The 22nd
Stony Brook Film Festival ran July 20 to 29, and had the largest attendance in the history of the Festival. The Sounding directed by Catherine Eaton walked away with the Jury Award for Best Feature.
Alan Inkles, founder and director of the Stony Brook Film Festival said, “It truly was a magical year where almost every feature and shorts filmmaker attended their screenings to represent their films and host
Q & As. When we add in the sales agents and distributors that attended, we saw our Filmmaker Lounge humming with energy and interaction among filmmakers, talent and industry. As for the films we showed, the audience scores were the best in our 22 years. Great films, great guests and packed houses nightly. It’s what I envisioned for Stony Brook when we started this festival and it was certainly achieved this year.”
Award Winners of 2017 Stony Brook Film Festival
2017 Jury Award – Best Feature
The Sounding
United States – 93 min
Directed by Catherine Eaton.
Written by Bryan Delaney and Catherine Eaton.
With Catherine Eaton, Teddy Sears, Harris Yulin, Frankie Faison and David Furr.
Writer-Director-Actress Catherine Eaton gives a stunning performance as Liv, a mysterious woman residing on an island off the coast of Maine who has chosen to remain silent for years. When she suffers a terrible loss, Liv suddenly begins to speak as she weaves a language out of Shakespeare’s words. After a series of events result in her being committed to a psychiatric hospital, Liv becomes a full-blown rebel, fighting for both her voice and her freedom. A powerful, uplifting drama.
Produced by Catherine Eaton, Caitlin Gold, Veronique Huyghebaert, Aliki Paraschis and Jessica Vale. Edited by Marco Perez. Director of Photography: David Kruta. From Corsetless Productions.
2017 Audience Choice – Best Feature (tie)
Fanny’s Journey
France, Belgium – 94 min
Directed by Lola Doillon. Written by Fanny Ben-Ami, Lola Doillon, Anne Peyrègne.
With Léonie Souchaud and Cécile De France.
In French with subtitles
In 1943, after avoiding the authorities with other Jewish children in France for three years, 13-year-old Fanny and her sisters are quickly sent to an Italian foster home. When the Nazis arrive in Italy, their caretakers plan an escape to Switzerland. Suddenly left on their own, eleven children do the impossible. Based on a true story, this moving tale of bravery, strength, and survival features exceptional performances by the young cast.
Produced by Saga Blanchard, Marie de Lussigny. Edited by Valérie Deseine. Director of Photography: Pierre Cottereau. A David-Films, Scope Pictures, France 2 Cinéma, Rhône-Alpes Cinéma, and Ce Qui Me Meut Motion Pictures production. From Menemsha Films.
2017 Audience Choice – Best Feature (tie)
To the Edge of the Sky
World Premiere – United States – 118 min
Directed by Todd Wider and Jedd Wider.
How far would you go to save your son’s life? To the Edge of the Sky follows four families as they fight the FDA to gain access to a potentially lifesaving drug for Duchenne Muscular Dystrophy, a fatal disease their sons suffer from and the number one genetic killer of boys in the world. With a promising drug on the horizon, we witness the transformation of the mothers of four boys into “the rogue moms” as they become political activists and heroes during their righteous battle against time and the FDA. A challenging and uplifting documentary from Long Island brothers Todd and Jedd Wider (Client 9, God Knows Where I Am).
Produced by Brian Ariotti. Edited by Mona Davis and Colin Nusbaum. Director of Photography: Gerardo Puglia. A Wider Film Projects film.
2017 Special Recognition by the Jury – Spirit of Independent Filmmaking
Laura Gets a Cat
United States – 83 min
Written and Directed by Michael Ferrell.
With Dana Brooke, Michael Ferrell, Jason Kravits (Unbreakable Kimmy Schmidt).
Laura is a 30-something unemployed writer living in New York City and struggling with adulthood. She has a ‘weekend’ boyfriend she can’t commit to, friends who seem to have achieved their dreams, and a vivid imaginary life she uses to run away from reality. When she starts a new relationship with a coffee shop barista, real life proves too complicated and she tries to actually run away. Veteran stage actress Dana Brooke shines in this funny, fresh, poignant independent feature.
Produced by Michael Ferrell, Chris Prine and Devin Sanchez. Edited by Chris Prine. Director of Photography: Paul Rondeau. From Living Boy Productions.
2017 Special Recognition by the Jury – Achievement in Social Impact
Purple Dreams
New York Premiere – United States – 72 min
Directed by Joanne Hock.
This inspirational documentary follows several students from the Northwest School of the Arts, in Charlotte, N.C., after it is chosen to be the first high school permitted to perform the musical The Color Purple. From auditions through opening night and beyond, the filmmakers follow these students as they pursue their dreams while struggling with homelessness, low-income neighborhoods, gang-related violence and single-parent households. A behind-the-scenes look at an amazing group of teachers and students who work relentlessly to put on a triumphant musical production that propels them into a world of opportunity they never expected.
Produced by Robin Grey, Sara Patel. Edited by John Disher. Director of Photography: Joanne Hock. From GreyHawk Films.
2017 Jury Award – Best Short
Across the Line
World Premiere – Israel – 29 min
In Arabic and Hebrew with subtitles
A film by Nadav Shlomo Giladi
A Jewish settler, hurrying home for Shabbat, encounters a stubborn Palestinian hitchhiker.
2017 Audience Choice Award – Best Short
Just, Go!
Latvia – 11 minutes
A film by Pavels Gumennikovs
In Latvian with subtitles
A young man without legs chases down surprised purse snatchers for the girl he loves.
Photo: July 29, 2017 Award winners at the Closing Night Awards reception,
22nd Annual Stony Brook Film Festival presented by Island Federal Credit Union
L to R:
Jury Award-Best Feature: The Sounding, Catherine Eaton, writer/director/actor/co-producer
Audience Choice-Best Feature: To the Edge of the Sky, Todd and Jedd Wider, directors; (tie with Fanny’s Journey, director Lola Doillon, not pictured)
Special Recognition by the Jury-Spirit of Independent Filmmaking: Laura Gets a Cat, Michael Ferrell, writer/director/actor/co-producer
Special Recognition by the Jury-Achievement in Social Impact: Purple Dreams, Robin Grey, co-producer
Jury Award-Best Short: Across the Line Nadav Shlomo Giladi
Audience Choice Award-Best Short: Just, Go! Pavels Gumennikovs
Photo credits: Nick A. Koridis for the Stony Brook Film FestivalRead more
Eric Clapton: Life in 12 Bars[/caption]
Showtime will world premiere two riveting films, “Eric Clapton: Life in 12 Bars” and “Love Means Zero” at the 2017 Toronto International Film Festival. Eric Clapton: Life in 12 Bars, directed by Oscar(R)-winner Lili Fini Zanuck (Rush, Driving Miss Daisy), is an unflinching and deeply personal journal into the life of legendary 18-time Grammy(R) winner Eric Clapton. Also debuting at TIFF is Love Means Zero, the story of the celebrated yet controversial tennis coach Nick Bollettieri, directed and produced by Jason Kohn (Manda Bala (Send a Bullet)). Following their debuts at TIFF, both documentaries will premiere on Showtime in 2018.
These two films join the esteemed Showtime Documentary Films portfolio that focuses on the lives and legacies of culture-defining and at times controversial figures, including Whitney. “Can I Be Me”, The Putin Interviews, Becoming Cary Grant, the Emmy(R)-nominated Listen To Me Marlon, Risk, which takes viewers closer than they have ever been before to Julian Assange and tells the WikiLeaks story from the inside, and an upcoming documentary film on John Belushi’s life and career.
Told through his own words and songs, Eric Clapton: Life in 12 Bars is a moving and surprising film about one of the great artists of the modern era – a Grammy Lifetime Achievement Award winner, and the only artist ever inducted three times into the Rock and Roll Hall of Fame. Spanning more than half a century of legendary popular musical innovation, the film contextualizes Eric Clapton’s role in contemporary music and cultural history. This rare and deeply intimate film reflects on Clapton’s traumatic childhood, his long and difficult struggle with drugs and alcohol and the tragic loss of his son and how he always found his inner strength and healing in music. The documentary features extensive interviews with Clapton himself, along with his family, friends, musical collaborators, contemporaries and heroes – including late music icons B.B. King, Jimi Hendrix and George Harrison. The film is directed by Oscar-winner Lili Fini Zanuck with Passion Pictures’ John Battsek (One Day In September, Searching for Sugar Man) amongst the producers. BAFTA winner Chris King (Amy, Senna) serves as editor.
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Love Means Zero[/caption]
Love Means Zero presents an in-depth look at famed tennis coach Nick Bollettieri. At 85 years old, Bollettieri is a living legend. At his academy in Florida, he raised a generation of champions. Courier. Seles. Agassi. No other coach has matched his success, his dominance or his fame. His greatness, though, came at a terrible price. Broken marriages, financial ruin and perhaps most devastating, a fractured relationship with his surrogate son and most cherished student, Andre Agassi. When Agassi refused to participate in a documentary about his ex-coach, a simple biographical film turned into an investigation of a relationship lost. Love Means Zero not only tells the story of this celebrated yet controversial coach, but also explores the cost of his all-consuming drive for greatness. The film is directed and produced by Jason Kohn. Amanda Branson Gill, Anne White, Jill Mazursky and David Styne also serve as producers.
The documentary One of Us, by Heidi Ewing and Rachel Grady (Jesus Camp, Detropia) will have its world premiere at this year’s 
The Death, Dad & Son[/caption]
The 
Bodied[/caption]
Midnight Madness has just launched its lineup for the 42nd 
Grace Jones: Bloodlight & Bami[/caption]
The Toronto International Film Festival’s 2017 documentary program presents a distinct collection of works from award-winning directors, and will open with Sophie Fiennes’ Grace Jones: Bloodlight & Bami, a film that captures the legendary performer on and off stage.
The lineup features celebrated filmmakers, including Morgan Spurlock, who reignites his battle with the food industry in Super Size Me 2: Holy Chicken!; Brett Morgen, with his portrait of primatologist Jane Goodall in Jane; Greg Barker, who grants viewers unprecedented access into President Barack Obama’s foreign policy team in The Final Year; Frederick Wiseman, who takes us behind the scenes of a New York institution in Ex Libris – The New York Public Library; and Heidi Ewing and Rachel Grady, who follow three Hasidic Jews who attempt to enter the secular world in One of Us. The TIFF Docs Program is made possible through the generous sponsorship of A+E IndieFilms.
“Resistance is a key theme in this year’s documentaries,” said TIFF Docs Programmer Thom Powers. “We pay witness to rebels challenging the status quo in art, politics, sexuality, religion, fashion, sports and entertainment. They speak powerfully to our times as audiences seek inspirations for battling powerful and corrupt systems.”
The theme of resistance plays out in a diverse range of films, including Jed Rothstein’s The China Hustle, executive produced by Alex Gibney and Frank Marshall, which confronts a new era of Wall Street fraud; Matt Tyrnauer’s Scotty and the Secret History of Hollywood, which profiles the sexual taboo breaker Scotty Bowers; Anjali Nayar and Hawa Essuman’s Silas, which portrays Liberian activist Silas Siakor; and Erika Cohn’s The Judge, which follows the first female Shari’a judge, Kholoud Al-Faqih, practicing law in the West Bank.
We gain insights into high-profile figures in the worlds of entertainment and sports in films such as Chris Smith’s JIM & ANDY: the Great Beyond – the story of Jim Carrey & Andy Kaufman featuring a very special, contractually obligated mention of Tony Clifton, which examines Jim Carrey’s immersion into the role of Andy Kaufman; Lili Fini Zanuck’s Eric Clapton: Life in 12 Bars, which delivers the definitive biography of the rock legend; and Jason Kohn’s Love Means Zero, which investigates the controversial tennis coach Nick Bollettieri and his history with Andre Agassi.
Several films deepen our understanding of black cultural figures, including Sam Pollard’s Sammy Davis, Jr.: I’ve Gotta Be Me on the complex career of the multi-talented Rat Pack performer; Kate Novack’s The Gospel According to André on the trend-setting fashion writer André Leon Talley; and Sara Driver’s BOOM FOR REAL The Late Teenage Years of Jean-Michel Basquiat on the formative years of the acclaimed artist.
TIFF Docs upholds its tradition of featuring films and filmmakers from around the world with films such as Violeta Ayala’s Cocaine Prison on the drug trade in Bolivia; Mila Turajlić’s The Other Side of Everything on the dissident activism of her Serbian mother; Hüseyin Tabak’s The Legend of the Ugly King on the Kurdish filmmaker Yilmaz Güney; Sabiha Sumar’s Azmaish: A Journey through the Subcontinent on the politics of India and Pakistan; and Gustavo Salmerón’s Lots of Kids, a Monkey and a Castle on his eccentric family in Spain. The TIFF Docs closing film is Emmanuel Gras’ Makala, which won the Grand Jury prize at Cannes’ Critics Week and portrays the heroic struggles of a subsistence laborer in the Democratic Republic of Congo.
The 42nd Toronto International Film Festival runs September 7 to 17, 2017.
The European premiere of Wim Wenders’ 
Watch some video clips and photos from the Dominican film Woodpeckers (
The World Premiere of Borg/McEnroe will kick off the 42nd 
Check out this brand new clip from 
Doris Dörrie[/caption]
Peter Machen spoke to leading German filmmaker Doris Dörrie about her remarkable film 
Fukushima, Mon Amour[/caption]
On January 1, 2016, the Japanese government decided to open the zone again because, says Dörrie, they did not want to pay the subsidies for the refugees. “People were being asked to move back, but there was nothing to move back to. So that became the nucleus of the film’s story – this old lady goes back to her destroyed house. And there’s nothing there. Nothing whatsoever. “
And was she concerned about the impact on her own long-term health and that of her crew?
“We shot in the former zone for six weeks and I was there for three months. But by then, we had done so much research. I had taken dust samples and I had gotten them analysed by the German Institute for Radioactivity and they had assured me again and again that it would be alright to take a crew there and spend several weeks there. I really tried very hard to be on the safe side because I didn’t want to take on the responsibility for the entire team. I couldn’t do that.”
“So we made very, very sure that it was going to be okay. We all wore dosimeters that keep collecting the accumulated radioactivity that you’re exposed to. And we sent them in after we got back to Germany and we were just lucky that the readings turned out to be totally okay. That was, of course, a bit of luck also. It’s of course not safe to dig in the ground, to sit under a tree, to eat berries. All of that is not safe, of course not.”
Talking about screenings of the film in Japan, Dörrie says that audiences were extremely emotional. “Everybody has a connection to Fukushima somehow. And people are so grateful to us – which really puts me to shame – but they are, because nobody ever shot a feature film in that region. Nobody. And that’s very, very touching to be thanked for. It is bizarre but sometimes it works that way – that foreigners can come in and they talk about traumas. Because they’re not affected by the trauma, sometimes it’s easier to come in from the outside and talk about these things.”
But while cultural distance has its advantages, there are always dangers to telling other people’s stories. Which is why Dörrie says that she always insists on having her perspective in films that deal with other cultures. “Because I wouldn’t dare talk about Japan from a Japanese viewpoint. So that’s why I have the young German in the film, who goes to Japan, who doesn’t know anything about it, who is a fool, the traditional fool, who is very innocent on one hand but also quite ignorant. And I need to have that perspective because that’s, of course, my perspective. As much as I read up and I do research, I’m still ignorant about a lot of things. Because you can never get the inside perspective on a country. So I need to have that perspective from the outside in the story itself.”
https://www.youtube.com/watch?v=0RJga_xGoSY
via press release.