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  • 29 Documentary Films to Receive Grants from Sundance Institute

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    29 feature-length documentary films have been selected to receive more than $550,000 in grants from the Sundance Institute’s Documentary Film Program and Fund (DFP). Grantees were selected from 772 submissions from 88 countries and include filmmakers working in Chile, Libya, Cuba, Cambodia and Pakistan as well as a broad range of experience, from first-time feature documentary filmmakers to Academy Award nominee Arthur Dong and veteran filmmaker Ed Pincus working with Lucia Small.

    DEVELOPMENT

    Chicago Boys (Chile) 
    Director: Carola Fuentes
    The film tells how a group of Milton Friedman’s disciples – backed by a military dictatorship in the ‘70s – managed to turn Chile into the first and most extreme model of neoliberalism in the world.

    Children
    Director: Maite Alberdi
    Chilean support for people with Down Syndrome ends at 25, but life expectancy is now in the 50s. A group of friends are facing a stage they were never prepared for, because no one ever expected them to grow up or get old.

    Concerning Violence (Sweden) 
    Director: Goran Hugo Olsson
    From the depths of the Swedish film archive comes newly discovered, powerful footage of the most daring moments in Third World liberation movements. Accompanied by classic text from The Wretched of the Earth by Franz Fanon, the new film will offer timeless reflections on violence and liberation.        

    Eddie Adams: SAIGON ’68 (U.S.A.)
    Director: Douglas Sloan
    The most influential photograph to come out of the Vietnam War transformed the lives of both photographer Eddie Adams and General Loan, who summarily executed the prisoner. The film explores the surprising backstory and launches a broader inquiry into our perception and understanding of the visual image.

    Flickering Time Bomb (New Zealand) 
    Director: Pietra Brettkelly
    Three men align in a passionate campaign to save Afghanistan’s rapidly deteriorating Film Archive, in a country whose culture and history are once again under threat of an uncertain future.

    Freedom Fields (Libya)           
    Director: Naziha Arebi
    At the new dawn of a nation once cut off from the world, a dynamic group of women from fractured sides of the revolution come together with one hunger in common, to empower the women of Libya through sport. Their dream: to form the first national Libyan women’s football team.

    Hotel Nueva Isla (Cuba/Spain) 
    Directors: Irene Gutierrez and Javier Labrador
    Jorge lives with his four neighbors in the formerly luxurious Hotel Nueva Isla in Old Havana. Now in ruins, it is a shelter for people living on the fringes of society. Evacuation becomes imminent, but Jorge resists abandoning the building.

    School of Last Resort (U.S.A.) 
    Directors: Landon Van Soest and Jeremy Levine
    Three students at an experimental school for criminal youth struggle to fulfill their hopes in one of the most dangerous cities in the country.

    Simple Justice (U.S.A.) 
    Directors: Marion Lipschutz and Rose Rosenblatt
    After 435 days in prison, a Chinese immigrant in Indianapolis is free on bail. Can her attorney clear the charges of murder and attempted feticide, or will she go to jail for her crime – attempting suicide while pregnant?

    The Storm Makers (Cambodia / France) 
    Director: Guillaume Suon
    Filmmaker Guillaume Suon turns his cinematic lens on globalization and contemporary Cambodia.

    Southwest of Salem: The Story of the San Antonio Four (U.S.A.) 
    Director: Deborah S. Esquenazi
    Four Chicana lesbians languish in Texas prisons, found guilty of sexually assaulting two girls ages 7 and 9. Now, advocates and attorneys believe that a spurned suitor’s revenge, homophobia and ‘junk science’ were key factors in their conviction. The film also explores the tedious process of exonerating innocents in Texas.

    Untitled Colorado Documentary (U.S.A.) 
    Director: Eric Juhola
    The film follows a landmark case in Colorado, where a 6-year-old male-to-female transgender girl is banned from using the girls’ bathroom at her elementary school.

    PRODUCTION / POST-PRODUCTION

    Barring Race (U.S.A.) 
    Director: Noel Schwerin
    At an infamous prison in California, inmates and staff confront a U.S. Supreme Court ruling and a novel anti-violence program order, revealing America’s locked down racial order, and the hidden risks of transformative change.

    Chameleon
    Director: Ryan Mullins
    Chameleon is a chronicle of the extraordinary escapades of Anas Aremeyaw Anas, a deep-cover investigative journalist in Ghana.           

    Elephant in the Room (Working Title) (U.S.A.) 
    Directors: Lucia Small and Ed Pincus
    Two filmmakers of different generations turn the camera on each other to explore friendship, legacy and living with terminal illness. A film that spans the years of their friendship,Elephant in the Room (working title) offers a raw, personal glimpse into a creative partnership and the delicate process of capturing life’s precious moments.

    The Hand that Feeds (U.S.A.) 
    Directors: Rachel Lears and Robin Blotnick
    Twelve undocumented immigrant workers take on a well-known New York City restaurant chain owned by powerful investors. This David-and-Goliath story explores what it takes for ordinary people to stand up for their dignity, and win.

    The Killing Fields of Dr. Haing S. Ngor (U.S.A.)
    Director: Arthur Dong
    The periods before, during, and after the Khmer Rouge’s tyrannical rule over Cambodia are seen through the eyes of Dr. Haing S. Ngor, who escaped to America and recreated his experiences in The Killing Fields, winning an Oscar® for his first film. He became the de facto worldwide ambassador for truth and justice in his homeland, only to be gunned down in Chinatown Los Angeles – a case still muddled with transnational conspiracy theories.

    Marmato (U.S.A.) 
    Director: Mark Grieco
    If Colombia is the new El Dorado of the global gold rush then Marmato, a mining town with over 500 years of history, is the new frontier. In its mountain there are $20 billion in gold, but its 8,000 inhabitants are at risk of being displaced by an open-pit mining project planned by a Canadian mining company.

    Midway (U.S.A.) 
    Director: Chris Jordan
    Both elegy and warning, Midway explores the interconnectedness of species, with the albatross on Midway as a mirror of our humanity.

    The Overnighters (U.S.A.) 
    Director: Jesse Moss
    Moths to a flame, broken, desperate men chase their dreams and run from their demons in the North Dakota oil fields. A local Pastor risks everything to help them.

    Private Violence (U.S.A.) 
    Director: Cynthia Hill
    Have you ever wondered, “Why doesn’t she leave?” Private Violence follows domestic violence advocate Kit Gruelle as she accompanies women on the pathway from victim to survivor.

    Radical Love (U.S.A.) 
    Director: Hillevi Loven
    Cole, a transgender Christian teen in rural North Carolina, searches for love and a spiritual community to call home.

    Street Fighting Man (U.S.A.) 
    Director: Andrew James
    In a new America where the promise of education, safety and shelter are in jeopardy, three Detroit men fight to build something lasting for themselves and future generations.

    Untitled Project (Faroe Islands/UK) 
    Director: Mike Day
    The pilot whale hunters of the Nordic Faroe Islands believe that hunting is vital to their way of life, but when a local doctor makes a grim discovery about the effects of marine pollution, environmental changes threaten to end the controversial tradition and change the community forever.

    DISCRETIONARY

    The Dream of Shahrazad (South Africa) 
    Director: Francois Verster
    Weaving together music, politics and storytelling, this film explores recent Middle East events through the metaphor of The 1001 Nights.

    Out in The Night (formerly The Fire Next Time) (U.S.A.) 
    Director: Blair Doroshwalther
    A lifetime demanding self-defense. One night they fought back.

    AUDIENCE ENGAGEMENT

    25 To Life (U.S.A.) 
    Director: Mike Brown
    William “Reds” Brawner kept his HIV status a secret for over twenty years. Now Will seeks redemption from his nebulous and promiscuous past as he builds his own family. Audience Engagement support will be applied to the films’ outreach goals: to help decrease unsafe practices among the target population, reveal complexity in adult relationships, and dispel fear and misunderstandings surrounding the epidemic.

    A Fierce Green Fire (U.S.A.) 
    Director: Mark Kitchell
    Narrated by Robert Redford, Ashley Judd, Van Jones, Isabel Allende and Meryl Streep, this exploration of the environmental movement looks at fifty years of global activism and the battle for a living planet. The Audience Engagement award supports work with environmental groups large and small as they mobilize and build grassroots campaigns.

    Girl Model (U.S.A.) 
    Directors: Ashley Sabin and David Redmon
    Girl Model follows a 13-year-old Siberian girl and the American scout who discovers her through the complex, global human supply chain of the unregulated and often murky world of the international modeling industry. The Audience Engagement award supports a girl-fueled campaign to encourage the Department of Labor to extend child labor protections to under age models.

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  • WATCH 3 Official Clips from Fruitvale Station

    fruitvale-station 2

    The award winning indie drama FRUITVALE STATION opens in theaters on Friday July 12, 2013 and the film is receiving lots of early buzz. The film is the true story of Oscar, a 22-year-old Bay Area resident who wakes up on the morning of December 31, 2008 and feels something in the air. Not sure what it is, he takes it as a sign to get a head start on his resolutions: being a better son to his mother, whose birthday falls on New Year’s Eve, being a better partner to his girlfriend, who he hasn’t been completely honest with as of late, and being a better father to T, their beautiful 4 year old daughter. He starts out well, but as the day goes on, he realizes that change is not going to come easy. He crosses paths with friends, family, and strangers, each exchange showing us that there is much more to Oscar than meets the eye. But it would be his final encounter of the day, with police officers at the Fruitvale Bart station that would shake the Bay Area to its very core, and cause the entire nation to be witnesses to the story of Oscar Grant.Watch 4 clips from the film, read the review, read about the film, and let us know what you think.

    Tough Love

    http://youtu.be/_ygRv78C1hY

    I’m Scared

    http://youtu.be/_y2vevmt9Xk

    Don’t Make Me Go Through This Alone

    http://youtu.be/n1bv_c-O2lQ

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  • REVIEW: Fruitvale Station

    fruitvalestation

    FRUITVALE STATION is based on one of those horrific, real-life stories of when a police officer makes a heinous, unjustifiable decision.

    The film opens with amateur footage shot on a cell phone of the actual frantic, fatal moments in the early morning hours of New Year’s Day 2009 recreated in Frutivale Station’s harrowing climax. The recreation begins a little over twenty-four hours before, with Oscar (Michael B. Jordan), a twenty-two year old small-time dope dealer and ex-con, arguing with Sopina (Melanie Diaz), his girlfriend and the mother of his four year-old child, Tatiana (the adorable Ariana Neal) about Oscar recently cheating on her. The movie then follows Oscar throughout the rest of his New Year’s Eve – which also happens to be his mother’s birthday – as he tries to follow through on his resolution to give up dealing dope and get his job back at the supermarket, which he was recently fired from for constantly being late. However, it’s New Year’s Eve and Sopina wants to go out to San Francisco to party. Though Oscar’s mother (the wonderful Octavia Spencer) begs him to take the train to avoid driving drunk, it turns out to be the wrong decision when Oscar is confronted by someone from his past and is later detained by the police in a frightening, chaotic scene.

    The final thirty minutes of Fruitvale Station are alternately scary and heartbreaking, but the preceding fifty minutes does just about everything it can to make sure the audience sees Oscar as a sympathetic character. For example, the film illustrates that:
    – Oscar is nice to strangers, as shown by him helping a pretty young girl he meets in the supermarket learn how to fry fish by calling his darling grandma.
    – Oscar is kind to animals, as evidenced by the care he shows to a stray dog.
    – Oscar is caring father, as evidenced by him constantly playing with his daughter.
    – Oscar is a nice guy, as evidenced by the perpetual smile on his face.
    – Oscar is committed to his family, as evidenced by his demeanor at his mother’s birthday dinner.
    – Oscar is committed to turning his life around, as evidenced by his very first words in the film and his actions throughout the film. He also drinks nothing more than a swig out of a bottle on New Year’s Eve.

    This includes scenes and situations that only the real-life Oscar would have been witness to, and thus their authenticity is questionable. The real-life Oscar may have been all of these things and more, but first time feature writer/director Ryan Cooglar risks making “movie Oscar” sympathetic to the point that it is over the top. Movie Oscar is an overwhelmingly charming individual, and though he has some moments of aggression and cowardice, there is little to dislike about him. Had movie Oscar lived the film shows no doubt that he would’ve become a model citizen on the straight and narrow, though it’s impossible to know how Oscar’s life would have gone. Of course, it’s still impossible not to feel sympathy for his character during the film’s climax.

    Octavia Spencer in Fruitvale Station

    Though those parts of the film might seem manipulative, there are parts that are chillingly authentic. Octavia Spencer’s performance as Oscar’s mother brings the film to another level. The interaction between her and Michael B. Jordan shows that Jordan has a bright future. Melanie Diaz also demonstrates her character’s pain effectively (but apropos of nothing, Sophina has the biggest hoop earrings I have ever seen in my life). Since the case revolved around cell phone footage, it’s also really clever that the importance of cell phones in our lives these days is demonstrated by superimposing Oscar’s text messaging on the screen. Lastly, Cooglar is wise to give the police officers some sympathy by making the most aggressive, scariest one (Kevin Durand) later the most calming.

    As a whole, the film is a powerful look at the last hours in the life of a young man trying to transcend his environment. However, Cooglar would have served the true story better by not being so obviously cinematically manipulative with the material (the horrific circumstances alone make Oscar sympathetic). As his first film this is forgivable, but it’s a lesson he will need to learn to grow as a director.

    Fim Review Rating 3 out of  5 : See it … It’s Good

    http://youtu.be/CxUG-FjefDk

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  • Indie Comedy AWFUL NICE to Get a Spring 2014 Release Date

    awful-nice

    Todd Sklar’s comedy AWFUL NICE, which had its world premiere at the 2013 SXSW Film Festival is expected to get a Spring 2014 release by Screen Media.

    The film, AWFUL NICE, centers on estranged brothers Jim (James Pumphrey) and Dave (Alex Rennie) who are forced to travel to Branson together to renovate and flip the lake house they’ve inherited from their just-deceased father. A series of hilarious mishaps and costly misadventures follow as they attempt to restore the dilapidated house and rebuild their strained relationship.

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  • Why Are There No Sequels to Indie Films? Why?

    Before MidnightBefore Midnight

    Audiences who have seen BEFORE MIDNIGHT in theaters have experienced a film that is extraordinary for two reasons: first, it’s a fantastic movie (after seeing it myself in April, I couldn’t agree more with TIME magazine critic Mary F. Pols, who said, “If I were only allowed to see one movie this year, I’d want it to be Before Midnight. If I were only allowed two trips to a theater this year, I’d see it twice”). Second, it’s an ultra-rare example of an independent film sequel – and even rarer, it is the second sequel of a film made with the creative team intact.

    A sequel to an independent film is rarer than one might think in an industry that is obsessed with creating franchises of sequels and spinoffs. Often indie filmmakers have little desire to revisit stories they have already committed to film and instead wish to move on to new material. In many cases that simply could be because a sequel is financially impossible. Very few independent films – even ones that win dozens of awards – end up making enough at the box office to cover their budgets, let alone enough money to make a follow-up. But it has happened – unfortunately, in most cases the sequel hasn’t continued the original filmmaker’s vision. In fact, in these cases the original filmmakers often aren’t even involved.

    blair-witch-project

    Independent horror films are the main target for sequels when the indie original makes a hit. After all, indie horror films often cost very little, which can lead to huge box office profits. For example, THE BLAIR WITCH PROJECT remains the most profitable independent film of all time, so a sequel was fast-tracked by the original’s distributor Artisan Films and was released less than eighteen months after the original. The original filmmakers received executive producer credit for the sequel, Book of Shadows: Blair Witch 2, but otherwise had little to do with the bigger-budget sequel (Blair Witch was made for $40,000, Book of Shadow’s budget ballooned to $15 million – still cheap by studio standards of course). While the sequel was profitable, it made a fraction of what the blockbuster original did in theaters and actually derailed what could have been a successful found footage franchise like the later Saw series, an indie original that spawned six sequels.

    Sequels to indie hits being taken out of the original filmmaker’s hands is not uncommon – S. Darko, the 2009 sequel to the 2001 indie cult favorite Donnie Darko, had no involvement from original writer/director Richard Kelly. Similarly, because of rights issues (it was issued without a copyright notice), George A. Romero’s Night of the Living Dead not only received multiple sequels made by Romero over the last forty-five years but has also had multiple remakes, a second continuity of more humorous “Living Dead” films, and many unofficial sequels, mostly of declining quality (though there are a few gems among them). Of course, this attempt to capitalize on successful independently produced original films isn’t limited to horror films – rumors persist that various studios have been trying to make official and unofficial sequels to the highest grossing independent film of all time, The Passion of the Christ!

    Other directors who started as indie filmmakers have simply remade their films once they received more financial support from studios, like Robert Rodriguez (who essentially remade his $7000 wonder El Mariachi as Desperado) and Sam Raimi (who recapped the entirety of The Evil Dead in the first few minutes of the sequel, Evil Dead 2: Dead By Dawn). Along the same lines, Kevin Smith made Mallrats, a bigger-budget one-day earlier prequel to his indie debut Clerks, but he went back to indie territory to make the next film in the loosely-connected sequence, Chasing Amy (he later did a sequel to Clerks and is planning another sequel). In other words, many indie directors find it difficult to move beyond their initial visions. However, even if the director is interested there are other factors can prevent an indie sequel. John Waters considered making a sequel to his controversial but financially successful Pink Flamingos but star Divine refused to participate.

    Of course, one of the wonderful things about independent film is that it is a wellspring of originality. Most who prefer indie films to Hollywood blockbusters do so in order to avoid the endless cycle of franchise movies and remakes from the big studios. So while some indie sequel gems are out there like Richard Linklater, Julie Delpy, and Ethan Hawke’s Before series (also Delpy’s own 2 Days in New York, which follows her 2 Days in Paris), the whole point of independent film is to discover new voices and vision in film. We should probably be thankful that we’re not seeing four or five sequels to Eraserhead or Slacker, right?

     

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  • WATCH Trailer for “ICEBERG SLIM: PORTRAIT OF A PIMP” in Theaters July 19th

    ICEBERG SLIM: PORTRAIT OF A PIMP

    ‘ICEBERG SLIM: PORTRAIT OF A PIMP’, the documentary film about the life of Chicago pimp Iceberg Slim (1918-1992) and how he reinvented himself from pimp to author has a new trailer and release date. The film is scheduled for release on Friday July 19, 2013.

    Produced by Ice-T and directed by Ice-T’s long time manager Jorge Hinojosa, comes a documentation based on the life and times of notorious pimp, highly regarded author of seven ground breaking novels. The pen that produced Pimp, Trick Baby, Mama Black Widow, Long White Con, Airtight Willie and Me, Doom Fox, Death Wish: A Story of the Mafia, and The Naked Soul of Ice Berg Slim among others under the urban fiction genre; as the star of Holloway House Publishing the man born Robert Lee Maupin during World War I in Chicago, Iceberg Slim’s novels seemed to always take on an autobiographical tone which was very compelling and attractive to those who could relate to his experiences in the underworld of prostitution, which during those days were a commodity. At the height of his reign he had well over 400 women, what better than a man of his caliber to become the voice for a world which before then had existed in the shadows. In his footstep, other novelists were bred, and millions of copies were sold. Critically acclaimed by the Washington Post, “Iceberg Slim may have done for the pimp what Jean Genet did for the homosexual and thief: articulate the thoughts and feelings of someone who’s been there.” With his work’s translation into languages such as German, French, Italian, Portuguese, Spanish, Dutch, Swedish, Finnish and Greek, Iceberg Slim had become an Urban institution. Before his death in 1992, Iceberg Slim’s catalog had established him as the #2 highest selling African American author to date, second only to the legendary Alex Haley, with even a forray into poetry with the early 70’s release of his collection, Reflections

    Including candid interviews, with well know artists, scholars, friends and family alike Iceberg Slim: Portrait of A Pimp seeks to unveil even more of the secrets and flare which made the man, the inspiration to many who have submitted to the intrigue of such a domineering individual. Slated for release Friday July 19th, the film will be available for limited viewing Nationwide, distributed by Phase 4 Films.

    http://youtu.be/bCbLhmLsw5k

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  • WATCH Trailer for “BREAKING THE GIRLS” in Theaters July 26th

    breaking-the-girls-poster

    The trailer was released for the upcoming suspense film “BREAKING THE GIRLS” from IFC Films.  Directed by Jame Babbit, and starring Amanda Crew, Adrianne Palicki, Brit Marling, and Madeline Zima, the film centers around a murder plot gone wrong.

    Two college Students, Sara and Alex have come together with the perfect plot for revenge against each other’s archenemies – MURDER. A reality to Alex, a figment of imagination and wishful thinking on the part of Sara; a truth not shared with her cohort, when Alex actualizes their thoughts, Sara finds herself framed for murder in this suspenseful drama.

    http://youtu.be/l4yEqsVTNAU

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  • “I WANT MY NAME BACK” Director Roger Paradiso Speaks on the Journey of the Sugar Hill Gang Rap Documentary

    I Want My Name Back Documentary - Sugar Hill Gang

    Starring hip hop icons and pioneers, Wonder Mike and Master Gee I WANT MY NAME BACK highlights the rise and fall, road to redemption of these former members of the legendary Sugar Hill Gang. After releasing arguably the greatest Rap single and changing the face of Hip Hop history, they were the victim of identity theft as well copyright and trademark violations as a result of what is still today the highest selling song in the genre that so many have grown to love and support today. Achieving platinum status on all of their first three albums as a collective, one would assume that their legacy would have been solidified, both in theory and in financial reward. 30 years removed from the creation of Rappers Delight the duo have fought long and hard for their intellectual property and acknowledgement. The reality of their story is disheartening, yet very necessary in the education of artists and fans alike. Their battle against former label Sugar Hill Records, as well as the background to their rise, as documented by critically acclaimed director Roger Paradiso in conjunction with One Village Entertainment, a division of Image Entertainment, and part of Robert Johnson’s RLJ Entertainment is available via Video on Demand, as well as many other leading digital outlets including iTunes, Sony, Amazon and features the likes of Grandmaster Caz (The Cold Crush Brothers), Melle Mel (Grandmaster Flash), and Vinnie and Treach (Naughty by Nature).

    Director Roger Paradiso - I Want My Name Back Director Roger Paradiso – I Want My Name Back

    I had the opportunity to sit down with the eyes behind the feature film, and get acquainted with not only the production process, as well as his resume, and what ultimately drew him to the project as a whole; well accredited for his work with many a great actor and actress on blockbuster cinematography, this project admittedly was compelling in a different manner. Challenges abound, the fortitude to bring their story to the big screen is beyond admirable. Find out more, in our exclusive interview with Director Roger Paradiso.

    VIMOOZ: What was the unique element of Wonder Mike and Master Gee’s story which in your mind made it screen-worthy?

    Roger Paradiso: The issue of Identity theft was appealing to me, as well as the authenticity of their thirty-year friendship. Those things coupled with the courage to persevere and keep the fight going for ownership of their names was compelling, and I felt that it was a screen-worthy story.

    VIMOOZ: In the production process what were some of the road blocks that you faced?

    Roger: One of the biggest challenges was that we absolutely could not get the Robinson Family to participate in any way, which ultimately we accepted. In addition, there was also a lack of photographs and video on them. The thing you have to remember is that at their peak, they were pre-MTV and I dont think Sugar HIll Records was into promoting individual artists; Not to mention, of course we had no money.

    VIMOOZ: Do you feel that any of their story was unfortunately compromised in the final cuts?

    Roger: No. I am a DGA member and had final cut. We were lucky, no one from distribution tried to interfere.They were supportive of the story and thus far I guess you can say we got some pretty good reviews on our 20 city Festival Tour so we knew the film worked with audiences.

    VIMOOZ: Were you a fan of Sugar Hill Gang?

    Roger: Personally, I was more of a classic rock fan. However, I had heard of them, but I never dreamed of making a film with them. Also I never could have imagined what their story was and how important it is for artists of all disciplinesto see this film. It is certainly imperative that all fans of music and the arts see the film. It is a story that should appeal to everyone who isconcerned about the preservation and sanctity of Identity and the continuing fight for human rights.

    VIMOOZ: Years from now when you look back on the experience as a whole, what will you relish most about working these two gentleman, who are Rap Icons?

    Roger: I feel the bond between Mike and Guy will last forever. As artists we must trust and support each other through all the obstacles and distractions that life brings. It’s quite a journey and the making of this film was full of obstacles and distractions, but we stuck together and got through it. I also know that as a result of our work great friendships will continue with Josh Green and Milton Maldonado as well as Peter Waggoner and Sean Smith. We were a Band of Brothers. The crew and cast were great.

    VIMOOZ: In the past you have worked with some tremendously talented individuals such as Robert DeNiro, Val Kilmer, Pierce Brosnan, and the late Tupac Shakur; tell us about that:

    Roger: We all got along and had a good time and were honest with each other. I think that when making a movie years ago you tried to have fun to cut back on some of the tensions. I still try to work that way, but the business has become very corporate. But they were all great guys and artists. Hey what about the women? Ive worked with some very successful actresses whom were not mentioned; the likes of Kim Bassinger, Dolly Parton, Fran McDormand, Mira Sorvino, Renee Russo, Cher, many others including the day players and the crew. We had a good time and made some very good movies.

    As for “I Want My Name Back” I want peope to know that the film is currently available on DVD at Amazon.com and Walmart.com. and all digital platforms like iTunes, Sony, Amazon plus VOD on all major systems around the country.

    VIMOOZ: What are your feelings about the feedback that the film has received thus far?

    Roger: Well Josh and I saw the evolving film business change drastically for Indies and we basically made the film festival circuit our theatrical release. The festival people are some of the nicest people in the business and we had a blast. Every stop was great, from the Toronto Film Festival to DOC NYC, on to Slamdance. Internationally, we were a big hit in Finland and Australia. Audiences really got the movie.

    VIMOOZ: When you set out on a directing a project, what is your blueprint process; furthermore, what are your expectations; ultimately what do you want the audience to get out of the final product?

    Roger: The film experience is all about an original story about people that enlightens and hopefully entertains. You do the best you can do to tell the truth about the human condition whether it is a comedy, tragedy or somewhere in between. We’ve been telling stories forever. And will continue! That’s why I’m never worried about the formats. Content over format is what I believe in. People should be empowered by technology to tell their stories and not intimidated by technology.

    VIMOOZ: Are there any projects forthcoming in calendar years ’13 and ’14 that we should be looking out for ?

    Roger: I’m doing a film based on a novel by Jack Engelhard called “Days of the Bitter End” Not sure that will be the title of the movie. But I hope it is a different journey for audiences and that they enjoy the trip. It’s about some artists and the early sixties in Greenwich Village.

    http://youtu.be/L-W1muPO8rg

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  • LISTEN to Sneak Preview of Celine Dion’s Track from “UNFINISHED SONG”

    UNFINISHED SONG

    A special sneak preview of the title track from the film, UNFINISHED SONG, performed by multi-platinum recording artist Celine Dion, with music and lyrics by iconic songwriter Diane Warren is now available for fans exclusively on CelineDion.com. The song will become available in its entirety on the site in coming weeks. UNFINISHED SONG is currently playing in theaters.

    Described as a feel-good, heartwarming story about how music can inspire you, UNFINISHED SONG stars Academy Award nominee Terence Stamp as Arthur, a grumpy pensioner who can’t understand why his wife Marion (Academy Award® winner Vanessa Redgrave) would want to embarrass herself singing silly songs with her unconventional local choir. But choir director Elizabeth (Gemma Arterton) sees something special in the reluctant Arthur and refuses to give up on him. As she coaxes him out of his shell, Arthur realizes that it is never too late to change and, aged 70, Arthur finally dares to unlock his emotions and reach out to his estranged son, James (Christopher Eccleston).

    http://youtu.be/APJrftBzSeA

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  • Thriller “A SINGLE SHOT’ Gets A U.S. Release Date

    single-shotA SINGLE SHOT starring Sam Rockwell, Photo Credit: Bob Akester Courtesy of Tribeca Film

    “A SINGLE SHOT” directed by David M. Rosenthal (Janie Jones), which had its world premiere at the Berlin International Film Festival, followed by a North American premiere at the 2013 Tribeca Film Festival will be released in the US by Tribeca Film and Well Go USA Entertainment. “A SINGLE SHOT” will be released this summer beginning August 20th on cable video-on-demand platforms, as well as iTunes, Amazon Watch Instantly, VUDU, and Google Play, followed by a theatrical release in major markets nationwide on September 20, 2013.

    Written by Matthew Jones from an adaptation of his critically acclaimed novel of the same name, “A SINGLE SHOT” stars Sam Rockwell, William H. Macy, Jeffrey Wright, Jason Isaacs and Kelly Reilly.

    The ‘white-knuckle thriller starts with a bang: a single shot, aimed at a lone deer, that hits and kills a young woman. The hunter, John Moon (Sam Rockwell, Seven Psychopaths), watches her die before discovering a box of money near her body. In a desperate panic, he takes the cash — hiring a low-rent lawyer (William H. Macy, Fargo) to fight his wife’s (Kelly Reilly, Flight) divorce suit — and attempts to cover up the killing. But when he discovers that the money belonged to a group of hardened criminals, the hunter becomes the hunted in this tense cat-and-mouse struggle in the backwoods of West Virginia.’

    http://youtu.be/qqsblS0M6co

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  • Joseph Gordon-Levitt, Jason Schwartzman, Steve McQueen Among 276 Artists and Execs Invited to Join Academy of Motion Picture Arts and Sciences

    Joseph Gordon-Levitt  in Don Jons Addiction Joseph Gordon-Levitt in Don Jons Addiction

    The Academy of Motion Picture Arts and Sciences has extended invitations to join the organization to 276 artists and executives who “have distinguished themselves by their contributions to theatrical motion pictures. Those who accept the invitations will be the only additions to the Academy’s membership in 2013.” “These individuals are among the best filmmakers working in the industry today,” said Academy President Hawk Koch. “Their talent and creativity have captured the imagination of audiences worldwide, and I am proud to welcome each of them to the Academy.”

    The 2013 invitees are:

    Actors
    Jason Bateman – “Up in the Air,” “Juno”
    Miriam Colon – “City of Hope,” “Scarface”
    Rosario Dawson – “Rent,” “Frank Miller’s Sin City”
    Kimberly Elise – “For Colored Girls,” “Beloved”
    Joseph Gordon-Levitt – “Lincoln,” “The Dark Knight Rises”
    Charles Grodin – “Midnight Run,” “The Heartbreak Kid”
    Rebecca Hall – “Iron Man 3,” “The Town”
    Lance Henriksen – “Aliens,” “The Terminator”
    Jack Huston – “Not Fade Away,” “Factory Girl”
    Milla Jovovich – “Resident Evil,” “Chaplin”
    Lucy Liu – “Kill Bill: Vol. 1,” “Chicago”
    Jennifer Lopez – “What to Expect When You’re Expecting,” “Selena”
    Alma Martinez – “Born in East L.A.,” “Under Fire”
    Emily Mortimer – “Hugo,” “Lars and the Real Girl”
    Sandra Oh – “Rabbit Hole,” “Sideways”
    Paula Patton – “Mission: Impossible – Ghost Protocol,” “Precious: Based on the Novel ‘Push’ by Sapphire”
    Michael Peña – “End of Watch,” “Crash”
    Emmanuelle Riva – “Amour,” “Hiroshima, Mon Amour”
    Jason Schwartzman – “Moonrise Kingdom,” “Rushmore”
    Geno Silva – “Mulholland Drive,” “Amistad”
    Danny Trejo – “Machete,” “Heat”
    Chris Tucker – “Silver Linings Playbook,” “Rush Hour”

    Cinematographers
    Luca Bigazzi – “This Must Be the Place,” “Certified Copy”
    Benoît Delhomme – “The Boy in the Striped Pajamas,” “The Proposition”
    Simon Duggan – “The Great Gatsby,” “Killer Elite”
    Greig Fraser – “Zero Dark Thirty,” “Snow White and the Huntsman”
    Jonathan Freeman – “Remember Me,” “Fifty Dead Men Walking”
    Greg Gardiner – “Race to Witch Mountain,” “Elf”
    Eric Gautier – “Into the Wild,” “The Motorcycle Diaries”
    Agnès Godard – “Sister,” “Beau Travail”
    Eduard Grau – “Buried,” “A Single Man”
    Jess Hall – “The Spectacular Now,” “Brideshead Revisited”
    Fred Kelemen – “The Turin Horse,” “The Man from London”
    Mark Lee Ping Bing – “Norwegian Wood,” “In the Mood for Love”
    Reed Morano – “Little Birds,” “Frozen River”
    Oleg Mutu – “Beyond the Hills,” “4 Months, 3 Weeks and 2 Days”
    Alex Nepomniaschy – “Narc,” “Safe” 
    Christian Sebaldt – “Resident Evil: Apocalypse,” “Race to Space”
    Ben Seresin – “World War Z,” “Unstoppable”
    Adam Stone – “Mud,” “Take Shelter”
    Checco Varese – “Girl in Progress,” “The Aura”
    Ken Zunder – “Bending the Rules,” “That’s What I Am”

    Costume Designers
    Paco Delgado – “Les Misérables,” “Biutiful”
    Sophie de Rakoff – “This Means War,” “Legally Blonde”
    Carlo Poggioli – “Abraham Lincoln: Vampire Hunter,” “Cold Mountain”

    Designers
    Lori Balton – “Argo,” “The Dark Knight Rises”
    Judy Becker – “Silver Linings Playbook,” “The Fighter”
    Simon Bright – “The Hobbit: An Unexpected Journey,” “Avatar”
    Martin T. Charles – “Marvel’s The Avengers,” “The Artist”
    David M. Crank – “The Master,” “Lincoln”
    Stefan Paul Dechant – “Oz The Great and Powerful,” “True Grit”
    Tracey A. Doyle – “The Muppets,” “21”
    Anna Lynch-Robinson – “Les Misérables,” “An Education”
    Maria Nay – “Identity Thief,” “Ray”
    David Smith – “Crazy, Stupid, Love.,” “The Holiday”

    Directors
    Nikolaj Arcel – “A Royal Affair,” “Truth about Men”
    Ava DuVernay* – “Middle of Nowhere,” “I Will Follow” 
    Paul Feig – “The Heat,” “Bridesmaids”
    Catherine Hardwicke – “Twilight,” “Thirteen”
    Kirk Jones – “What to Expect When You’re Expecting,” “Waking Ned Devine”
    Ken Kwapis – “Big Miracle,” “The Sisterhood of the Traveling Pants”
    Pablo Larraín – “No,” “Tony Manero”
    Steve McQueen – “Shame,” “Hunger”
    Kim Nguyen – “War Witch (Rebelle),” “City of Shadows”
    Jafar Panahi* – “This Is Not a Film,” “The Circle” 
    Todd Phillips – “The Hangover,” “Old School”
    Joachim Rønning – “Kon-Tiki,” “Max Manus”
    Espen Sandberg – “Kon-Tiki,” “Max Manus”
    Tim Story – “Think Like a Man,” “Fantastic Four”
    Benh Zeitlin – “Beasts of the Southern Wild,” “Glory at Sea”

    Documentary
    Orlando Bagwell – “Citizen King,” “Malcolm X: Make It Plain”
    Rebecca Cammisa – “God Is the Bigger Elvis,” “Which Way Home”
    Yung Chang – “China Heavyweight,” “Up the Yangtze”
    Michael Chin – “Jonestown: The Life and Death of Peoples Temple,” “In the Shadow of the Stars”
    Christine Choy – “In the Name of the Emperor,” “Who Killed Vincent Chin?”
    Bonni Cohen – “The Island President,” “Wonders Are Many: The Making of Doctor Atomic”
    Eduardo Coutinho – “As Canções,” “Cabra Marcado Para Morrer (Twenty Years Later)”
    Miriam Cutler – “Kings Point,” “Ethel”
    Andrea Nix Fine – “Inocente,” “War/Dance”
    Sean Fine – “Inocente,” “War/Dance”
    Robert Frank – “Cocksucker Blues,” “Pull My Daisy”
    William Greaves – “Ralph Bunche: An American Odyssey,” “Symbiopsychotaxiplasm: Take One”
    Lauren Greenfield – “The Queen of Versailles,” “Thin”
    Patricio Guzmán – “Nostalgia for the Light,” “The Battle of Chile”
    Vivien Hillgrove – “Symphony of the Soil,” “In the Matter of Cha Jung Hee”
    Heddy Honigmann – “El Olvido (Oblivion),” “Crazy”
    Vikram Jayanti – “The Agony and the Ecstasy of Phil Spector,” “Game Over: Kasparov and the Machine”
    Peter Kinoy – “Poverty Outlaw,” “When the Mountains Tremble”
    Claude Lanzmann – “Le Rapport Karski (The Karski Report),” “Shoah”
    Kim Longinotto – “Rough Aunties,” “Sisters in Law”
    Stanley Nelson – “Freedom Riders,” “Jonestown: The Life and Death of Peoples Temple”
    Jehane Noujaim – “Control Room,” “Startup.com”
    Sharmeen Obaid-Chinoy – “Transgenders: Pakistan’s Open Secret,” “Saving Face”
    Marcel Ophuls – “Hotel Terminus: The Life and Times of Klaus Barbie,” “The Sorrow and the Pity”
    José Padilha – “Secrets of the Tribe,” “Bus 174 (Ônibus 174)”
    Jafar Panahi* – “This Is Not a Film,” “The Circle”
    Elise Pearlstein – “Last Call at the Oasis,” “Food, Inc.” 
    Raoul Peck – “Fatal Assistance (Assistance Mortelle),” “Lumumba: La Mort du Prophète”
    Kevin Rafferty – “Harvard Beats Yale 29-29,” “The Atomic Cafe” 
    J. Ralph* – “Chasing Ice,” “Man on Wire” 
    Bob Richman – “Paradise Lost 3: Purgatory,” “Waiting for ‘Superman'”
    T. Woody Richman – “How to Survive a Plague,” “Fahrenheit 9/11”
    Veronica Selver – “Berkeley in the Sixties,” “You Got to Move: Stories of Change in the South”
    Jon Shenk – “The Island President,” “Lost Boys of Sudan”
    Ricki Stern – “Joan Rivers: A Piece of Work,” “The Devil Came on Horseback”
    Robert Stone – “Earth Days,” “Radio Bikini”
    Annie Sundberg – “Joan Rivers: A Piece of Work,” “The Devil Came on Horseback”
    Renee Tajima-Pena – “Who Killed Vincent Chin?,” “My America (Or Honk If You Love Buddha)”
    Agnès Varda – “The Beaches of Agnès,” “The Gleaners and I”
    Roger Ross Williams – “God Loves Uganda,” “Music by Prudence”
    Pamela Yates – “Granito: How to Nail a Dictator,” “The Reckoning: The Battle for the International Criminal Court”
    Amy Ziering – “The Invisible War,” “Derrida”

    Executives
    Holly Bario
    Jeb Brody
    Eric d’Arbeloff
    Dean C. Hallett
    Lynn Harris
    Jeff Ivers
    Jonathan King
    Robert Kirby
    Dylan Leiner
    Nick Meyer
    Andrew Millstein
    Hannah Minghella
    Angela Morrison
    Brian Roberts
    Mark Roybal
    Tucker Tooley
    Kevin Tsujihara

    Film Editors
    Michael Berenbaum – “What to Expect When You’re Expecting,” “Sex and the City”
    Jeff Freeman – “Ted,” “Cruel Intentions”
    James Haygood – “Where the Wild Things Are,” “Fight Club”
    Stuart Levy – “Savages,” “Wall Street: Money Never Sleeps”
    Mary Jo Markey – “Star Trek Into Darkness,” “Super 8”

    Makeup Artists and Hairstylists
    Luisa Abel – “The Dark Knight Rises,” “Inception”
    Anne Aulenta-Spira – “The Place beyond the Pines,” “Drive”
    Terry Baliel – “The Dark Knight Rises,” “J. Edgar”
    Thomas Floutz – “The Call,” “Hellboy II: The Golden Army”
    Kay Georgiou – “Promised Land,” “Lincoln” 
    Bernadette Mazur – “Men in Black 3,” “The Campaign”
    Kim Santantonio – “Gangster Squad,” “Frost/Nixon”
    Lisa Tomblin – “Harry Potter and the Deathly Hallows: Part 2,” “Harry Potter and the Deathly Hallows: Part 1”
    Kelvin R. Trahan – “Argo,” “Memoirs of a Geisha”
    Lisa Westcott – “Les Misérables,” “Shakespeare in Love”

    Members-at-Large
    Victoria Alonso
    Fred Baron
    Ben Bray
    Pieter Jan Brugge
    Jackie Burch
    Leo Davis
    Susie Figgis
    Lori Furie
    Glenn S. Gainor
    Joe Gareri
    Lance Gilbert
    Andy Gill
    Mindy Marin
    Laray Mayfield
    Jeanne McCarthy
    Neil Meron
    Gary Powell
    Ned Price
    Michelle Satter
    Stefan Sonnenfeld
    Cindy Tolan
    Brent Woolsey

    Music
    Ramiro Belgardt – “Star Trek Into Darkness,” “Lincoln”
    Ramin Djawadi – “Safe House,” “Iron Man”
    Jennifer Dunnington – “The Hobbit: An Unexpected Journey,” “Hugo”
    Siedah Garrett – “Rio,” “Dreamgirls”
    Joe Hisaishi – “Ponyo,” “Spirited Away”
    Henry Jackman – “This Is the End,” “Wreck-It Ralph”
    Cliff Martinez – “Drive,” “Traffic”
    Prince – “Purple Rain,” “Happy Feet”
    J. Ralph* – “Chasing Ice,” “Man on Wire”
    Aaron Lael Zigman – “Peeples,” “Sex and the City”

    Producers
    Stefan Arndt – “Amour,” “The White Ribbon”
    Jason Blum – “The Purge,” “Paranormal Activity”
    Finola Dwyer – “Quartet,” “An Education”
    Jack Giarraputo – “Anger Management,” “The Wedding Singer”
    Veit Heiduschka – “Amour,” “The White Ribbon”
    Lloyd Levin – “Green Zone,” “Watchmen”
    Julie Lynn – “Albert Nobbs,” “Nine Lives”
    Margaret Menegoz – “Amour,” “The White Ribbon”
    Andrea Sperling – “Smashed,” “Like Crazy”

    Public Relations
    Rachel Cadden
    Theresa Cross
    Jeff S. Elefterion
    Julie Fontaine
    Jackson George
    Anne Globe
    Michael Lawson
    Dennis O’Connor
    Blair Rich
    John G. Sabel

    Short Films and Feature Animation
    Marc Bertrand – “Gloria Victoria,” “Hollow Land”
    Bryan Buckley – “Asad,” “The Wake-Up Caller”
    Shawn Christensen – “Curfew,” “Brink”
    Eric Darnell – “Madagascar,” “Shrek”
    John C. Donkin – “Ice Age Continental Drift,” “Gone Nutty”
    Ken Duncan – “9,” “Shark Tale”
    Danielle Feinberg – “Brave,” “WALL-E”
    Sam Fell – “ParaNorman,” “The Tale of Despereaux”
    Matt Groening – “Maggie Simpson in ‘The Longest Daycare,'” “The Simpsons Movie”
    Vicky Jenson – “Shark Tale,” “Shrek”
    Travis Knight – “ParaNorman,” “Coraline”
    Steve May – “Brave,” “Up”
    Rich Moore – “Wreck-It Ralph,” “Dr. Seuss’ Horton Hears a Who!”
    Robert Neuman – “Wreck-It Ralph,” “Tangled”
    Brandon Oldenburg – “Rise of the Guardians,” “The Fantastic Flying Books of Mr. Morris Lessmore”
    PES – “Fresh Guacamole,” “Western Spaghetti” 
    Steve Pilcher – “Brave,” “Shrek the Third”
    Normand Roger – “Hollow Land,” “The Banquet of the Concubine”
    Clark Spencer – “Wreck-It Ralph,” “Bolt”

    Sound
    Bobbi Banks – “The Call,” “Hustle & Flow”
    Jose Antonio Garcia – “Argo,” “Babel” 
    Simon Hayes – “Les Misérables,” “X-Men: First Class”
    Edward J. Hernandez – “Real Steel,” “Basic Instinct”
    Daniel S. Irwin – “Prometheus,” “Little Children”
    Drew Kunin – “Life of Pi,” “Lost in Translation”
    Michael W. Mitchell – “The Dark Knight Rises,” “The Matrix Reloaded”
    Tom Ozanich – “Project X,” “Kill Bill: Vol. 2”
    Mark Paterson – “Les Misérables,” “The Pirates! Band of Misfits” 
    Richard Pryke – “127 Hours,” “Slumdog Millionaire”
    Erin Michael Rettig – “A Good Day to Die Hard,” “X-Men Origins: Wolverine”
    Ann Scibelli – “Prometheus,” “Inglourious Basterds”
    Brian T. Slack – “Chéri,” “Crossover”
    Bruce Tanis – “Gangster Squad,” “X-Men: First Class”
    F. Elmo Weber – “Identity Thief,” “The Kids Are All Right”
    Christopher T. Welch – “Silver Linings Playbook,” “(500) Days of Summer”
    Dave Whitehead – “The Hobbit: An Unexpected Journey,” “District 9”
    Stuart Wilson – “Skyfall,” “War Horse”

    Visual Effects
    Jason Bayever – “Life of Pi,” “The Wolfman”
    Mark Breakspear – “The Great Gatsby,” “Tropic Thunder”
    Philip Brennan – “Snow White and the Huntsman,” “Minority Report”
    Tony Clark – “Pirates of the Caribbean: On Stranger Tides,” “Harry Potter and the Goblet of Fire” 
    David Clayton – “The Hobbit: An Unexpected Journey,” “Avatar”
    Michael Dawson – “Snow White and the Huntsman,” “The Devil’s Double”
    Erik-Jan De Boer – “Life of Pi,” “Night at the Museum”
    Donald R. Elliott – “Life of Pi,” “Seabiscuit”
    John Goodson – “Red Tails,” “Marvel’s The Avengers”
    Charley Henley – “Prometheus,” “Harry Potter and the Order of the Phoenix”
    John McLeod – “Django Unchained,” “The Aviator”
    Mark Noel – “Oz The Great and Powerful,” “Transformers”
    David Prescott – “Transformers,” “X-Men”
    Guillaume Rocheron – “Life of Pi,” “Sucker Punch”
    Wendy Rogers – “Puss in Boots,” “Shrek”
    David Alexander Smith – “The Amazing Spider-Man,” “The Matrix Reloaded”
    Wayne Stables – “The Adventures of Tintin,” “Avatar”
    Richard Stammers – “Prometheus,” “Angels & Demons”
    Richard Stutsman – “Zero Dark Thirty,” “Independence Day”
    Christopher Townsend – “Captain America: The First Avenger,” “The Day after Tomorrow”
    Stephan Trojansky – “Marvel’s The Avengers,” “Hereafter”
    David Watkins – “Ali,” “Indiana Jones and the Temple of Doom” 
    Jeff White – “Marvel’s The Avengers,” “Indiana Jones and the Kingdom of the Crystal Skull”
    Trevor Wood – “Prometheus,” “The Golden Compass”

    Writers
    Jessica Bendinger – “Aquamarine,” “Bring It On”
    Reggie Rock Bythewood – “Notorious,” “Get on the Bus”
    Tina Gordon Chism – “Peeples,” “Drumline”
    Julie Delpy – “Before Midnight,” “2 Days in Paris”
    Lena Dunham – “Nobody Walks,” “Tiny Furniture”
    Ava DuVernay* – “Middle of Nowhere,” “I Will Follow”
    John Gatins – “Flight,” “Coach Carter”
    John Hamburg – “I Love You, Man,” “Meet the Parents”
    John Lee Hancock – “Snow White and the Huntsman,” “The Blind Side”
    Rian Johnson – “Looper,” “Brick”
    Jeff Nichols – “Mud,” “Take Shelter”
    Sarah Polley – “Take This Waltz,” “Away from Her”
    Chris Terrio – “Argo,” “Heights”

    Associates
    Lorrie Bartlett
    Paul Bronfman
    Markham L. Goldstein
    Robert Harvey
    Gregory S. Laemmle
    Sandra Marsh
    Adam Schweitzer
    Kimberly Snyder
    Matthew L. Snyder
    Les Zellan

     

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  • REVIEW: BYZANTIUM

    byzantium

    Isn’t it funny how a movie that starts with a line in voiceover narration like “my story can never be told” ends up being a two hour movie in which that story is told in great detail, right?

    Eleanor (Saorise Ronan) and Clara (Gemma Arterton) are 200 year old vampire-like creatures (called “succreants”) in modern day England. Though they refer to each other as sisters, Clara is actually Eleanor’s mother. Eleanor keeps her blood thirst in check by only feeding on dying old people, while Clara supports them by prostituting. After meeting a doughy, bespectacled customer who owns a hotel named Byzantium, Clara sets up a brothel and believes that their problems have been solved. However, Eleanor meets a gangly, nervous teenager named Frank (Caleb Landry Jones) and she finds herself drawn to him. She aches to reveal her true nature to him but Clara has so far kept her unaware of the costs of that decision – they are being tracked by powerful dark forces. Intercut with this narrative is the story of how Clara and Eleanor became succreants and why they must hide their true nature from the world.

    Comparisons to the Twilight series are inevitable, though BYZANTIUM is a bloodier, more vicious take on the material (still, though BYZANTIUM is rated R it is only briefly gruesome and gratuitous). At the very least, it’s a movie that is more tolerable for boyfriends (Gemma Arterton in various states of undress being more preferable than sparkly Robert Pattinson).

    The film was adapted from the 2007 play A Vampire Story by Moira Buffini, who also adapted it for the screen, and was directed by Neil Jordan, who is best known for winning an Oscar for directing The Crying Game. I mention them both because I’m not sure who to blame for the two-hour runtime, which is far longer than necessary. This is because Byzantium has a tendency to repeat itself. For example, for roughly the first third of the movie Eleanor crosses paths with Frank (often by choice), but then runs away from when he gets too close (physically and emotionally). That’s a fine story bit, but not when it is repeated three times. It even becomes a joke when Frank (who, I might add, tends to dress like a hobbit) finally says to her “why do you keep running away from me?” Similarly, much of the film’s dialogue is spoken in harsh whispers meaning that there is this dreary tone running through the film for nearly its entire length.

    However, BYZANTIUM is filled with gorgeous shots and both Arterton and Ronan rise above the sometimes silly dialogue with their performances. The movie will likely play extremely well with the Twilight crowd, especially those who liked the books and thought the film adaptations were too cheesy. Byzantium replaces that melodrama with blood and melancholia, which is a much better mixture.

    Review Rating: 3 out of 5: See it …..  It’s Good

    http://youtu.be/Ej2YBAuqvGk

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