Gaga: Five Foot Two[/caption]
One hundred seventy features have been submitted for consideration in the Documentary Feature category for the 90th Academy Awards. A shortlist of 15 films will be announced in December.
Films submitted in the Documentary Feature category may also qualify for Academy Awards in other categories, including Best Picture, provided they meet the requirements for those categories.
Nominations for the 90th Academy Awards will be announced on Tuesday, January 23, 2018.
The 90th Oscars will be held on Sunday, March 4, 2018, at the Dolby Theatre at Hollywood & Highland Center in Hollywood, and will be televised live on the ABC Television Network. The Oscars also will be televised live in more than 225 countries and territories worldwide.
The submitted features, listed in alphabetical order, are:
Abacus: Small Enough to Jail
Aida’s Secrets
Al Di Qua
All the Rage
All These Sleepless Nights
AlphaGo
The American Media and the Second Assassination of President John F. Kennedy
And the Winner Isn’t
Angels Within
Architects of Denial
Arthur Miller: Writer
Atomic Homefront
The B-Side: Elsa Dorfman’s Portrait Photography
Bang! The Bert Berns Story
Bending the Arc
Big Sonia
Bill Nye: Science Guy
Birthright: A War Story
Bobbi Jene
Bombshell: The Hedy Lamarr Story
Born in China
Born to Lead: The Sal Aunese Story
Boston
Brimstone & Glory
Bronx Gothic
Burden
California Typewriter
Can’t Stop, Won’t Stop: A Bad Boy Story
Casting JonBenet
Chasing Coral
Chasing Trane
Chavela
Citizen Jane: Battle for the City
City of Ghosts
Clive Davis: The Soundtrack of Our Lives
Cries from Syria
Cruel & Unusual
Cuba and the Cameraman
Dawson City: Frozen Time
Dealt
The Death and Life of Marsha P. Johnson
Destination Unknown
Dina
Dolores
Dream Big: Engineering Our World
A Dying King: The Shah of Iran
Eagles of Death Metal: Nos Amis (Our Friends)
Earth: One Amazing Day
11/8/16
Elian
Embargo
Eric Clapton: Life in 12 Bars
Escapes
Everybody Knows… Elizabeth Murray
Ex Libris – The New York Public Library
Extraordinary Ordinary People
Faces Places
The Farthest
The Final Year
Finding Oscar
500 Years
Food Evolution
For Ahkeem
The Force
The Freedom to Marry
From the Ashes
Gaga: Five Foot Two
A German Life
Get Me Roger Stone
Gilbert
God Knows Where I Am
Good Fortune
A Gray State
Hare Krishna! The Mantra, the Movement and the Swami Who Started It All
Harold and Lillian: A Hollywood Love Story
Hearing Is Believing
Hell on Earth: The Fall of Syria and the Rise of ISIS
Human Flow
I Am Another You
I Am Evidence
I Am Jane Doe
I Called Him Morgan
Icarus
If You’re Not in the Obit, Eat Breakfast
The Incomparable Rose Hartman
An Inconvenient Sequel: Truth to Power
Intent to Destroy
Jane
Jeremiah Tower The Last Magnificent
Jim & Andy: The Great Beyond – Featuring a Very Special, Contractually Obligated Mention of Tony Clifton
Joan Didion: The Center Will Not Hold
Joshua: Teenager vs. Superpower
Karl Marx City
Kedi
Keep Quiet
Kiki
LA 92
The Last Dalai Lama?
The Last Laugh
Last Men in Aleppo
Legion of Brothers
Let It Fall: Los Angeles 1982 – 1992
Let’s Play Two
Letters from Baghdad
Long Strange Trip
Look & See
Machines
Man in Red Bandana
Mr. Gaga: A True Story of Love and Dance
Motherland
Mully
My Scientology Movie
Naples ’44
Neary’s – The Dream at the End of the Rainbow
Night School
No Greater Love
No Stone Unturned
Nobody Speak: Trials of the Free Press
Nowhere to Hide
Obit
Oklahoma City
One of Us
The Paris Opera
The Pathological Optimist
Prosperity
The Pulitzer at 100
Quest
Rancher, Farmer, Fisherman
The Rape of Recy Taylor
The Reagan Show
Restless Creature: Wendy Whelan
Risk
A River Below
Rocky Ros Muc
Rumble: The Indians Who Rocked the World
Santoalla
School Life
Score: A Film Music Documentary
Served Like a Girl
The Settlers
78/52
Shadowman
Shot! The Psycho Spiritual Mantra of Rock
Sidemen: Long Road to Glory
The Skyjacker’s Tale
Sled Dogs
Soufra
Spettacolo
Step
Stopping Traffic: The Movement to End Sex-Trafficking
Strong Island
Surviving Peace
Swim Team
Take Every Wave: The Life of Laird Hamilton
Take My Nose… Please!
They Call Us Monsters
32 Pills: My Sister’s Suicide
This Is Everything: Gigi Gorgeous
Tickling Giants
Trophy
Twenty Two
Unrest
Vince Giordano – There’s a Future in the Past
Voyeur
Wait for Your Laugh
Wasted! The Story of Food Waste
Water & Power: A California Heist
Whitney. Can I Be Me
Whose Streets?
The WorkA Gray State
A Gray State
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28th Stockholm International Film Festival Announces Lineup, THE SHAPE OF WATER, DOWNSIZING and More
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Sally Hawkins and Octavia Spencer in the film THE SHAPE OF WATER.[/caption]
150 films from 60 different countries have been selected to be screened at the 28th Stockholm International Film Festival that takes place from the November 8th to the 19th.
A third of the films in this year’s festival program are directed by first-time filmmakers, the festival is also joined by legends such as this year’s Lifetime Achievement Award-winner Vanessa Redgrave.
After a long and successful Hollywood-career 80 year old Vanessa Redgrave makes her debut as a director with the documentary Sea Sorrow. The film focuses on the global refugee crisis and is a part of this years Spotlight – Change.
This years Visionary Award recipient is the director Pablo Larraín. Larraín is the director behind the Academy Award-nominated Jackie (2016); he is now attending the Stockholm Film festival with his latest film Neruda.
The premiere movie of this year’s film festival is the critically acclaimed film The Shape Of Water by the director behind the Academy Award-winning Pan’s Labyrinth Guillermo del Toro. Del Toro also won the Gold Lion at the Venice Film Festival earlier this year.
A selection of other films that will be screened are: Thelma by Joachim Trier, Call Me By Your Name by Luca Guadagnino, The Party by Sally Porter, Three Billboards Outside Ebbing, Missouri by Martin McDonagh and last but not least Downsizing by Alexander Payne.
Stockholm International Film Festival – Program 2017
Stockholm XXVIII Competition
A Ciambra by Jonas Carpignano (Italy, France, USA, Germany, 120 min) Ava by Léa Mysius (France, 106 min) Beach Rats by Eliza Hittman Co (USA, 95 min) Beast by Michael Pearce (Great Britain, 107 min) Falling by Marina Stepanska (Ukraine, 105 min) Gabriel And The Mountain by Fellipe Gamarano Barbosa (Brazil, France, 127min) God’s Own Country by Francis Lee (Great Britain, 104 min) I Am Not A Witch by Rungano Nyoni (Great Britain, France, 92 min) Insyriated by Philippe Van Leeuw (Belgium, France, Liban, 85 min) Jeune Femme by Léonor Serraille (France, 97 min) King Of Peking by Sam Voutas (USA, Australia, China, 88 min) La familia by Gustavo Rondón Córdova (Venezuela, Chili, Norway, 82 min) Los Perros by Marcela Said (Chile, France, 94 min) No Date, No Signature by Vahid Jalilvand (Iran, 100 min) One Thousand Ropes by Tusi Tamasese (New Zealand, 98 min) The Rider by Chloé Zhao (USA, 105 min) Son of Sofia by Elina Psikou (Bulgaria, France, Greece, 105 min) Where The Shadows Fall by Valentina Pedicini (Italy, 95 min)Stockholm XXVIII Documentary Competition
A Gray State by Erik Nelson (USA, 93 min) Copwatch by Camilla Hall (USA, 99 min) For Ahkeem by Jeremy S. Levine and Landon Van Soest (USA, 89 min) The Force by Peter Nicks (USA, 93 min) Lots of Kids, A Monkey, And A Castle by Gustavo Salmerón (Spain, 90 min) The New Radical by Adam Bhala Lough (USA, 120 min) Step by Amanda Lipitz (USA, 83 min) Tarzan’s Testicles by Alexandru Solomon (Romania, France, 107 min) This is Congo by Daniel McCabe (Democratic Republic of Congo, USA, Canada, 91 min) This Is Everything: Gigi Gorgeous by Barbara Kopple (USA, 91 min) True Conviction by Jamie Meltzer (USA, 84 min) The Venerable W by Barbet Schroeder (France, Switzerland, 100 min)Stockholm Impact
Cardinals by Grayson Moore and Aidan Shipley (Canada, 84 min) The Last Verse by Ying`Ting Tseng (Taiwan, 100 min) My Pure Land by Sarmad Masud (Great Britain, 92 min) Searing Summer by Ebrahim Irajzad (Iran, 83 min) Wild Roses by Anna Jadowska (Poland, 89 min)Open Zone
A Fantastic Woman by Sebastián Lelio (Chile, USA, Germany, Spain, 104 min) A Man Of Integrity by Mohammad Rasoulof (Iran, 117 min) Amant Double by François Ozon (France, 110 min) April’s Daughter by Michel Franco (Mexico, 102 min) Based On A True Story by Roman Polanski (France, 110 min) Call Me By Your Name by Luca Guadagnino (Italy, France, 130 min) Free And Easy by Jun Geng (Honk Kong, 97 minutes) Gisslan by Rezo Gigineishvili (Russian Federation, Georgia, Poland, 103 min) Have A Nice Day by Liu Jian (China, 75 min) Ice Mother by Bohdan Sláma (Czech Republic, Slovakia, France, 105 min) Mr. Long by Sabu (Japan, Hong Kong, China, Taiwan, Germany, 129 min) On The Beach At Night Alone by Hong Sang`Soo (South Korea, 101 min) Our Time Will Come by Ann Hui (Honk Kong, 130 min) Radiance by Naomi Kawase (Japan, France, 101 min) Thelma by Joachin Trier (Norway, France, 109 min) The Shape Of Water by Guillermo del Toro (USA, 119 min) The Wandering Soap Opera by Raúl Ruiz and Valeria Sarmiento (Chile, 80 min) The Workshop by Laurent Cantet (France, 113 min)American Independents
Band Aid by Zoe Lister`Jones (USA, 94 min) The Boy Downstairs by Sophie Brooks (USA, 91 min) Brigsby Bear by Dave McCary (USA, 100 min) Crown Heights by Matt Ruskin (USA, 99 min) The Endless by Aaron Moorhead, Justin Benson ( USA, 111 min) The Florida Project by Sean Baker (USA, 115 min) Gemini by Aaron Katz (USA, 93 min) Ingrid Goes West by Matt Spicer (USA, 97 min) Kings by Deniz Gamze Ergüven (France, Belgium, 86 min Life And Nothing More by Antonio Méndez Esparza (USA, 113 min) The Lovers by Azazel Jacobs (USA, 98 min) Keep The Change by Rachel Israel (USA, 94 min) Most Beautiful Island by Ana Asensio (USA, Spain, 80 min) Permanent by Colette Burson (USA, 97 min) Sollers Point by Matthew Porterfield (USA, France, 101 min) Who We Are Now by Matthew Newton (USA, 99 min)Icons
Battle Of The Sexes by Jonathan Dayton and Valerie Faris (Great Britain, USA, 121 min) Breathe by Andy Serkis (Great Britain, 117 min) Downsizing by Alexander Payne (USA, 135 min) The Final Journey by Nick Baker`Monteys (Germany, 100 min) Final Portrait by Stanley Tucci (USA, 90 min) Hannah by Andrea Pallaoro (France, 80 min) The Hero by Brett Haley (USA, 96 min) Let The Sunshine In by Claire Denis (France, 94 min) The Party by Sally Potter (Great Britain, 71 min) Reinventing Marvin by Anne Fontaine (France, 115 min) Rodin by Jacques Doillon (France, 119 min) Suburbicon by George Clooney (USA, 105 min) Three Billboards Outside Ebbing, Missouri by Martin McDonagh (USA, UK, 115 min) You disappear by Peter Schønau Fog (Denmark, 118 min) Wonder Wheel by Woody Allen (USA, 101 min)Discovery
Axolotl Overkill by Helene Hegemann (Germany, 94 min) Daybreak by Gentian Koçi (Albania, Greece, 85 min) Disappearance by Ali Asgari (Iran, Qatar, 88 min) Don’t Swallow My Heart, Alligator Girl! by Felipe Bragança (Brazil, Netherlands, France, Paraguay, 108 min) If You Saw His Heart by Joan Chemla (France, 86 min) Killing Jesus by Laura Mora (Colombia, Argentina, 100 min) Menashe by Joshua Z Weinstein (USA, 82 min) Oh Lucy! by Atsuko Hirayanagi (Japan, USA, 97 min) The Testament by Amichai Greenberg (Israel, 88 min) Vazante by Daniela Thomas (Brazil, Portugal, 116 min)Documania
Chavela by Catherine Gund and Daresha Kyi (USA, 90 min) Dina by Dan Sickles and Antonio Santini (USA, 101 min) Hondros directed by Greg Campbell (USA, 93 min) The Paris Opera by Jean`Stéphane Bron (France, 110 min) Return Of A President – After The Coup In Madagascar by Lotte Mik`Meyer (Denmark, South Africa, France, Madagascar, 78 min) Rumble: The Indians Who Rocked The World by Catherine Bainbridge and Alfonso Maiorana (Canada, 103 min) Ryuichi Sakamoto: Coda by Stephen Nomura Schible (USA, 102 min) Served Like A Girl by Lysa Heslov (USA, 93 min) Shadowman by Oren Jacoby (USA, 83 min) Take Every Wave: The Life Of Laird Hamilton by Rory Kennedy (USA, 118 min) Walk with me by Max Pugh and Marc J. Francis (Great Britain, 94 min)Twilight Zone
A Day by Sun`Ho Cho (South Korea, 90 min) Blade Of The Immortal by Takashi Miike (Japan, 140 min) The Cured by David Freyne (Ireland, Great Britain, France, 95 min) Double Date by Benjamin Barfoot (Great Britain, 90 min) Les Affamés by Robin Aubert (Canada, 100 min) Jailbreak by Jimmy Henderson (Cambodia, 92 min) Lowlife by Ryan Prows (USA, 98 min) The Merciless by Sung`Hyun Byun (South Korea, 120 min) Ugly Nasty People by Cosimo Gomez (Italy, France, 87 min) The Villainess by Byung`Gil Jung (South Korea, 129 min)Spotlight
An Inconvenient Sequel: Truth to Power by Bonni Cohen and Jon Shenk (USA, 99 min) Human Flow by Ai Wei Wei (Germany, 140 min) More by Onur Saylak (Turkey, 115 min) This Is Our Land by Lucas Belvaux (France, Belgium, 118 min) Wasted! The Story Of Food Waste by Anna Chai and Nari Kye (USA, 85 min) Zagros by Sahim Omar Kalifa (Belgium, 100 min)Stockholm XXVIII Short Film Competition
A Gentle Night by Qui Yang (China, 15 min) Aria by Myrsini Aristidou (Cyprus, France, 14 min) Atelier by Elsa María Jakobsdóttir (Denmark, 30 min) Bonboné by Rakan Mayasi (Lebanon, Palestine, 15 min) Hombre by Juan Pablo Arias Muñoz (Chile, 21 min) Into the Blue by Antoneta Kusijanovic (Croatia, Slovenia, 22 min) Kudzu by Connor Simpson (USA, 15 min) Lost Property Office by Daniel Agdag (Australia, 10 min) Marlon by Jessica Palud (France, Belgium, 19 min) The Ogre by Laurène Braibant (France, 10 min) Retouch by Kaveh Mazaheri (Iran, 20 min) Signature by Kei Chikaura (Japan, 13 min) Superpower Girl by Soo`Young Kim (South Korea, 24 min) Time To Go by Grzegorz Mołda (Poland, 15 min) You Will Be Fine by Céline Devaux (France, 15 min)Special Event
Neruda by Pablo Larraín (Chile, Argentina, France, Spain, USA, 107 min) Varg by Frida Kempff and Erik Andersson (Sverige, 11 min) Sea Sorrow by Vanessa Redgrave (Great Britain, 74 min) Surprise film1 Km Film
Förebilder by Elin Övergaard (Sweden,13 min) In Love by Ville Gideon Sörman (Denmark, 29 min) Intercourse by Jonatan Etzler (Sweden, 10 min) Mephobia by Mika Gustafsson (Sweden, 24 min) Min Homosyster by Lia Hietala (Sweden,15 min) Push It by Julia Thelin (Sweden, 8 min) Skuggdjur by Jerry Carlsson (Sweden, 21 min) Stay Ups by Joanna Rytel (Sweden, 11 min) Stranded by Viktor Johansson (Sweden, 11 min) Turkkiosken by Bahar Pars (Sweden, 7 min) Image: Sally Hawkins and Octavia Spencer in the film THE SHAPE OF WATER. Photo courtesy of Fox Searchlight Pictures. © 2017 Twentieth Century Fox Film Corporation All Rights Reserved
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A GRAY STATE, Documentary on Mysterious Deaths of Filmmaker David Crowley and His Family, Gets US Release
A Gray State, the A&E IndieFilms acclaimed documentary feature from Erik Nelson and executive produced by Werner Herzog, has been acquired by First Run Features. The film, which had its world premiere at this past Tribeca Film Festival to critical praise, will receive a US theatrical release this November along with an awards push. Following the theatrical run “A Gray State” will make its television debut on A&E.
In 2010 David Crowley, an Iraq veteran, aspiring filmmaker and charismatic up-and-coming voice in fringe politics, began production on his film “Gray State.” Set in a dystopian near-future where civil liberties are trampled by an unrestrained federal government, the film’s crowd funded trailer was enthusiastically received by the burgeoning online community of libertarians, Tea Party activists as well as members of the nascent alt-right.
In January of 2015, Crowley was found dead with his family in their suburban Minnesota home. Their shocking deaths quickly become a cause célèbre for conspiracy theorists who speculate that Crowley was assassinated by a shadowy government concerned about a film and filmmaker that was getting too close to the truth about their aims. Directed by “Grizzly Man” producer Erik Nelson and Executive Produced by Werner Herzog, “A Gray State” combs through Crowley’s archive of 13,000 photographs, hundreds of hours of home video, and exhaustive behind-the-scenes footage of David’s work in progress to reveal what happens when a paranoid view of the government turns inward — blurring the lines of what is real and what people want to believe.
“’A Gray State’ is a deep dive into some of the fault lines that are fracturing America,” said Erik Nelson. “It’s a dark ride through the tunnel of conspiracy culture, the trauma experienced by many veterans, celebrity worship, gun obsession, and the unforeseen consequences of an addiction to social media. But it is a dark ride that tries to point a way to the light.”
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Melbourne International Film Festival Reveals First Glance Selection, PATTI CAKE$, STEP, POP AYE and More
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Patti Cake$[/caption]
For its 66th edition, the Melbourne International Film Festival (MIFF) has revealed its First Glance selection of 30 films that will screen at this year’s festival from August 3 to 20, 2017, including the Australian premiere of Jane Campion’s much anticipated new television series Top of the Lake: China Girl.
Artistic Director Michelle Carey says, “We’re hoping that this sneak peek of the 2017 program gives you a taste of what’s to come. The calibre of films on offer this year is very impressive, from Australian stalwart Jane Campion’s Top of the Lake: China Girl to breakout hit Patti Cake$, MIFF brings you the story of the world through curated and unforgettable screen experiences.”
Straight from a standing ovation in Cannes, this special Australian premiere of the entire second season, directed by Jane Campion and MIFF Accelerator alumnus Ariel Kleiman from a script by Campion and Gerard Lee (My Mistress, MIFF 14), will show all six episodes in three concurrent two-hour sessions – a unique opportunity to see the series before its television premiere on BBC First on Foxtel. Top of the Lake: China Girl (Australia) is a crime mystery story that finds Detective Robin Griffin (Elisabeth Moss) recently returned to Sydney and trying to rebuild her life. When the body of an Asian girl washes up on Bondi Beach, there appears little hope of finding the killer, until Robin discovers ‘China Girl’ didn’t die alone. Also starring Nicole Kidman, Gwendoline Christie (Game of Thrones), David Dencik (Tinker Tailor Soldier Spy), Ewen Leslie (The Daughter) and Accelerator alumnus Alice Englert (The Boyfriend Game, MIFF 16).
Also hotting up the screen will be Australian premieres Golden Exits (USA), the latest film from Alex Ross Perry (Listen Up Phillip MIFF 14; Queen of Earth, MIFF 15), an unnerving ensemble drama shot on 16mm that boasts a star-studded cast led by Emily Browning, Chloë Sevigny, Jason Schwartzman with Beastie Boy Adam Horovitz and a moody score by Keegan De Witt; and The Lost City of Z (USA), James Gray’s (The Immigrant MIFF 14) sumptuous and poignant Amazon adventure based on real life explorer Percy Fawcett’s quest to find the fabled city of El Dorado, starring Charlie Hunnam, Sienna Miller, Robert Pattinson and featuring lush 35mm cinematography by Darius Khondji.
Leading Australian director Kriv Stenders (The Principal, MIFF 15; Red Dog MIFF 11) returns to MIFF with two productions: The Go-Betweens – Right Here (Australia), a documentary charting the four-decade long story of beloved indie rock band The Go-Betweens, in their own words and with never-before-seen archival footage; and Australia Day (Australia), an excoriating, illuminating take on our country’s most fraught debate, set over a pulse-racing 12 hours on 26 January with a powerhouse ensemble cast including Bryan Brown, Matthew Le Nevez, Sean Keenan, Shari Sebbens and Jenny Wu (who also features in Top of the Lake: China Girl).
Local comedies include Ali’s Wedding, based on the real-life experience of lead actor Osamah Sami’s ill-fated arranged marriage the absurd and poignant tale about family in multicultural Australia stars Don Hany with direction by Jeffrey Walker (Jack Irish: Bad Debts, MIFF 12), and That’s Not Me (Australia). Ali’s Wedding is a fast-paced comedy of very Muslim manners that shines with wit, humanity and crowd-pleasing charisma; while That’s Not Me is Gregory Erdstein’s (Two Devils, MIFF 14) charming feature debut about a young woman and aspiring actor who takes advantage of her identical twin sister’s success and fame, featuring an impressive performance by writer/star Alice Foulcher in dual roles.
In Mountain (Australia), Jennifer Peedom (Sherpa, MIFF 15) returns to the mountains that so captivate her in a unique cinematic and musical collaboration. Working with high-altitude cinematographer Renan Ozturk, bestselling author Robert Macfarlane (Mountains of the Mind) and the Australian Chamber Orchestra’s Richard Tognetti, Peedom has created a breathtaking cine-sonic journey through awe-inspiring vistas narrated by Willem Dafoe.
One of Australia’s most innovative filmmakers and MIFF regular Amiel Courtin-Wilson (Hail MIFF 11; Ruin, MIFF 13) captures two legends – free jazz pioneer Cecil Taylor and modern dance artist Min Tanaka – in an intimate performance piece like no other in The Silent Eye (Australia). Shot over three days in 2016 at Taylor’s New York home, the film captures these two masters riffing, offering the audience a glimpse of the creative process at its most sublime.
Master international filmmakers bring their works to the big screen at MIFF with Terrence Malick’s Song to Song (USA), a beautifully lensed love story set against the backdrop of the Austin music scene, with a luminous cast including Ryan Gosling, Rooney Mara, Michael Fassbender, Natalie Portman and Cate Blanchett; and Sally Potter’s (Ginger and Rosa, MIFF 12) caustic comic satire of a broken, post-Brexit England, The Party (UK), offering a masterclass of acting from a stellar ensemble headed by Kristin Scott Thomas, Patricia Clarkson and Timothy Spall, and filmed entirely in stunning black and white.
The director of A Bigger Splash, Luca Guadagnino, presents his most accomplished film yet: a passionate Italian summer romance headed by Armie Hammer and star on the rise Timothée Chalamet. Adapted from André Acimen’s novel with a script co-written by James Ivory, Call Me By Your Name (Italy) is a sensuous story of first love and the end of adolescence.
Turning galvanizing portraits of marginalized women into his own niche, Sebastián Lelio (Gloria, MIFF 13) returns with another beguiling character study, delivering a nuanced and moving account of a vital fight for love, acceptance, and respect that won both Best Screenplay and Best LGBT Film at Berlin. But A Fantastic Woman (Chile) belongs to its determined, defiant titular character and the stunning performance by transgender actress Daniela Vega, making one of the most memorable and formidable movie debuts in recent history.
Peter Mackie Burns’ nuanced debut feature Daphne (UK) is a character study about a dissatisfied young woman in present-day London – featuring a superb performance from Emily Beecham in title role – that balances complex comedy and disarming drama and offers a refreshing portrait of contemporary womanhood.
Music video director Geremy Jasper’s fabulous feature debut Patti Cake$ (USA), about an aspiring rapper, is a triumphant tale of how music can give a nobody a voice, which wowed critics and audiences alike at Sundance and Cannes. But the film belongs to Australian acting discovery Danielle McDonald, who was dubbed the breakout star of Sundance for her sensational performance as the New Jersey battler and hailed as the “Next Big Thing” by The Hollywood Reporter.
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Pop Aye – Kirsten Tan[/caption]
Another acclaimed feature debut is Kirsten Tan’s Pop Aye (Thailand), the warm and ever-so-strange tale of a Bangkok architect, his elephant and 300 miles of mid-life crisis, which won the Special Jury Award for Screenwriting at Sundance and the Big Screen Award at Rotterdam.
God’s Own Country (UK) was also a favorite at Berlin (Teddy Jury Award winner) and Sundance, where it won the World Cinema Dramatic Best Director Award and comparisons to Brokeback Mountain. Francis Lee’s emotionally rich feature debut captures the quiet yearning of forbidden romance with heated sex scenes and a documentary-like depiction of British rural life that subverts the familiar path taken by queer love stories.
The makers of Spring (MIFF 15) return with The Endless (USA), an engrossing high-concept horror centred on two brothers following their escape from a cult. Justin Benson and Aaron Moorhead write, direct and star in a film of creeping dead that is part horror, part science fiction, which skirts the supernatural and keeps the audience guessing until the very end.
With over 62,000 oil paintings and a cast including Chris O’Dowd and Saoirse Ronan, Oscar-winning filmmaker Hugh Welchman (Peter and the Wolf) and Polish painter Dorota Kobiela bring the story of Vincent Van Gogh’s last days to the screen in the world’s first feature-length painted animation, Loving Vincent (UK). Inspired by Van Gogh’s own words – “we cannot speak other than by our paintings” – and using an army of painters from across Europe, every single frame of the film is an oil painting (12 per second) and the result is a truly astonishing visual feast that demands to be seen on the biggest of screens.
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A still from STEP by Amanda Lipitz,.[/caption]
Winner of the Sundance Special Jury Prize for Inspirational Filmmaking, STEP (USA) charts the senior year of the Baltimore Leadership School for Young Women step-dance team as they chase dual dreams – to be state champions and to be the first in their families to go to college – against the backdrop of the #BlackLivesMatter movement. Fun and empowering, the film optimistically explores community, sisterhood and the realities of being black and female in contemporary America.
Another timely examination of race relations in America is Haitian auteur Raoul Peck’s (Fatal Assistance, MIFF 13) Oscar-nominated I Am Not Your Negro (USA): a stirring portrait of the writer, civil rights activist and queer icon James Baldwin and his lifelong fight against racial and sexual injustice, narrated by Samuel L. Jackson.
Award-winning filmmaker Matthew Heinemann’s (Cartel Land, MIFF 15) new film focuses on the anonymous activists of Raqqa is Being Slaughtered Silently in the heartland of ISIS’s self-declared caliphate. City of Ghosts (USA) is an urgent, deeply personal real-world thriller about the world’s most crucial fight against misinformation.
In 2012, Iraq veteran David Crowley posted a YouTube trailer for his planned libertarian opus, Gray State, warning of America’s looming Second Civil War. Three years on, the rising alt-right filmmaker, his Muslim wife and their daughter were found slaughtered, “Allahu Akbar” smeared on the walls in blood. A conspiracy or something even more horrific? Executive produced by Werner Herzog, Erik Nelson’s A Gray State (USA) is a riveting murder mystery, a political thriller and an unparalleled psychological profile of a mind descending into paranoia.
Jumping over to New Zealand, the program will feature Pecking Order (New Zealand), which follows the members of the 148-year-old Christchurch Poultry, Bantam and Pigeon Club as they prepare for the National Show. Their president has brought them championship glory over the years, but is now facing off against the next generation of poultry fanciers who seem determined to knock down this award-winning cock of the walk. This entertaining flockumentary uncovers a cutthroat world of passion, obsession, power struggles, and competition. It’s like a Kiwi Best in Show, only real … and with chooks!
Also from NZ, MIFF regular and Accelerator alumnus Florian Habicht (Pulp: A Film About Life, Death and Supermarkets MIFF 14; Love Story MIFF 12) welcomes you to Spookers (NZ), a former psychiatric hospital outside Auckland, where visitors gather to be petrified by killer clowns and zombies at the Southern Hemisphere’s largest ‘scream park’. Habicht reveals the personalities beneath the costumes, wigs and greasepaint with characteristic affection and humor in this funny, compelling documentary.
And the MIFF shorts program will deliver a string of highlights and award winners from the festival circuit including A Gentle Night (China), the Short Film Palme d’Or winner from the 2017 Cannes Film Festival by MIFF Accelerator alumnus Qiu Yang (The World, MIFF 14; Under the Sun, MIFF 2015); Small Town (Portugal), the dark, mysterious and beautiful coming-of-age story that took out the Golden Bear for Best Short at the 2017 Berlinale; DeKalb Elementary (USA), a tense drama, by filmmaker Reed Van Dyk (Nasty HardcoreXXX Amateur Couple, MIFF 14) based on the real 911-call during an incident at a school in Atlanta, Georgia that was the winner of the International Competition Grand Prix prize at the 2017 Clermont-Ferrand Film Festival; and The Hedonists (Hong Kong), the new comedy from 2013 festival guest Jia Zhang-ke (A Touch of Sin, MIFF 13) about a trio of unemployed laborers who find work in the most unlikely of places – a bizarre theme park.

A Thousand Junkies[/caption]
The 9th annual DTLA Film Festival will kick off on Thursday, September 21st with the Los Angeles premiere of A Thousand Junkies, the feature film directorial debut from multi-hyphenate Tommy Swerdlow (Cool Runnings, Little Giants, and Snow Dogs), who directed and co-wrote the film and co-stars with Blake Heron and TJ Bowen, who shares a writing credit. In A Thousand Junkies features three junkies named for the actors playing them, crisscross Los Angeles in search of relief, considering increasingly reckless options in the pursuit of a score, and coming across all sorts of odd characters along the way. The film will be released theatrically by The Orchard later this year.
The Festival, taking place September 21 to 30 at L.A. LIVE, announced its feature films including all documentary and narrative feature-length films in competition. In keeping with this year’s theme – “Movies. Not walls” – the festival will host the first Enemy Nations Film Series. This series will present films from the countries labeled by immigration initiatives and Presidential tweets as homes to enemies of the state.
From The Orchard is The Work by directors Jairus Mcleary and Gethin Aldous, a powerful documentary set inside a single room in Folsom State Prison (California), which follows three level-four convicts as they participate in a four-day, innovative group therapy retreat. Rounding out the trio from The Orchard is Super Dark Times, Kevin Phillips’ harrowing, meticulously observed look at teenage age lives.
Continuing with the dark side, Most Beautiful Island explores the unforgettable and decidedly sinister day in the life of a young woman immigrant struggling to leave behind a mysterious past as she copies with life New York City. Ana Asensio directs and stars in this psychological thriller, which nabbed this year’s SXSW Film Festival’s Grand Jury Prize and will be released later this year by Samuel Goldwyn Films.
In Kasra Farahani’s Tilt, Joe is a filmmaker making a definitive documentary about the dark side of America’s post WW2 “golden age.” However, he soon finds himself falling down the rabbit hole of self-doubt and paranoia. In a similar vein Erik Nelson with A Gray State has created a chilling portrait of real-life alt right personality David Crowley as he struggles to complete his opus film project.
Adults struggling with children in their lives is at the heart of several of this year’s narrative features. In Adam Cushman’s Restraint a young married woman’s mental health begins to deteriorate as she attempts to adapt to life in suburbia with her controlling husband and his 9-year-old daughter. In Zach Brown’s Hard Surfaces (formerly Moleskin Diary) life in the fast lane for an artist-photographer suddenly grinds to a halt when he unexpectedly is left in sole custory of his 9-year-old niece.
In Jorge Xolalpa, Jr.’s Blue Line Station a high school couple have a child of their own on its way as they struggle with the best solution for an unwanted pregnancy. In Christopher J. Hansen’s Blur Circle, to be released later this year by Indie Rights, a mother desperately wants to find her missing child, even it means accepting help from a man with a shrouded past.
On the lighter side of relationships, in Jade Jenise Dixon’s Dog Park, also an Indie Rights upcoming release, it’s a canine to the rescue as a group of twenty-somethings struggle with the dating game. In Michael Ferrell’s Laura Gets A Cat, an unemployed writer considers what to do with her unexciting boyfriend while jumping into an affair with a performance artist, all fuel for your vivid imaginary life.
Striking a similar tone but in the context of a documentary, The Dating Project by Jonathan Cipiti confronts the eye-opening statistics that today in America fully half of all adults are single – a far higher percentage than with past generations. Five college-age single Millennials confront their own lack of success in finding a mate in this eye-opening look at dating in the age of social media.
The havoc wreaked by social media is reflected in two of the festival’s rom coms. In director David Tyson Lam’s Viral Beauty our protagonist simply wanted a date. She got a million subscribers, instead. Sloan Copeland’s Life Hack is a humorous but cautionary about privacy and cyber threats in the digital age. The take away? Cover your webcam.
On the other hand Gigi Gorgeous is one girl who ain’t complainin’ about the power of the world wide web. In This Is Everything: Gigi Gorgeous the life and history of the eponymous Internet superstar is explored in a poignant and inspiring documentary by Oscar-winning filmmaker Barbara Kopple (Harlan County, USA).
Could video games be a contributing factor to Millennials’ singleness? Who cares! In Jeremy Snead’s multi-episodic documentary Unlocked: The World Of Games Revealed everybody involved in all levels of video gaming from creators to players certainly seems to be having a helluva good time. Ditto, all those involved in that other counter culture revolving around music audio cassette tapes. In Zachary Taylor, Georg Petzold and Seth Smoot’s Cassette: A Documentary Mix Tape rabid mix tapes fans, including the likes of Henry Rollins, share what makes this once forgotten and now beloved blast-from-the-past so very au courant.
Yes, nostalgia for the music of the Eighties is part of the appeal of mix tapes. This same nostalgia is captured in Ellen Goldfarb’s Dare To Be Different, a look back at WLIR, the pioneering Long Island, N.Y. radio station that helped to pave the way for new wave and punk, and launch the careers of everyone from Blondie to Joan Jett. (Oh, did we mention Prince, U2 and Madonna were also heard first in the U.S. on the WLIR airwaves?)
The past meets the future in the “lost” 1938 screwball comedy set in the future of 2018 in Jamie Greenberg’s Future ’38. Confused? All will be revealed in this highly original satire that wowed the crowds at Slamdance earlier this year. Gabriel Cruz Rivas and Rodrigo Guardiola’s gaze is firmly fixed in the present in his documentary Zoe: Panoramas, an introspective look inside one of Latin America’s biggest rock bands.
The festival’s signature curated film series this year is entitled Enemy Nations, which refers to how whole nations of people suddenly became identified by the highest levels of the U.S. government as anti-American. The series presents a selection from each of these seven countries in an opportunity for you, the audience, to decide for yourself if the enemy is from beyond the borders, or within.
The series includes Shiva Sanjari’s Here The Seats Are Vacant, a stunning portrayal of Iran’s first female director, who herself became an enemy of her nation with the rise of the Islamic Revolution. Also part of the series is Avo Kaprealian’s Houses Without Doors, a documentary shot surreptitiously by director with a small camera from the balcony of his home on the Syrian front line. The camera records the dramatic changes in his neighborhood and his own family. Five short films, which will be announced later, are part of the series as well.
Forbidden Cuba is the first American feature film shot after the thawing of diplomatic relations between the island nation and the U.S. Art Jones’ picture is a cautionary tale about an American businessman who travels to Cuba to retrieve an executive gone rogue, only to have his own eyes opened to the beauty and vibrant culture of the country.
In Sea Gypsies: The Far Side Of The World filmmaker Nico Edwards sets off for his own adventure as part of a motley crew of amateurs and seasoned sailors attempting the nearly impossible and certainly risky goal of traversing the ocean between New Zealand and Patagonia by way of Antarctica in a sailboat – in the dead of winter. Yes, in the Digital Age real-life adventure is yours for the taking IF you’re willing to pursue it.
Water is also the subject of two more documentary films screening at the festival. In John Hopkins’ Bluefin, fresh from its U.S. premiere at Santa Barbara Film Festival earlier this year, the plight of a magnificent oceanic creature, which unfortunately is best known as a mainstay of sushi, is explored from different perspectives. It’s fresh water and the plight of humans in developing countries who lack it that is explored in Brian Wood’s A World Without Water. This special screening and event will be co-hosted by Los Angeles-based PH8, a NGO with international outreach.
Rounding out the festival’s feature film line-up are two documentaries about the impact of encroaching civilization on precious forest land and its wildlife. Mónica Alvarez Franco’s Cloud Forest – which boasts stunning cinematography – documents the people of a small community in Mexico who are the guardians of one of the ecosystems most at risk in country. Tony Lee’s The Cat That Changed America is about a bona fide Hollywood star. P22 is the most famous lion in America, a cougar who lives in Griffith Park, and this is his amazing story.
A final note about a late entry to the festival. VAXXED: From Cover-up to Controversy was a feature-length documentary invited to make its world premiere at last year’s Tribeca Film Festival when the screening was abruptly cancelled — the only film ever pulled from the festival’s line-up. Soon after, Robert DeNiro in his guise as Tribeca’s co-founder went on national television to proclaim he regretted his festival’s decision and urged the viewing public to go see the film, which by then had entered theatrical release. The man at the center of that film, medical researcher and author Andrew Wakefield, is also the focus of The Pathological Optimist, a biopic about the former medical doctor whose discovery of a link between the MMR vaccine and autism profoundly changed his life and challenged medical orthodoxy that all vaccines were safe for all children. In her film, which is making its Los Angeles theatrical premiere during DTLA Film Festival, director Miranda Bailey weaves a delicate portrait of a man who is both revered and vilified by millions, a full-access look at the man at the center of one of the biggest medical and media controversies of our times.
“One of the missions of our nonprofit film festival is to reflect the rich ethnic-cultural diversity and creative free spirit of DTLA and its surrounding environs. We believe our audiences will agree that this year’s line-up wholeheartedly embraces that mandate,” said Greg Ptacek, festival director.
The complete list of announced feature film presentations at the 9th DTLA Film Festival follows
GURRUMUL ELCHO DREAMING[/caption]
The 2017 Melbourne International Film Festival (MIFF) unveiled its full program line-up of more than 358 films representing 68 countries, including 251 features, 88 shorts, 17 Virtual Reality experiences, 12 MIFF Talks events, 31 world premieres and 135 Australian premieres. It all happens over 18 days, spanning 13 venues across Melbourne, from August 3 to 20, 2017.
“What a pleasure it is to launch this year’s Melbourne International Film Festival,” said Artistic Director Michelle Carey. “This year’s program offers audiences an amazing opportunity to explore new worlds through film – from our Pioneering Women and Sally Potter retrospectives to the return of our Virtual Reality program as well as a particularly strong line-up of special events, we can’t wait to open the doors to MIFF 2017.”
The festival will kick off with the Opening Night Gala screening of Greg McLean’s MIFF Premiere Fund-supported JUNGLE, and will wind up with the world premiere Closing Night screening of Paul Williams’ GURRUMUL ELCHO DREAMING. A profound exploration of the life and music of revered Australian artist Geoffrey Gurrumul Yunupingu, the film uses the tools of the artist’s music – chord, melody, song – and the sounds of the land to craft an audio-first cinematic experience, offering a rare insight into a reclusive master.
Joining the MIFF guest line-up are Australia’s Melissa George, starring in the MIFF Premiere Fund-supported THE BUTTERFLY TREE; Italian director Luca Guadagnino with his acclaimed new film CALL ME BY YOUR NAME, a sensuous story of first love and the end of adolescence; and newcomer Jennifer Brea making her way to MIFF with UNREST, a feature documentary capturing her darkest moments as she is derailed by Chronic Fatigue Syndrome.
Further international guests include Peter Mackie Burns, the debut feature director of DAPHNE, a refreshing portrait of contemporary womanhood; Francis Lee, with his depiction of British rural life in GOD’S OWN COUNTRY; Slavko Martinov, the force behind the entertaining flockumentary PECKING ORDER; Gabe Klinger on behalf of PORTO, a film presented in Super 8, 16mm and breathtaking 35mm; director Sami Saif and cinematographer Anders Löfstedt with their music documentary THE ALLINS; Thai filmmaker Anocha Suwichakornpong, winner of the Top Prize at the 2016 Thai National Film Association Awards for her feature BY THE TIME IT GETS DARK; and Annie Goldson, director of KIM DOTCOM: CAUGHT IN THE WEB, a documentary about the court case surrounding the internet’s most wanted criminal. MIFF guests also include Daniel Borgman, director of LOVING PIA, a winsome tale blurring documentary and fiction; and Florian Habicht, director of SPOOKERS, a film focusing on a former psychiatric hospital that is now a haunted attraction.
Following last year’s success, VIRTUAL REALITY (VR) returns to MIFF in 2017. Leading the charge is the world premiere of Lucas Taylor’s INSIDE MANUS, taking the audience behind the razor wire to meet the asylum seekers on the Manus Island detention centre. Other VR world premieres include Lester Francois’ RONE, a distinctive portrait of the Melbourne street artist; Khoa Do and Piers Mussared’s THE EXTRACTION, a work imagining a perilous journey through the post apocalypse; and Christopher Bailey’s ACROSS, set in a world where two beings live in opposite cliffs – where one side is a paradise and the other a wasteland.
The VR program continues with Jeff Goldblum making a cameo appearance in MIYUBI, a feature length film about a family’s relationship with its Japanese toy robot, from co-directors Félix Lajeunesse and Paul Raphaël; George Gittoes expands upon his MIFF 2015 feature Snow Monkey, taking audiences on a VR tour to Afghanistan in the world premiere of FUN FAIR JALALABAD; and Ben Smith’s THE HUNT FOR THE YIDAKI, the companion piece to the MIFF 2017 Premiere Fund-supported feature WESTWIND: DJALU’S LEGACY, will also receive its world premiere. Meanwhile UNREST VR, a film about Chronic Fatigue Syndrome – made by Amaury La Burthe and other key collaborators on Notes on Blindness: Into Darkness (MIFF 2016) – screens as an expansion piece to Jennifer Brea’s feature documentary, also showing at MIFF 2017.
In addition to UNREST, MIFF’s much-loved DOCUMENTARIES program delivers an array of gripping real-life character studies. Catch WINNIE, Pascale Lamche’s Sundance Directing Award-winning portrait of Winnie Madikizela-Mandela, variously viewed as the wife of South Africa’s most revered leader, the mother and/or enemy of her nation and a revolutionary force in her own right; Andres Veiel’s BEUYS: ART AS A WEAPON, an extensive look at the felt-clad, hat-wearing German performance artist Joseph Beuys; and DINA, the Sundance Grand Jury Prize-winner from Dan Sickles and Antonio Santini that offers a heartfelt and heart-melting portrait of love in all its strangeness and wonder.
The Documentaries program also takes audiences behind the closed doors of wildly diverse environments. In the remarkable debut film THE WORK, America’s most hardened criminals share their demons with the everyday public during the world’s most intense group therapy session in Jairus McLeary and Gethin Aldous’ SXSW Grand Jury Prize-winner; Jean-Stéphane Bron’s THE PARIS OPERA is a film candidly charting the day-to-day drama during a season of upheaval for the revered company; and ROLLER DREAMS finds Australian director Kate Hickey tracking down the original stars of the Venice Beach 80s roller dancing movement to build a funky portrait of the rise and fall of the craze.
MIFF’s toe-tapping MUSIC ON FILM program dances to its own beat with THE ALLINS where award-winning Danish documentarian Sami Saif turn his lens on the most outrageous musician to ever live – GG Allin – revealing the man behind the maniac behind the music; and in Kyoko Miyake’s TOKYO IDOLS, teenage girl pop stars grapple with finding fame and the creeping fixation of their male fan bases in an eye-opening look at Japanese idol culture.
Musical influencers take centre stage in the Sundance Special Jury Prize-winning RUMBLE: THE INDIANS WHO ROCKED THE WORLD, where Catherine Bainbridge sets out to reinstate Native American trailblazers to their rightful place in the pop music pantheon; and Lucy Walker, director of the MIFF 2013 Best Documentary Audience Award-winner The Crash Reel, returns with BUENA VISTA SOCIAL CLUB: ADIOS, a touching farewell to the beloved son cubano musicians as they complete their final tour.
A stellar line-up of homegrown talent will be showcased in AUSTRALIAN FILMS. Marking the halfway point of the festival will be the CENTREPIECE GALA world premiere screening of THREE SUMMERS, the first Australian film from comedian Ben Elton. Romantic leads Robert Sheehan and Rebecca Breeds are joined by a glittering ensemble featuring Michael Caton, Magda Szubanski, Deborah Mailman, Jacqueline McKenzie and John Waters for an of-the-moment, multi-story comedy set over three years at a fictional folk-music festival.
Continuing the Australian Films showcase, David Wenham makes his feature directorial debut with a Before Sunrise-style romance set to the distinctive sounds of Megan Washington with ELLIPSIS, starring Emily Barclay and Benedict Samuel; MIFF offers an exclusive preview of the second series of GLITCH, a Matchbox Pictures production commissioned by ABC TV and co-produced by Netflix, set in a fictional Victorian town where deceased former residents have crawled out of their graves in the local cemetery; and in a special screening presented by the National Film and Sound Archive’s digital restoration program – NFSA RESTORES, MIFF will also present the classic rip-roaring homegrown action flick, SHAME, where an award-winning Deborra-Lee Furness – also a guest of MIFF 2017 – turns the tables on a country town’s entrenched male violence.
Celebrating its 10th birthday in 2017, the MIFF PREMIERE FUND stages six world premieres (each with its director in attendance) comprising: Greg McLean’s MIFF Opening Night Film JUNGLE, starring Daniel Radcliffe; Luke Shanahan’s uniquely stylish psychological thriller RABBIT, featuring The Great Gatsby’s Adelaide Clemens playing identical twins linked by more than just DNA; MIFF guests Melissa George and Ed Oxenbould starring alongside Ewen Leslie and Sophie Lowe in Priscilla Cameron’s THE BUTTERFLY TREE, a coming-of-age tale of love and loss tinged with magical realism; Eddie Martin’s HAVE YOU SEEN THE LISTERS?, an intimate account of the cost of success of Australia’s most renowned street artist, Anthony Lister (also a guest of the festival); Naina Sen’s THE SONG KEEPERS, telling the incredible story of a hidden musical legacy of ancient Aboriginal languages and German baroque songs that are being preserved by the Central Australian Aboriginal Women’s Choir (who will also attend the festival); and Ben Strunin’s WESTWIND: DJALU’s LEGACY, portraying the quest of Yolngu elder Djalu Gurruwiwi (who will attend the festival) to preserve his songlines with a little help from global pop star Gotye.
Marking the MIFF Premiere Fund’s 10-year milestone, the festival will also screen three retrospective highlights from the Fund’s early years: the 2009 MIFF Opening Night film BALIBO, written and directed by Robert Connolly and starring Oscar Isaac, Anthony LaPaglia and MIFF Ambassador Gyton Grantley; Amiel Courtin-Wilson’s BASTARDY, a poetic and impressionistic portrait of the life of indigenous arts personality Jack Charles; and Ana Kokkinos’ all-star ensemble BLESSED, which features Frances O’Connor in an AFI Award-winning performance.
PIONEERING WOMEN, a program of 80s and early 90s Australian films directed by women, will pay tribute to some of the country’s finest cinematic trailblazers, including director Ann Turner with the world premiere of her digitally restored horror meets coming-of-age drama CELIA; Gillian Armstrong with a digital restoration screening of STARSTRUCK, the iconic and colourful musical comedy about two Sydney teenagers who try to break into the music biz to save the family pub (which also features an appearance by MIFF Ambassador Geoffrey Rush). Both films are proudly presented by the National Film and Sound Archive’s restoration program – NFSA RESTORES. Don’t miss this opportunity to revisit other classics such as BEDEVIL (directed by Tracey Moffatt), THE BIG STEAL (directed by Nadia Tass) and FLOATING LIFE (directed by Clara Law), with guest Q&As and a Conversation panel in store among other events.
MIFF’s ever popular NIGHT SHIFT program returns with innovative horror and genre films including A PRAYER BEFORE DAWN, in which French provocateur Jean-Stéphane Sauvaire (Johnny Mad Dog, MIFF 2008) returns to the brutal underworlds of masculine violence, in an adaptation of Billy Moore’s memoir of his time in Bangkok’s notorious Klong Prem prison; MY FRIEND DAHMER, Marc Meyers’ disturbing vision of America’s most notorious serial killer during his adolescence, featuring a breathtaking performance by Disney star Ross Lynch; and BLOODLANDS, a brutal mix of family blood feud and supernatural horror marking the first ever co-production between Australia and Albania, directed by Steven Kastrissios (The Horseman, MIFF 2008).
For the first time in its history MIFF will also present a SCI-FI program, showcasing a selection of the genre’s best films including IKARIE XB-1, Jindřich Polák’s little-known pioneering masterpiece that influenced everything from Star Trek to 2001: A Space Odyssey… and beyond; INVENTION FOR DESTRUCTION, from inventive animator Karel Zeman, the first steampunk film, bringing the stories and visuals of Jules Verne to life; LE DERNIER COMBAT, a work taking audiences back to where it all began for renowned sci-fi director Luc Besson, with his striking 1983 film starring Jean Reno in his feature debut; and STRANGE DAYS, featuring Ralph Fiennes, Angela Bassett and Juliette Lewis, Kathryn Bigelow’s 20-year-old, James Cameron-scripted, VR tech-noir. And for the night owls, running all night at the Astor Theatre is MIFF’s inaugural SCI-FI MARATHON, presenting a collection of the genre’s most venerated, controversial and enduring or under-appreciated fan favourites. For full details visit miff.com.au/marathon.
The TRUE CRIME program returns in 2017 with some of the most intriguing and sinister stories of our time. Oscar-nominated documentarian David France (How to Survive a Plague, MIFF 2012) delivers a piercing survey of the origins of transgender activism and a search for justice in THE DEATH AND LIFE OF MARTHA P JOHNSON; Erik Nelson’s A GRAY STATE is a riveting murder mystery, political thriller and unparalleled psychological profile about rising alt-right filmmaker and Iraq veteran David Crowley and his family; and Pete Nicks’ THE FORCE is an award-winning look at the day-to-day operations of the Oakland Police Department as it grapples with endemic corruption, sexism and racial violence.
ANIMAL DOCUMENTARIES, a new program strand for 2017, puts the spotlight on some of the world’s most intriguing creatures. TROPHY sees Shaul Schwarz (Narco Cultura, MIFF 2013) and Christina Clusiau take on a charged debate in a controversial film that will upend everything audiences thought they knew about animal conservation; PECKING ORDER, the year’s best feel-good flockumentary from Slavko Martinov, introduces us to people taking the world of chicken fancying as seriously as life and death; and A RIVER BELOW, Mark Grieco’s provocative and murky morality tale about a TV conservationist’s battle to save the Amazon’s disappearing pink river dolphin, will leave audiences shocked and awed.
MIFF’s HEADLINERS program will bring audiences the most-buzzed about films from the festival circuit. Highlights include Ruben Östlund’s Palme d’Or-winning THE SQUARE, a film marking the director as modern cinema’s most savage and inventive satirist; Claire Denis’ Cannes Director’s Fortnight award-winning romantic comedy LET THE SUNSHINE IN, starring Juliette Binoche; Geremy Jasper’s fabulous Sundance triumph PATTI CAKE$, featuring Australian acting discovery Danielle Macdonald in the role of a New Jersey battler and aspiring rapper; SONG TO SONG, a love story from Terrence Malick set against the backdrop of the Austin music scene, featuring Ryan Gosling, Rooney Mara, Michael Fassbender and Natalie Portman; and THE PARTY, Sally Potter’s caustic comic satire of a broken England, with a stellar ensemble headed by Kristin Scott Thomas, Patricia Clarkson and Timothy Spall.
Showcasing MIFF’s admiration for the inimitable British director, this year the festival also proudly presents a SALLY POTTER RETROSPECTIVE. Screening the complete oeuvre of Potter’s feature films, along with a selection of her early shorts from 1969 to 1986, the retrospective includes: THE TANGO LESSON, where Potter plays opposite Argentine tango performer Pablo Verón for a seductive dance of reality and fiction; ORLANDO, the director’s stunning second film featuring a triumphant lead performance by Tilda Swinton as the androgynous titular character living across four centuries; THE GOLD DIGGERS, Potter’s seminal work that came to influence and define feminist cinema of the 1980s; and GINGER AND ROSA, starring Alice Englert and Elle Fanning as two friends threatened by a belief-shattering betrayal.
The festival’s INTERNATIONAL program is packed with innovative cinema from countries near and afar. MIFF Patron Geoffrey Rush shines as Alberto Giacometti in Stanley Tucci’s FINAL PORTRAIT, a snapshot of several weeks the artist spent trying to paint author James Lord; Fatih Akin (Head-On, MIFF 2004) delivers the morally charged thriller IN THE FADE, featuring Diane Kruger in the performance that won her Best Actress at Cannes; and from Aisling Walsh comes MAUDIE, starring Oscar nominees Sally Hawkins and Ethan Hawke exploring the sensitive but rousing true tale of Maud Lewis, one of Canada’s most inspiring folk artists.
Some 14 of Australia and New Zealand’s hottest emerging directors will have their short films premiere in the festival’s ACCELERATOR program and also participate in Accelerator Lab, MIFF’s prestigious development workshop assisting directors to transition to feature filmmaking. They are W.A.M (Bill) Bleakley; Nina Buxton; Kate Lefoe; Frank Magree; Zoe McIntosh; Victoria McIntyre; Greta Nash; Tin Pang; Simon Portus; Nikki Richardson; Rachel Ross; John Sheedy; Nick Waterman; and Dave Whitehead.
The MIFF SHORTS program will screen local and international films spanning animation, documentary, experimental works and more, with highlights including the riveting INDONESIAN SHORTS, a program screening works from some of Australia’s closest neighbours, and Cannes Short Film Palme d’Or winner A GENTLE NIGHT, from MIFF Accelerator alumnus Qiu Yang, while other Accelerator alumni directors returning with new short films are Alice Englert, Audrey Lam, Nora Niasari, Julietta Boscolo, Billie Pleffer, Dylan River and Alena Lodkina.
Zuzana KrÛnerov· as Hana in ICE MOTHER.[/caption]
The Tribeca Film Festival today unveiled an exciting slate of films that will premiere at the 2017 festival. The Festival announced the feature films across the following programs: Competition, including U.S. Narrative, Documentary, and International Narrative categories; Spotlight, a selection of anticipated premieres from major talent; Viewpoints, which recognizes distinct voices in international and American independent filmmaking; and the popular Midnight Section, featuring the best in psychological thriller, horror, sci-fi, and cult cinema.
The 16th