• MOONLIGHT Partners with President Obama’s ‘My Brother’s Keeper’ Mentoring Program

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    MOONLIGHT Partners with President Obama’s ‘My Brother’s Keeper’ In celebration of Black History Month, MOONLIGHT is partnering with My Brother’s Keeper Alliance, a mentoring program started by President Obama’s Administration for young men of color to empower them with the resources and support to achieve their full potential regardless of circumstance. The screenings kicked off earlier this week in Los Angeles with My Brother’s Keeper and attended by dozens of young men from several local high schools. After the film, Mike Muse of My Brother’s Keeper moderated a talk-back session with the students and MOONLIGHT’s Oscar-Nominated stars Mahershala Ali, Naomie Harris, writer/director Barry Jenkins, and writer Tarell Alvin McCraney. A screening and talk back with high schoolers in New York is also set for next week. MOONLIGHT chronicles the life of Chiron, a boy growing up in a rough neighborhood of Miami, Florida. Lauded by critics and audiences alike, the film is nominated for eight Academy Awards®, including Best Picture, Best Director, Best Adapted Screenplay, Best Actor in a Supporting Role (Mahershala Ali), and Best Actress in a Supporting Role (Naomie Harris). To date, MOONLIGHT has won the Golden Globe® for Best Picture – Drama and was nominated for an additional five Golden Globes®, and Screen Actors Guild Award for Outstanding Male Actor in a Supporting Role (Mahershala Ali). The film is also nominated for five Independent Spirit Awards, and additionally is the this year’s recipient of the Spirits’ Robert Altman Award, which honors an outstanding ensemble cast in a motion picture. MOONLIGHT has been named the Best Picture of 2016 by the Gotham Awards, the Los Angeles Film Critics Association, The National Society of Film Critics, and The New York Times, among many others. [gallery type="rectangular" size="medium" ids="20507,20511,20510,20509,20508"]  

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  • Watch the First Trailer for Horror Film IT COMES AT NIGHT Starring Joel Edgerton

    IT COMES AT NIGHT The horror film IT COMES AT NIGHT, starring Joel Edgerton has released its terrifying first trailer and poster.  A24 will release IT COMES AT NIGHT, Trey Edward Shults’ follow-up to the critically acclaimed KRISHA on August 25th. Imagine the end of the world— Now imagine something worse. Award-winning filmmaker Trey Edward Shults follows his incredible debut feature Krisha with It Comes At Night, a horror film following a man (Joel Edgerton) as he is learns that the evil stalking his family home may be only a prelude to horrors that come from within. Secure within a desolate home as an unnatural threat terrorizes the world, the tenuous domestic order he has established with his wife and son is put to the ultimate test with the arrival of a desperate young family seeking refuge. Despite the best intentions of both families, paranoia and mistrust boil over as the horrors outside creep ever-closer, awakening something hidden and monstrous within him as he learns that the protection of his family comes at the cost of his soul. https://www.youtube.com/watch?v=sKnigN8OiNc

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  • French Erotic Thriller SEX DOLLS Opens in Theaters on Friday, February 10 | Trailer

    SEX DOLLS Check out the trailer for the French erotic thriller SEX DOLLS starring César Award winner Hafsia Herzi. The film, written and directed by Sylvie Verheyde, and co-starring Ash Stymest, Karole Rocher, Paul Hamy, opens in theaters – in New York at the IFC Center, and in Los Angeles at the Arena Cinelounge, Hollywood – on VOD Friday February 10th. A high-priced call girl navigates the shadowy world of London’s sex trade underground in this provocative, erotic thriller. Virginie (César Award winner Hafsia Herzi) goes about her work as a prostitute with a cool detachment, trading sex with wealthy businessmen for money, but never getting emotionally involved. That all changes when she meets Rupert (Ash Stymest), an enigmatic stranger with unclear intentions. Risking everything, Virginie plunges into a dangerous affair that tears her between a ruthless madame who forbids romantic attachments and a dark, sexy man who could be her savior or her downfall.

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  • DISGRACED, Documentary on Basketball Star Patrick Dennehy to World Premiere at SXSW 2017

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    [caption id="attachment_20497" align="aligncenter" width="1200"]Disgraced. Former Baylor basketball coach Dave Bliss. | Credit: M. Andrew Barrera DISGRACED – Former Baylor basketball coach Dave Bliss. | Credit: M. Andrew Barrera[/caption] The documentary DISGRACED, which recounts the shocking murder of Baylor University men’s basketball star Patrick Dennehy as well as an attempted cover-up of NCAA rule violations, will world premiere at the 2017 SXSW Film Festival, followed by its debut on SHOWTIME on March 31. DISGRACED examines the tragic events surrounding the 2003 murder of Dennehy, to which fellow teammate and friend Carlton Dotson pled guilty in the only known instance in the history of the NCAA where one student-athlete was convicted of murdering another. Through first-hand accounts from students, investigators, family and friends, DISGRACED calls into question the plea and conviction of Dotson. The film also includes exclusive and revealing interviews with former head coach Dave Bliss, who directly addresses the attempted cover-up and secretly recorded statements he made in 2003 that implicated him in NCAA rule violations. The violations, revealed in part by whistle blower and then assistant coach Abar Rouse, ultimately led to Bliss’ resignation and a partial ban on NCAA play for the Baylor Bears basketball team. “This is a complex story, told through powerful first-person accounts, about both a senseless murder and an attempted cover-up of NCAA rule violations that still reverberate within Baylor University and collegiate athletics to this day,” said Stephen Espinoza, Executive Vice President and General Manager, SHOWTIME Sports. “DISGRACED is yet another provocative, compelling and culturally relevant documentary delivered with the inside perspective that has become the hallmark of unscripted programming from SHOWTIME Sports.” Recruited by Coach Bliss, Dennehy was a standout player with a bright future until the 6-foot-10 forward went missing under a set of bizarre circumstances. The murder and then the attempted cover-up of improper payments to players rocked the Baptist university in Waco, Texas. Ultimately, Dotson pled guilty and the university and Bliss were cited for multiple NCAA rule violations. Bliss essentially was ousted from NCAA basketball for 10 years. In contemplating his involvement in the attempted cover-up, his 2003 resignation and his religious faith, Bliss said, “A question that a man always has to ask himself when he goes through something like I went through, are you in a better spot than you were before? Was it worth it? And the answer to me is yes.” Bliss recently returned to coaching at Southwestern Christian University in Oklahoma competing in the National Association of Intercollegiate Athletics (NAIA).

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  • Michael Almereyda Wins San Francisco Film Society Inaugural Sloan Science in Cinema Fellowship

    [caption id="attachment_20485" align="aligncenter" width="800"]Michael Almereyda Michael Almereyda[/caption] The San Francisco Film Society has selected Michael Almereyda as the inaugural recipient of the Sloan Science in Cinema Filmmaker Fellowship, which will support the development of the screenplay for his upcoming narrative feature project about Nikola Tesla. The Sloan Science in Cinema Filmmaker Fellowship is funded by the Alfred P. Sloan Foundation as part of their support of programs that cultivate and champion films that explore scientific or technological themes and characters. Under the auspices of its Artist Development program, the SF Film Society will award fellowships to filmmakers developing screenplays that tell stories related to science or technology. The Sloan Science in Cinema Filmmaker Fellowship will be awarded twice annually, and include a $35,000 cash grant and a two-month residency at FilmHouse, the Film Society’s suite of production offices for local and visiting independent filmmakers. Fellows will gain free office space alongside access to weekly consulting services and professional development opportunities. The Film Society will connect each fellow to a science advisor with expertise in the scientific or technological subjects at the center of their screenplays, as well as leaders in the Bay Area’s science and technology communities. In addition to the residency and grant, the Film Society’s Artist Development team will offer industry introductions to producers and casting, financing, and creative advisors — investing in fellows from early script development stages through to release. Additional filmmaker support programs include the SF Film Society / Kenneth Rainin Foundation Filmmaking Grant, the Documentary Film Fund and full-year FilmHouse residencies. “I’m grateful for the ongoing support and encouragement of the San Francisco Film Society and the Sloan Foundation,” said Almereyda. “I’m looking forward to spending time in San Francisco, meeting with advisors in the area and having access to the city’s rich cultural resources.” Michael Almereyda dropped out of college to pursue filmmaking, and wrote his first screenplay about Nikola Tesla, the very subject he returns to now. His films have alternated between fiction and documentary, and (with very few exceptions) have been self-generated, independent productions. Almereyda has received numerous awards and prizes, including a Guggenheim Fellowship for film/video in 2005, and a Creative Capital Grant for filmmaking in 2014. He has participated in five residencies at the MacDowell Colony in New Hampshire, most recently in 2015. Almereyda’s writing on film has appeared in the New York Times, Film Comment, Artforum, and booklets for the Criterion Collection. His film credits include Hamlet (2000), William Eggleston in the Real World (2005), Paradise (2009), Experimenter (2015), and Marjorie Prime, which premiered at the 2017 Sundance Film Festival and was awarded the Sloan Feature Prize. Tesla tracks the struggles and achievements of Nikola Tesla — one of the most brilliant and innovative scientific minds of his time — from his arrival in the US in 1884 to his solitary death in a New York hotel room in 1943. The story chronicles Tesla’s earliest patents and prototypes, his manufacturing partnership with George Westinghouse, and the fierce “Battle of the Currents” that brought Tesla’s ideas for alternating current head to head with the direct current system favored by Thomas Edison. Celebratory exhibitions at the 1893 World’s Fair lead to a coveted commission to design the titanic power station harnessing the force of Niagara Falls. Yet even at the peak of his fame and success, Tesla sets out to explore more radical ideas — the first applications of radio and radio-controlled machines, and the transmission of energy without wires. The film will highlight the glorious possibilities brought forth by technological advances while also admitting their limits, measured against the abiding mysteries of human feelings and desires. Applications are now being accepted for the next round of the Sloan Science in Cinema Filmmaker Fellowship. The early deadline for applications is April 18; the final deadline is April 25. Visit San Francisco Film Society for more details.

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  • Berlinale 2017: Festival to Honor John Hurt with a Screening of “An Englishman in New York”

    [caption id="attachment_20481" align="aligncenter" width="1200"]John Hurt in An Englishman in New York by Richard Laxton John Hurt in An Englishman in New York by Richard Laxton[/caption] The Berlin International Film Festival will present a special screening of An Englishman in New York by Richard Laxton to commemorate the recently deceased actor John Hurt.  In 2009 Hurt received the Teddy Award for his outstanding performance in this film. Since the 1990s he had attended the Berlinale with regularity and starred in twelve films presented at the festival. The British actor is know for his roles in Midnight Express (dir: Alan Parker, 1978) and The Elephant Man (dir: David Lynch, 1980), for which he garnered Oscar nominations. Younger audiences are acquainted with Hurt from his portrayal of Mr. Ollivander in the Harry Potter films, and more recently in Jackie directed by Pablo Larraín. Berlinale entries with John Hurt that screened in the Competition include The Commissioner (dir: George Sluizer, 1998), V for Vendetta (dir: James McTeigue, out of competition in 2006), and Jayne Mansfield’s Car (dir: Billy Bob Thornton, 2012). John Nossiter’s Resident Alien (1991) and Owning Mahowny by Richard Kwietniowski (2003) were shown in the Panorama.

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  • IndieCan Entertainment to Release Indie Films VICTOR WALK, THE WILL TO FLY and BROKEN from 2016 Whistler Film Festival

    [caption id="attachment_18642" align="aligncenter" width="1200"]Theo Fleury, Victor Walk Theo Fleury, Victor Walk[/caption] Two months following the Whistler Film Festival’s 16th edition, IndieCan Entertainment has acquired VICTOR WALK,  THE WILL TO FLY, and the documentary feature film BROKEN.  IndieCan Entertainment has acquired the North American and International rights to VICTOR WALK, the North American distribution rights to THE WILL TO FLY, and the Canadian distribution rights to  BROKEN. Michael David Lynch’s VICTOR WALK, which had its Canadian premiere at the 2016 Whistler Film Festival, followed former NHL All-Star, 1989 Stanley Cup winner (with the Calgary Flames) and Olympic Gold Medalist Theo Fleury’s ten day 400 kilometre walk from Toronto to Ottawa to draw attention to the light sentences meted out to convicted pedophiles in Canada. The statistics are horrific: one out of five males and one out of three females in Canada will be sexually molested before they are adults, and very few people ever report the crime. The response that Fleury and Lynch captured along the journey captured in VICTOR WALK is truly astounding. Every step of the way, hockey fans came out to show their support for Fleury, who believes that talking about it is the first step, not only to personal healing, but to changing the laws of the country so that child abuse is no longer treated as a minor crime. Fleury was in the news last fall when the coach who sexually molested him, and many other young hockey players, was let out of prison after a relatively short incarceration for his pedophilic crimes. Fleury’s walk brought attention to the plague of child sexual abuse, promoted healing amongst the survivors and aimed to lobby for stiffer laws against predators. Fleury received WFF’s 2016 Humanitarian Award for his commitment to making a difference. IndieCan Entertainment will release the film theatrically in Spring 2017 following its run on the festival circuit THE WILL TO FLY, by Australian directors Katie Bender and Leo Baker’s, received its Canadian Premiere at the 2016 Whistler Film Festival, and won both WFF’s Mountain Culture Award and World Documentary Award. This extraordinary sports documentary focuses on the Olympic ambitions of Australian female skiing champion Lydia Lassila. Using a rich treasure trove of archival footage and more recent interviews with coaches and family members, the film presents a well-rounded portrait of sports determination and ambition. Even after fulfilling her dream of going to the Olympics three times, including winning a gold medal at the Vancouver 2010 Games, and becoming a young mother, the former gymnast pursues her ambition even further. She strives to perform the most dangerous and complex manoeuvre of any Olympic event: a quadruple twisting, triple somersault on skis. This jump has only been accomplished by male competitors prior to the 2014 Sochi Olympics. Even if you know little about the sport of ski jumping, this is a sight to behold, as Lydia trains to marry the beauty of ski jumping with the grace of acrobatics. Lynne Spencer’s debut documentary feature BROKEN, which had its world premiere at the 2016 Whistler Film Festival, is an extraordinarily intimate portrait of Simone Orlando, Ballet BC’s lead dancer for twelve years. Can injury destroy a life’s passion? This is a question that affects every dancer, performer (or athlete) who is completely devoted to a single pursuit and is faced with an injury that threatens that very way of life. During rehearsals for a new ballet, Simone suffered an injury that was so severe; she could hardly walk, let alone dance. Hiding her affliction with painkillers, she struggled on, but an MRI made it all too evident that hip surgery was required. “All the work and all the years, and for it to suddenly just slip away, it wasn’t acceptable,” said Ms. Orlando. Simone fought for the chance to make a comeback and the film features absorbing interviews, intimate access to doctor’s appointments and stunning never-before-seen photos and footage of both rehearsals and Ballet BC’s stage performances and behind the scenes politics. This film is a one of a kind study of the devotion and dedication that artists, performers and even athletes and musicians bring to their vocation, and what happens when fate intervenes to threaten their life’s work – and their identity. From November 29 to December 3, 2017 the Whistler Film Festival will welcome film fans and filmmakers to experience its 17th edition featuring fresh films, special guests, epic events, unique industry and talent programs, and time to play in North America’s premier mountain resort destination. The Whistler Film Festival combines an international film competition with a focused Industry Summit dedicated to the art and business of filmmaking in the digital age.  

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  • 8 Female Filmmakers Selected for 2017 AFI Conservatory Directing Workshop for Women

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    [caption id="attachment_20475" align="aligncenter" width="1200"]AFI 2016 Honorary Degree recipient Rita Moreno AFI 2016 Honorary Degree recipient Rita Moreno[/caption] The AFI Conservatory Directing Workshop for Women (DWW) — AFI’s filmmaker training program committed to increasing the number of women working as directors and showrunners in film and television — has revealed the eight participants for 2017–2018.   Following a recent kick-off event on the AFI Campus with DWW’s 2017 Distinguished Artist, filmmaker Paul Feig (BRIDESMAIDS, GHOSTBUSTERS, SPY and a four-time Emmy® nominee for TV’s THE OFFICE), the Class of 2018 will embark on a year of mentorship, collaboration and creation to make a short film or series — all in preparation for professional success in narrative directing. Feig, a longtime champion of female creators through his film and television work and his production banner Feigco Entertainment, fielded questions from the incoming DWW participants in an intimate meet-and-greet on Friday, February 3, on campus. “To meet with this amazingly impassioned group of diverse, talented filmmakers is a dream come true,” said Feig. “I salute the AFI for their strong support of female storytellers. We need their voices more than ever.” The DWW Class of 2018 filmmakers are: Beth de Araújo, Georgia Fu, Milena Govich, Tiffany Johnson, Katrelle Kindred, Nancy Mejía, Gandja Monteiro and Lorraine Nicholson. BETH DE ARAÚJO A dual citizen in the U.S. and Brazil, Beth de Araújo was born in San Francisco to a Chinese-American mother and a Brazilian father. She acquired a soccer scholarship to UC Berkeley, where she studied institutions, behavior and poetry, graduating with a BA in Sociology. She also spent a semester abroad at Hong Kong University creating an independent study focused on gender, sexuality and religion. She discovered she wanted to be a storyteller, leading her to acquire her MFA in Screenwriting at the AFI Conservatory. Her most recent screenplay, “I Want to Marry a Creative Jewish Girl,” based on her Gawker essay, won Best Screenplay Runner-up in the HollyShorts 2016 Screenplay Competition. Her latest short film as director/writer, INITIATION, premiered in September 2016 at the Oscar®-qualifying Los Angeles Shorts Film Festival. Currently, de Araújo is a staff writer/associate producer on a new one-hour comedy anthology series for Lifetime Movie Network, MY CRAZY SEX, which will premiere in early 2017. She will also make her TV directorial debut on two episodes of the series. GEORGIA FU Georgia Fu was born in Taipei, Taiwan, but immigrated to California with her parents when she was two years old. She found cinema as a way into understanding American culture, and ever since has had an avid passion for seeing life through the lens of film. For her undergraduate degree, she attended New York University’s (NYU) Tisch School of the Arts for Cinema Studies with a minor in East Asian Studies. In college, she gained valuable film experience working for the production company ThinkFilm and producer Barbara De Fina (GOODFELLAS). After college, she spent more than a year in Taiwan taking on the important task of relearning her native language, Chinese, at National Taiwan University. After Taiwan she was able to continue her passion for moving around the world, living in Paris and Hong Kong, while working at the photo desk at the International Herald Tribune. After her stint in journalism, she returned to her love of film by pursing her graduate degree at NYU’s Tisch Asia in Singapore. While at Tisch Asia, she made the short film GIGANTIC (2012), which screened at the Slamdance Film Festival and Chicago International Film Festival, where it was nominated for the Gold Hugo Award for Best Short Film. Her latest project, her Taiwan-shot NYU grad thesis film MISS WORLD, is currently in post-production. Fu is also completing a photo project on incarceration under the guidance of the VII Photo Masterclass in Berlin. In addition to her own films, she has often worked as either editor or assistant director on countless productions around the world, in places as varied as Prague, Los Angeles, China, Japan, the Philippines, Taiwan, Indonesia, Macau and Hong Kong. MILENA GOVICH Milena Govich is a director, actress, singer and musician. On Broadway, she performed in “Cabaret” at Studio 54, “Boys From Syracuse” and “Good Vibrations.” On television, she acted in starring roles on FINDING CARTER (MTV), LAW & ORDER (NBC) and CONVICTION (NBC), and recurred on a number of others, most notably RESCUE ME (FX). On film, she starred opposite Steve Guttenberg in A NOVEL ROMANCE (2011) and opposite Method Man in #LUCKY NUMBER (2015). She has regularly performed onstage in the popular For the Record performance series in Los Angeles. Govich has mentored with more than a dozen established film and television directors. She made her first official foray into directing this past year with the short film TEMPORARY. A native of Norman, OK, she graduated valedictorian from her high school and went on to graduate valedictorian from the University of Central Oklahoma with a double major in Pre-Med and Vocal Performance, as well as minors in Dance and Violin. She is currently developing TV and film projects with her husband and producing partner, writer David Cornue. TIFFANY JOHNSON Hailing straight out of Compton, Tiffany Johnson is a filmmaker and storyteller. Since graduating from film school, she has worked for several TV and film production companies such as CBS, Overbrook Entertainment and Film Independent, and has assisted Academy Award®-winning producer Peggy Rajski. For the past few years, she has freelanced as a producer on numerous live television award shows. Her credits include MTV Movie Awards, MTV Video Music Awards, NAACP Image Awards, People’s Choice Awards and the Primetime Emmys®. In 2014, she directed her second short film, LADYLIKE. A collaboration with creative partner Nicholas P. Williams, LADYLIKE screened at multiple festivals including the San Francisco Black Film Festival, the Lower East Side Film Festival and the Diversity in Cannes showcase, where she won the Director’s Choice Award. Johnson continues to develop her own projects, including the feature-film version of LADYLIKE. She is currently in post-production on her latest short film, DEAD GAY FICTIONAL. KATRELLE KINDRED A native of South Los Angeles, Katrelle Kindred is an award-winning director, writer and producer. After teaching English Language Arts in Compton, CA, Kindred completed her graduate studies in Film Production at USC’s School of Cinematic Arts. Her short film, SON SHINE (2013), played dozens of film festivals across the country, winning several awards including Best Narrative at the Humboldt International Film Festival; the San Francisco Black Film Festival’s Ava Montague Award; and Best Actor at the Los Angeles Women’s International Film Festival. Her producing work includes 2015’s Student Academy Award Gold winner LOOKING AT THE STARS, and THE BIG CHOP (2016), which was optioned to HBO. In the future, Kindred would like to continue creating honest stories that focus on global, social issues and on people often unheard. NANCY MEJÍA Nancy Mejía is a director/writer from Los Angeles, CA. A first-generation Salvadoran American, she endeavors to explore and share original portrayals of diverse, overlooked communities. She was awarded the 2014 Latino Film Fund Seed Grant and 2015 Latino Screenwriting Project Fellowship, a lab organized with consulting support from the Sundance Institute. Her short, MATEO (2014), about a Latino teen’s fraught relationship with his abusive father, aired on El Rey Network in celebration of Hispanic Heritage Month. Her dramatic screenplay “Jennifer’s Tigers” — a coming-of-age story following a relationship between an African-American girl and a Caucasian girl in the mid-20th-century American South — was a 2014 quarterfinalist for the Academy Nicholl Fellowship in Screenwriting and selected as part of the National Association of Latino Independent Producers’ 2015 Diverse Women in Media Residency Lab. Recently, she was a finalist for the 2016-18 ABC-Disney Directing Program. For the past year, she has been in development with MiTú network working on a scripted teen drama series. Currently, she is co-creating a supernatural comedy-horror series, DARK WOLF GANG. GANDJA MONTEIRO Gandja Monteiro is a director, writer and producer based in Los Angeles and São Paulo. Raised between New York’s Lower East Side and Brazil, she has been making films since she was 17 and traveling the world since she was just three months old. This early exposure to such vast cultures instilled a curiosity that has always inspired and informed her work. Since graduating in film from NYU’s Tisch School of the Arts, she has directed work in more than a dozen countries, four continents and eight languages. Her narrative short ALMOST EVERY DAY (2009) won international visibility in festivals such as Tribeca and Palm Springs, and went on to be shortlisted for the Academy Awards®. Monteiro has directed commercials and branded content for industry heavy-hitters such as Nike, Adidas, Coca-Cola, AT&T, Chevrolet and Smirnoff, among others. She recently wrapped production on her first TV project, an hour-long episode for HBO’s documentary series YOUTH, produced by Prodigo Films. LORRAINE NICHOLSON Director/writer Lorraine Nicholson most recently completed her third short film, LIFE BOAT. Nicholson’s first short, THE INSTANT MESSAGE, explores teenage sexuality in the internet age. Her second short, THIS MAGIC MOMENT, depicts the unconventional love between a movie star and her stalker. Additional writing and directing credits include R.I.P., an eight-episode web series on Blumhouse’s CrypTV, which champions new voices in filmmaking. Additionally, Nicholson brought her fresh perspective to up-and-coming artist Hana’s music video for “Clay,” and to a trio of stop-motion videos she co-directed for Grammy®-nominated artist Tommy Trash’s “Luv U Giv” EP. She also worked as a staff writer on Bret Easton Ellis’ series THE DELETED. Nicholson has honed her filmmaking skills working as an actress for 10 years. Her wide range of credits include the feature films CLICK (2006) with Adam Sandler, SOUL SURFER (2011) with Helen Hunt and Bobcat Goldthwait’s WORLD’S GREATEST DAD (2009). Born and raised in Los Angeles, Nicholson graduated from Brown University in 2012. The 2017 DWW Showcase for this year’s graduating class of participants, who began their work in the program last year, will take place on April 18, 2017, at the DGA Theater in Los Angeles.

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  • Portland International Film Festival Announces 2017 After Dark Lineup

    [caption id="attachment_20266" align="aligncenter" width="1350"]THE INVISIBLE GUEST THE INVISIBLE GUEST[/caption] The After Dark program of the 40th Portland International Film Festival (PIFF) will showcase late night movies like Emiliano Rocha Minter’s We Are the Flesh, Kiyoshi Kurosawa’s (Pulse) Daguerrotype, André Øvredal’s (Troll Hunter) The Autopsy of Jane Doe, Nicholas Pesce’s The Eyes of My Mother, and Oriol Paulo’s (The Body) The Invisible Guest. As in past years, PIFF After Dark presents films chosen with adventurous festival attendees in mind.

    40th Portland International Film Festival After Dark Lineup

    The Invisible Guest (Dir. Oriol Paulo) – Spain/South Korea As a suspect is prepped for court testimony, the story of the crime, a murder in a hotel room where only two people—the accused and the victim—were present, deepens as new details emerge with each retelling. Director Oriol Paulo’s (The Body) film is Rashomonic in structure, but keeping the action centered entirely on one person’s shifting account of the abominable act. An exquisitely intelligent and tense thriller crafted for adult audiences. “Early on, certain points are so ridiculously made and ‘on the button’ that they elicit laughter. Rest assured, that’s intentional. The Invisible Guest goes beyond locked rooms into the forbidden territory of adult motivations.” – Peter Martin, Screen Anarchy In Spanish with English subtitles. (106 mins.) https://vimeo.com/185461129 PRECEDED BY: Manoman Dir. Simon Cartwright | United Kingdom A man undergoing primal scream therapy releases his own Mr. Hyde, and then hits the town with him. (11 mins.) We Are the Flesh (Dir. Emiliano Rocha Minter) – Mexico The most transgressive film in this year’s program, Minter’s trance-inducing debut feature concerns a brother and sister drawn into an underground sanctuary inhabited by a lone stranger. In return for shelter, the man demands they push themselves into a series of shocking ritualistic actions with each other, their newfound guardian, and those who visit the subterranean and fleshy, womb-like structure they begin constructing. “His thoroughly arresting vision could squat quite comfortably alongside Hieronymus Bosch’s depiction of hell.”—Variety. (79 mins.) Adult Audiences. “Serving as co-editor as well as writer and director, Emiliano Rocha Minter is very much the author of all the chaos wrought here, and his thoroughly arresting vision could squat quite comfortably alongside Hieronymus Bosch’s depiction of hell.” – Catherine Bray, Variety In Spanish with English subtitles. (79 mins.) https://youtu.be/hC_wtrAdF2E PRECEDED BY: Judy Ariel Gardner, Alex Kavutskiy | United States “A film about male entitlement and the role of women in society—a smart and funny movie that says a whole lot in ten minutes.”—Catherine Bray, Birth. Movies. Death. (11 mins.) Directors Ariel Gardner and Alex Kavutskiy in attendance A Dark Song (Dir. Liam Gavin) – Ireland/United Kingdom A grieving mother (Catherine Walker) hires a man (Steve Oram) well-versed in the occult to help bring her son back to life. The genius of writer/director Liam Gavin’s film is how, unlike most films with a supernatural conceit, it paints its character’s attempts to break on through to the other side as humorous, highly questionable, and above all, time consuming. Favoring the notion that the journey is just as important as the destination, A Dark Song upends audience expectations of how horror films about people trying to resurrect their loved ones ought to operate. “A Dark Song is more concerned with psychological demons than the supernatural kind, and all the stronger for it.” – Stephen Dalton, The Hollywood Reporter (100 mins.) https://youtu.be/IeZ9OQ6ocP0 PRECEDED BY: The Man from Death Stephen Reedy | United States A manic homage to spaghetti Westerns, video game iconography, and ADHD. (13 mins.) The Eyes of My Mother (Dir. Nicolas Pesce) – United States A young girl named Francisca witnesses a terrible act of violence perpetrated by a stranger upon her mother. Years later, the child has grown into a solitary woman whose life on the same farm where those events occurred has devolved into a cycle of caring for her family’s livestock and a mysterious figure sequestered away in the barn. When Francisca finally opens herself up to human contact, however, it threatens to both break the patterns she’s established and rip the precariously hung safety net out from below her feet. Director Nicolas Pesce’s debut film is a visual treat, filled with breathlessly orchestrated passages, and forbidden fruit that’s rotten to the core. “If Ingmar Bergman had helmed The Texas Chain Saw Massacre, it might look something like this exquisite nightmare.”—The A.V. Club. (76 mins.) https://youtu.be/H5cmrW-Ej84 PRECEDED BY: The Dog Hallvard Holmen, Aleksander Nordaas | Norway A child watches as a squabble between neighbors unfolds. (10 mins.) Daguerrotype (Dir. Kiyoshi Kurosawa) – Japan Japanese horror master Kiyoshi Kurosawa’s continues his winning stream with this patient and elegantly rendered ghost story set in modern-day France. Jean (Tahar Rahim) is hired as the assistant to Stéphane, a former fashion photographer who wallows in grief for his late wife while stubbornly clinging to the antiquated, long-exposure process of daguerreotype photography. As Jean learns the ropes, he begins to fall for Stéphane’s daughter Marie who endures, as her mother did in the past, the painful and physically demanding role of modeling for her father’s images. In French with English subtitles. “You’ll need patience for it to work on you, but all effort’s repaid tenfold, thanks to Kurosawa’s murmur-soft, immaculate craft and a trio of gorgeous central performances.” – Robbie Collin, The Telegraph https://vimeo.com/180867219 PRECEDED BY: Overtime Craig D. Foster | Australia Workplace stresses conspire to bring out the inner beast when mandatory overtime comes into play. (9 mins.) Without Name (Dir. Lorcan Finnegan) – Ireland Eric, a surveyor by trade, is hired by a corporate developer to assess a large plot of ancient forest. Superstitious warnings from the locals about the area, the discovery of a handwritten book filled with hallucinogenic recipes and half-mad ravings about trees, and a shadowy figure have Eric on edge. First time director Lorcan Finnegan’s eco-horror tale not only offers up the most vivid dose of paranoia tied to location since Polanski’s The Tenant, it also throws down the gauntlet for the creepiest trees captured on film this decade. “Without Name is the truest, and perhaps finest, example of the Lovecraftian sensibility ever put on film.” – Peter Gutierrez, Screen Anarchy (93 mins.) https://youtu.be/cd4K6qICqC8 PRECEDED BY: Strangers in the Night Conor McMahon | Ireland While protecting his grandmother from a banshee, Damien is overcome by unexpected feelings for the creature. (12 mins.) The Autopsy of Jane Doe (Dir. André Øvredal) – United Kingdom/United States A father (Brian Cox) and son (Emile Hirsch) coroner team delve into the mystery of a body discovered at a site of multiple murders. Unlike the other casualties of the crime, the corpse delivered to them is untouched by the multiple traumas visited upon the other victims. The deeper the two dig into this fleshy puzzle, the more disturbing secrets, residing tantalizingly below the surface, are revealed. “The Autopsy of Jane Doe is proof that Trollhunter was no fluke – André Øvredal is one of the most clever guys making genre movies today and he’s refusing to let himself get boxed into a corner.” – Jacob Hall, Slash Film (86 mins.) https://youtu.be/mtTAhXuiRTc PRECEDED BY: Limbo Will Blank | United States Stranded in the desert, a man is given a chance to wish for anything he wants. (8 mins.) For the first time, all seven PIFF After Dark shows are scheduled to happen at the Bagdad Theater (3702 SE Hawthorne Boulevard) and will include short, After Dark-themed films presented before each feature.

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  • Film Director Joseph Losey to be Honored with a Retrospective at San Sebastian Film Festival

    [caption id="attachment_20469" align="aligncenter" width="1200"]Joseph Losey Joseph Losey[/caption] Film director Joseph Losey will be honored with a retrospective at the 65th edition of the San Sebastian Film Festival and the Spanish Film Archive. In the seventies, Joseph Losey represented the greatest expression of auteur or art-house cinema with works like The Servant (1963), King and Country (1964), Accident (1967) and The Go-Between (1971), all of which, with the exception of the second, were written by the playwright Harold Pinter. But before becoming a leading figure of European independent film, Losey endured a complicated situation like so many others affected by the reprisals of the Hollywood witch hunt from 1947 onwards. His work is divided into three periods: his early period in North American film until the early fifties, the prestige he achieved in the UK of the sixties and seventies and a later, more itinerant stage when he worked for Italian, French and Spanish production. Born in La Crosse, Wisconsin, in 1909, Losey turned his steps towards written and broadcast journalism, later moving into theatre. His openly left-wing beliefs led him to work on several mises en scène with Bertold Brecht and to spend a period in the former Soviet Union studying new theatre concepts. In the late thirties he started to direct short films with Metro Goldwyn Mayer, making his feature debut in 1948 with The Boy with Green Hair, a parable against war, totalitarianism and intransigence towards difference, produced by RKO. Although he did succeed in making a number of low-cost films noirs of undisguised social slant – The Lawless (1950), The Prowler (1951) and The Big Night (1951), all three penned by screenwriters blacklisted by the Un-American Activities Commission, Daniel Mainwaring, Daltun Trumbo and Ring Lardner Jr – and even a remake of Fritz Lang’s famous M in 1951, his name appeared on the blacklist for the tone of his early films and he was accused of belonging to the North American Communist Party. When called to testify, he was in Italy shooting Stranger on the Prowl / Imbarco a mezzanotte (1952). He decided not to return to the United States and settled in Britain. He released said film under the pseudonym Andrea Forzano and trade union issues prevented his name from featuring on the first two movies made in his country of adoption: in The Sleeping Tiger (1954), first collaboration with one of his actors fetiche, Dirk Bogarde, he is credited as Victor Hanbury and, in The Intimate Stranger (1956), as Joseph Walton. Losey took up his place in British cinema at a time of change. These were not only the days of rising Free Cinema, a trend he had no part in even if some of his earlier films made in the sixties did have a certain realistic and social angle, but also of the horror movie makers Hammer Film Productions, for which Losey started X The Unknown (1956), before he was ousted from the shooting and replaced by Leslie Norman, later directing The Damned (1962); these were Losey’s only inroads to the sci-fi domain. Following a timid attempt at integration to the great British film industry with The Gypsy and the Gentleman (1958), a Rank production headlining Melina Mercouri, his work attracted outstanding interest from the mystery movie Blind Date (1959) and the prison drama The Criminal (1961), the beginning of his collaboration with the other actor with whom he would enjoy close understanding, Stanley Baker. Until the mid-seventies, Losey alternated highly personal films reflecting on relations of power (between both men and institutional bodies) constructed around mises en scène packed with symbols (his particular use of spectacular images), with what at first glance seemed to be more commercial titles served up by the big stars of the moment and taking their inspiration from works of enormous popularity or unquestionable literary prestige. To this first group belonged the film that best defines his work, The Servant, with Pinter’s acerbic writing and the acting duel between Bogarde and James Fox, Accident (Grand Prix du Jury at the Cannes Festival), The Go-Between (Palme d’Or at Cannes) and the anti-war King and Country, played out in the British trenches of the First World War during a summary trial for desertion. The second group includes works like Eve (1962), adaptation of a novel by James Hadley Chase, starring Jeanne Moreau and which was the first of many films consecrated by Losey to female characters who irradiate a strange fascination; Modesty Blaise (1966), iconoclastic version of Peter O’Donnell and Jim Holdaway’s spy-fi comic strip featuring Monica Vitti; Boom (1968), a piece by Tennessee Williams dished up by the explosive couple Elizabeth Taylor & Richard Burton; Secret Ceremony (1968), a psychological and claustrophobic drama once again starring Elizabeth Taylor, with Robert Mitchum and Mia Farrow; A Doll’s House (1973), based on Henrik Ibsen’s piece and with Jane Fonda, David Warner and Trevor Howard, and A Romantic Englishwoman (1975), another of his defining movies, an intense and evil triangular game written by Tom Stoppard and performed by Glenda Jackson, Michael Caine and Helmut Berger. During this prolific period, Losey made hugely abstract works including Figures in a Landscape (1970), following the flight of two prisoners pursued by a mysterious helicopter (with a screenplay written by actor Robert Shaw, its leading man alongside Malcolm McDowell; the film competed in San Sebastian) and Mr. Klein (1976), with Alain Delon in the part of an unsavoury character accused of being a Jew during the Nazi occupation in France (winner of the César for Best Film). But he also shot films of obvious political accent such as L’assassinio di Trotsky / The Assassination of Trotsky (1972), with Delon as Ramón Mercader and Burton in the role of Leon Trotsky, and Les routes du Sud (1978), continuation of La guerre est finie (1966) by Alain Resnais, once again written by Jorge Semprún and with Yves Montand repeating his role of Spanish exile in constant ideological conflict. Losey returned to Brecht many years later with a cinema adaptation of Galileo (1974), based on the English translation by Charles Laughton and starring Topol, hugely popular at the time for his leading part in Fiddler on the Roof (1971). He also made the filmed opera Don Giovanni (1979) with Ruggero Raimondi and, in France, La Truite (1982) with Isabelle Huppert in the part of yet another of the director’s complex female characters. His last film was Steaming (1985) which, like the one before it, was never screened in Spain. This is a work of theatrical roots starring Vanessa Redgrave and Sarah Miles and set in London Turkish baths as they fight its closure on ladies day. Losey never saw the final cut of the film; he passed away in June 1984, almost a year before its presentation at Cannes. Losey’s relationship with the San Sebastian Festival was always complicated owing to the Franco dictatorship. In addition to Figures in a Landscape, the Festival screened The Sleeping Tiger, Boom and, in the informative section, The Go-Between.The Romantic Englishman was also selected, but the director and Glenda Jackson refused to come to the event in protest against the death sentences recently signed by Franco. After its screening in San Sebastian, the retrospective will run at the Filmoteca Española in Madrid.

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  • MOONLIGHT Named Best Film of 2016 by the Black Film Critics Circle

    [caption id="attachment_18892" align="aligncenter" width="1000"]Moonlight Moonlight[/caption] Moonlight was voted Best Film of 2016 by the Black Film Critics Circle (BFCC); Barry Jenkins was also named Best Director for Moonlight. Recognizing achievements in theatrical motion pictures, the BFCC awarded prizes in 13 categories including best picture, best director, original and adapted screenplay, best actor, best actress, best supporting actor, best supporting actress, best animated feature, best independent film, best documentary feature, best foreign film and best ensemble. Special signature awards are also given to industry pioneers and rising stars. “This has been a year of progress to cinema of color” says co-president, Mike Sargent. “Though politically it may seem we may be moving backwards.” “The recent announcement from BAFTA and the changes behind the scenes in Hollywood and the Global film industry have been represented in this years slate if films.” Their successes at the box office and acknowledgement by fellow Awards organizations denote the significance of the global black experience as captured on film.” “Congratulations to all the winners.” The complete list of 2016 Black Film Critics Circle award winners include: Best Film: Moonlight Best Director: Barry Jenkins Best Actor: Denzel Washington, Fences Best Actress: Ruth Negga, Loving Best Supporting Actor: Mahershala Ali, Moonlight Best Supporting Actress: Viola Davis, Fences Best Original Screenplay: Barry Jenkins, Moonlight Best Adapted Screenplay: August Wilson, Fences Best Cinematography: James Laxton, Moonlight Best Foreign Film: Elle from France Best Documentary: 13th Best Animated Film: Zootopia Best Ensemble: Fences BFCC Signature Awards include: Pioneer Award – Mahershala Ali This year’s BFCC Pioneer Award is given to Mahershala Ali, for contributions in TV/Film this year with ‘House of Cards’, ‘Luke Cage’, ‘Free State of Jones’, ‘Kicks’, ‘Moonlight’ and ‘Hidden’Figures’. Mahershala has proved that perseverance; artistic integrity and an unerring commitment to excellence will always yield remarkable results. Since his Acting Debut as a series regular on TV shows such as ‘Crossing Jordan’ and ‘Threat Matrix’ before his breakthrough role as Richard Tyler in the science-fiction series ‘The 4400’. To his His first major film role in the 2008’s ‘The Curious Case of Benjamin Button’. Mahershala continue to expand the boundaries of what black actors can achieve and embodies the very essence of the word Pioneer. Rising Star Award – Janelle Monae Janelle Monae’s acting work in ‘Moonlight’and ‘Hidden Figures’ shows that beyond her artistic achievements as a singer-songwriter she is a wonderful storyteller and excels in any part of that creative process. The integrity and honesty she brings to her characters and performances shows she will truly be an acting force to be reckoned with in the years ahead. Special Mention – I Am Not Your Negro Special Mention goes to the documentary “I Am Not Your Negro” By Director Raoul Peck. Based on James Baldwin’s unfinished manuscript ‘Remember This House’ and narrated by Oscar-nominated actor Samuel L. Jackson, the film explores the history of race relations in the United States through Baldwin’s reminiscences of civil rights leaders Medgar Evers, Malcolm X and Martin Luther King, Jr.. The film is both heartbreaking, powerful and vividly illustrates America’s history of racism, injustice, violence, exploitation of Black Americans. This is truly a film we felt needed special recognition. Black Film Critics Circle Top Ten Films of 2016 Top 10 1. Moonlight 2. Fences 3. La La Land 4. Hidden Figures 5. Arrival 6. Manchester By The Sea 7. Hell or High Water 8. Miss Sloane 9. Eye In The Sky 10. Miss Sharon Jones!

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  • South African Film THE WOUND to Open the Panorama Program of Berlin International Film Festival

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    [caption id="attachment_18693" align="aligncenter" width="1200"]The Wound, John Trengove The Wound, John Trengove[/caption] Just after celebrating its selection to have its world premiere in competition at the Sundance Film Festival, the film-makers of the South African film The Wound, have received news that the film has been selected to open the Berlin International Film Festival’s Panorama section in February 2017. Produced by Urucu Media, directed by John Trengove and co-written by Trengove, Thando Mgqolozana and Malusi Bengu , The Wound stars multi-talented musician and novelist, Nakhane Touré in his acting debut, with Bongile Mantsai and Niza Jay Ncoyini. The Wound tells the story Xolani, a lonely Xhosa factory worker who joins the men of his community in the mountains of the Eastern Cape to initiate a group of teenage boys into manhood. When a defiant initiate from the city discovers his best kept secret, Xolani’s entire existence begins to unravel. Speaking from Cape Town, producer Elias Ribeiro said “We could not have wished for a stronger start for The Wound. We will have the spotlight in the two top festivals in North America and Europe, and that bodes well for its future, as Pyramide, our International Sales Agents will be representing the film at their booth inside the European Film Market in Berlin in February.” “The fabrication of masculinity has long been a consistent theme in Panorama,” said the statement from the festival. “Producer Elias Ribeiro previously delighted festival audiences in Panorama 2015 with Necktie Youth.” John Trengove commented: “I was interested in what happens when groups of men come together and organize themselves outside of society and the codes of their everyday lives. I wanted to show the intense emotional and physical exchanges that are possible in these spaces and how repressing strong feelings leads to a kind of toxicity and violence. As an outsider to this culture, it was important that I approach this story from the perspective of characters who are themselves outsiders, who struggle to conform to the status quo of which they are part.”

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