trip to all the places Trevor has become obsessed with while watching the local news, including their holy grail: the World’s Deepest Pit. Along the way, they pick up a smart-mouthed runaway and a mother-to-be who help test the pair’s survival skills outside of their calculated existence as they come to understand the importance of hope and true friendship.
https://www.youtube.com/watch?v=BSXn-lIs4Y0
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Watch TRAILER for Todd Solondz’s Hilarious WEINER-DOG Starring Danny DeVito
[caption id="attachment_14136" align="aligncenter" width="1280"]
WEINER-DOG[/caption]
IFC Films has released the official trailer for Wiener-Dog, directed by Todd Solondz, about a dog and her life as she passes from owner to owner. The film opens in theaters on June 24.
Wiener-Dog, starring an all-star cast that includes Greta Gerwig, Julie Delpy, Danny DeVito, Ellen Burstyn, and Zosia Mamet, premiered at the 2016 Sundance Film Festival.
Wiener-Dog tells several stories featuring people who find their life inspired or changed by one particular dachshund, who seems to be spreading a certain kind of comfort and joy. Man’s best friend starts out teaching a young boy some contorted life lessons before being taken in by a compassionate vet tech named Dawn Wiener. Dawn reunites with someone from her past and sets off on a road trip picking up some depressed mariachis along the way. Wiener-Dog then encounters a floundering film professor, as well as an embittered elderly woman and her needy granddaughter—all longing for something more.
Twenty years ago, Todd Solondz took the Sundance Film Festival by storm when Welcome to the Dollhouse won the Grand Jury Prize at the 1996 Festival. Since then he has gone on to establish himself as one of the most uncompromising voices working in film. Wiener-Dog is vintage Solondz, brimming with brilliantly caustic and truthful observations about the human condition. He has a unique ability to find humor in the darkest of subject matter, allowing an empathetic light to shine on it.
https://www.youtube.com/watch?v=8C7OewoxnKI
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Watch TRAILER for Basketball Doc MANCHILD: THE SCHEA COTTON STORY
[caption id="attachment_14133" align="aligncenter" width="1200"]
Manchild: The Schea Cotton Story[/caption]
Check out the trailer for the documentary film Manchild: The Schea Cotton Story, about a Los Angeles basketball legend by the name of Schea Cotton, described as “the Lebron before Lebron”.
Manchild will World Premiere at the upcoming 2016 LA Film Festival.
In Manchild, directed by Eric “Ptah” Herbert, Baron Davis, Tyson Chandler, Elton Brand, Paul Pierce, Randy Moss and others share their tales about Cotton.
Schea Cotton is the subject of one of the biggest mysteries in basketball’s history. Described as “the Lebron before Lebron,” Inglewood-native Cotton dominated the likes of Kevin Garnett and Paul Pierce and was one of the most highly touted high school athletes of a pre-social media era. Yet he never made it to the NBA. What happened?
NBA players, journalists, coaches and Cotton’s family recount with an almost pained nostalgia Cotton’s unmatched prowess as a player and the out-of-bounds emotions behind his story. First-time director Eric “Ptah” Herbert delivers a cautionary tale about the harsh reality of unfulfilled expectations.
https://www.youtube.com/watch?v=S05f_MF2Dx0
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OPEN YOUR EYES Documentary to Premiere on HBO on July 18th
[caption id="attachment_14122" align="aligncenter" width="1200"]
OPEN YOUR EYES[/caption]
The documentary OPEN YOUR EYES which follows a husband and wife who are both blind in rural Nepal and the Seva Outreach Team that restores their sight will premiere on HBO on on July 18th.
Told through the intimate lens of an elderly blind couple from Nepal, the film, executive produced by Laurene Powell Jobs, brings vital attention to cataract blindness and the shockingly cheap surgery (only three U.S. dollars!) that is restoring eyesight to thousands in rural poverty stricken areas.
OPEN YOUR EYES is directed by Irene Taylor Brodsky (Beware the Slenderman, Peabody Award-winning Hear and Now) and produced by Dr. Larry Brilliant, the pioneering physician who served as the director of Google’s philanthropy division.
The film follows the extraordinary journey of Manisara and Durga, an elderly couple in a remote mountain village in Nepal. Living for decades under the Himalayan sun, their eyes have slowly turned milky white with cataracts that have left them completely blind. When a team of eye specialists combing the mountainside village presents an opportunity for a free surgery to restore their sight, the couple begins a life-changing journey down the mountain to see again.
Married for more than 50 years and living in the foothills of Nepal, they are no longer the industrious farmers they once were. Manisara peels turmeric root most days and Durga can’t navigate the warren of pathways around him nor can he feed his animals. They feel dependent on their family for even the most basic needs. There are no cars to transport them. Life has become static.
A team of Nepali eye specialists combing the mountainside find them and urge them to come to the city for a chance to see again. A surgeon has come from Kathmandu, and the surgery is free. But the taste of defeat and growing old has made Manisara skeptical. And besides, who would even carry her down the mountain?
Their youngest granddaughter plops herself in Manisara’s lap, and her grandmother starts running her hands over the little girl’s feet, her legs, her nose. Is she like me? Touching the child, Manisara connects her past to her future.
Manisara and Durga are finally convinced. They set out for the eye hospital, tripping over goats and stones as they go, towards the distant city. They are carried, guided and then driven on a bewildering odyssey to restore their sight.
They arrive at the hospital and hear scores of other patients also waiting. Everyone has come for a miracle.
Cataract blindness affects millions of people in the developing world and yet can be cured for only a few dollars per patient. The Seva Foundation, an NGO co-founded by the film’s producer Dr. Larry Brilliant, is responsible for successfully restoring sight to 4 million blind people worldwide.
https://www.youtube.com/watch?v=UxYSVvgPEJY
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Sundance Award-Winning Film MORRIS FROM AMERICA Gets A Summer Release
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MORRIS FROM AMERICA[/caption]
The Sundance Film Festival Award-winning film MORRIS FROM AMERICA will be available exclusively on DirecTV beginning July 7th. It will open theatrically in select cities on August 19th.
Written and directed by acclaimed filmmaker Chad Hartigan (This is Martin Bonner), and starring Craig Robinson, Carla Juri, Lina Keller and Markees Christmas, Morris from America won two prizes at this year’s Sundance Film Festival, the Waldo Salt Screenwriting Award and a Special Jury Award for Robinson.
A heartwarming and crowd-pleasing coming-of-age comedy with a unique spin, Morris from America centers on Morris Gentry (Markees Christmas, in an incredible breakout performance) a 13-year-old who has just relocated with his single father, Curtis (Craig Robinson) to Heidelberg, Germany. Morris, who fancies himself the next Notorious B.I.G., is a complete fish-out-of-water—a budding hip-hop star in an EDM world. To complicate matters further, Morris quickly falls hard for his cool, rebellious, 15-year-old classmate Katrin. Morris sets out against all odds to take the hip-hop world by storm and win the girl of his dreams.
Morris from America will screen at the upcoming BAMcinemaFest 2016 in Brooklyn, New York.
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South African Doc THE JOURNEYMEN is Opening Night Film of Durban Film Festival
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The Journeymen[/caption]
The World Premiere of the South African documentary, The Journeymen, will be the opening night film of the 37th edition of the Durban International Film Festival.
The Durban International Film Festival takes place from June16 to 26, 2016.
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The Journeymen[/caption]
The Journeymen, the latest installment in the Twenty Journey project, is directed by Sean Metelerkamp and produced by filmmaker Jolynn Minnaar whose film, Unearthed, was one of the big hits at DIFF 2014.
Filmed as part of the Twenty Journey project in 2014, the year in which South Africa celebrated 20 years of democracy and mourned Nelson Mandela’s death, The Journeymen chronicles the journey of three young South African photographers, Wikus de Wet, Sipho Mpongo and Sean Metelerkamp, as they travel 24 000km in a motorhome throughout South Africa, with GoPro cameras strapped to their chests, to explore the mood and feel the pulse of contemporary South Africa. From urban sprawls to dusty rural roads, the trio were driven by the question “Has Mandela’s vision of equality in a rainbow nation been achieved?”
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The Journeymen[/caption]
The film answers this with a kaleidoscopic set of responses that are disturbing, beautiful, thought-provoking and, more than anything, movingly surreal.
Said Acting Festival Director, Peter Machen, “It is highly appropriate that this intersectional portrait of our strange and beautiful country will screen on the fortieth anniversary of 16th June, 1976. The film is a portrait of a nation that was forever changed by the actions of the youth of Soweto, and screening it on this day will act as a tribute to the bravery of the tens of thousands of unnamed young people who helped build the road to our liberation.”
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The Journeymen[/caption]
Machen continued, “The film shows the underlying demons of our troubled national soul but also its deep and profound beauty. Made with technology that is widely accessible, the film is also a vibrant call to arms for new modes of filmmaking and fresh approaches to narrative. We are very happy to be screening the world premiere of The Journeymen on the opening night of the 37th Edition of DIFF.”
Director, Sean Metelerkamp said, “While we never set out to make a feature length documentary, looking back, through embracing new technology, we were able to capture our promising, contentious and confusing country as we went about exploring our respective photographic themes. We hope that this collaboration – between three guys from different cultural and racial backgrounds, united simply by a duty to set out and discover truly authentic South African stories – kickstarts conversations and interactions. As luck would have it, our film features a chance encounter with Sam Nzima, who photographed Hector Pietersen. We can’t think of a better way to honour Youth Day than to share our film with the country. “
