Lucrecia Martel’s Zama, Lee Chang-dong’s Burning, and Paul Schrader’s First Reformed took the top spots among films released in 2018 on Film Comment’s annual end-of-year survey. Of the films that screened at festivals worldwide but have not announced stateside distribution, Roberto Minervini’s What You Gonna Do When the World’s on Fire?, Mariano Llinás’s La Flor, and Khalik Allah’s Black Mother received the top rankings.
Robin Williams: Come Inside My Mind[/caption]
One hundred sixty-six features have been submitted for consideration in the Documentary Feature category for the 91st Academy Awards®. Several of the films have not yet had their required Los Angeles and New York qualifying releases. Submitted features must fulfill the theatrical release requirements and comply with all of the category’s other qualifying rules in order to advance in the voting process. This year, for the first time, films that have won a qualifying award at a competitive film festival or have been submitted in the Foreign Language Film category as their country’s official selection, are also eligible in the category. A shortlist of 15 films will be announced on December 17.
Films submitted in the Documentary Feature category may also qualify for Academy Awards in other categories, including Best Picture.
Nominations for the 91st Academy Awards will be announced on Tuesday, January 22, 2019.
The 91st Oscars® will be held on Sunday, February 24, 2019, 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:
“Above and Beyond: NASA’S Journey to Tomorrow”
“Active Measures”
“Amazing Grace”
“American Chaos”
“Andy Irons: Kissed by God”
[caption id="attachment_25696" align="aligncenter" width="1200"]
Antonio Lopez 1970: Sex Fashion & Disco[/caption]
“Antonio Lopez 1970: Sex Fashion & Disco”
“Avicii: True Stories”
“Bali: Beats of Paradise”
“Bathtubs over Broadway”
“Be Natural: The Untold Story of Alice Guy-Blaché”
“Believer”
“Better Angels”
“Bill Coors: The Will to Live”
“Bisbee ’17”
“The Bleeding Edge”
“Boom for Real: The Late Teenage Years of Jean-Michel Basquiat”
“Breaking Point: The War for Democracy in Ukraine”
“Call Her Ganda”
“Charm City”
“Chef Flynn”
“The China Hustle”
“Christian Audigier The Vif”
“The Cleaners”
“Communion”
“Crime + Punishment”
“Dark Money”
“Daughters of the Sexual Revolution: The Untold Story of the Dallas Cowboys Cheerleaders”
“The Dawn Wall”
“The Distant Barking of Dogs”
“Divide and Conquer: The Story of Roger Ailes”
“Drug$”
“Eating Animals”
“Eldorado”
“Fahrenheit 11/9”
“Fail State”
“Family in Transition”
“Far from the Tree”
“Filmworker”
“The First Patient”
“Foreign Land”
“40 Years in the Making: The Magic Music Movie”
“Free Solo”
“Garry Winogrand: All Things Are Photographable”
“Generation Wealth”
“Ghost Hunting”
“Ghosthunter”
“The Gilligan Manifesto”
“The Gospel According to André”
“Grace Jones: Bloodlight and Bami”
“Graves without a Name”
“The Great Buster: A Celebration”
“Hal”
“Hale County This Morning, This Evening”
“Half the Picture”
“The Heart of Nuba”
“Hillbilly”
“The Homeless Chorus Speaks”
“Hondros”
“Howard”
“In Search of Greatness”
“In the Land of Pomegranates”
“Inventing Tomorrow”
“Invisible Hands”
“Itzhak”
“Jane Fonda in Five Acts”
“John McEnroe: In the Realm of Perfection”
“The Judge”
“Kangaroo: A Love Hate Story”
“Killer Bees”
“The King”
“King in the Wilderness”
“Kusama – Infinity”
“The Last Race”
“Leaning into the Wind: Andy Goldsworthy”
“Letter from Masanjia”
“Licu, a Romanian Story”
“Living in the Future’s Past”
“Liyana”
“Lots of Kids, a Monkey and a Castle”
“Love & Bananas: An Elephant Story”
“Love, Cecil”
“Love, Gilda”
“Love Is Tolerance – Tolerance Is Love – Make Tolerance Great Again!”
“Making The Five Heartbeats”
“Maria by Callas”
“Matangi / Maya / M.I.A.”
“McQueen”
“Minding the Gap”
“Monrovia, Indiana”
“The Most Unknown”
“New Moon”
“93Queen”
“Nossa Chape”
“Of Fathers and Sons”
“Of Love & Law”
“On Her Shoulders”
“Opera about Poland”
“The Opera House”
“The Oslo Diaries”
“The Other Side of Everything”
“The Panama Papers”
“Path of Blood”
“People’s Republic of Desire”
“Philosopher King – Lee Teng-hui’s Dialogue”
“Pick of the Litter”
“Piripkura”
“Police Killing”
“Pope Francis – A Man of His Word”
“The Price of Everything”
“The Price of Free”
“Qiu (Inmates)”
“Quincy”
“RBG”
“The Rachel Divide”
“The Raft”
“Recovery Boys”
“Restoring Tomorrow”
“Reversing Roe”
“The Road Movie”
“Robin Williams: Come inside My Mind”
“Ruben Blades Is Not My Name”
“Samouni Road”
“Saving Brinton”
“Say Her Name: The Life and Death of Sandra Bland”
“Science Fair”
“Scotty and the Secret History of Hollywood”
“Searching for Ingmar Bergman”
“Seeing Allred”
“The Sentence”
“Shirkers”
“Shot in the Dark”
“The Silence of Others”
“Sisters of the Wilderness”
“A Son of Man”
“Songwriter”
“Stan”
“Studio 54”
“Summer in the Forest”
“Tea with the Dames”
“That Summer”
“That Way Madness Lies…”
“They Fight”
“They’ll Love Me When I’m Dead”
“This Is Congo”
“This Is Home: A Refugee Story”
“Three Identical Strangers”
“To Be Continued”
“Transformer”
“Travel Ban”
“The Trial”
“Triumph: The Untold Story of Perry Wallace”
“Trust Machine”
“Under the Wire”
“United Skates”
“Unknown Distance”
“Up Down and Sideways”
“The Waldheim Waltz”
“We Could Be Heroes”
“Weed the People”
“What Haunts Us”
“What Lies Upstream”
“Whitney”
“Wonderful Losers: A Different World”
“Won’t You Be My Neighbor?”
“Yellow Is Forbidden”
“Yellowing”
Sissy Spacek and Robert Redford in The Old Man and the Gun.[/caption]
The 63rd Cork Film Festival, running from November 9 to 18, 2018, will showcase Irish and international films with a focus on current global issues.
The 2018 program for Ireland’s first and largest film festival, launched today features films with themes centered on LGBT, mental health, child poverty, gender equality, and human rights. Over 250 Irish and international features and shorts will be screened across the Festival, with 90% being Irish premieres.
Speaking on today’s program launch, Festival Producer and CEO Fiona Clark said: “Our mission is to bring people together through an outstanding program of films and events and to create an unforgettable festival experience over 10 days in Cork.
“As a destination for great storytelling on film, this year’s program includes numerous award-winners from the 2018 international festival circuit, alongside fresh new voices, together showcasing the latest and best independent cinema. For many films presented, this is the only opportunity to see them on the big screen in Cork and Ireland.”
Special presentations include a cine concert of the 1920s silent horror Nosferatu (November 13) at St Fin Barre’s Cathedral, with a new score by Cork composers Irene and Linda Buckley. This year’s collaboration with the National Sculpture Factory is Alan Butler’s On Exactitude in Science (November 12 – 14) a work comprising Godfrey Reggio’s Koyaanisqatsi (1983) in synchronicity with Butler’s 2017 remake.
Speaking on the representation of Irish film in the Festival, program Director Michael Hayden stated: “It is fantastic that we can open the Festival with a film with such distinct Cork connections. Carmel Winters’ highly anticipated and award-winning second feature Float like a Butterfly is a special film that fiercely challenges patriarchy and stereotypes. Carmel, and many of the cast and crew, will be in attendance for this European premiere on 9 November.
“Selecting Float like a Butterfly as the Opening Gala is indicative of the Festival’s commitment to celebrating Irish film, and we have secured some of the most celebrated films of the year. These include the Irish premiere of Yorgos Lanthimos’ feminist comedy The Favourite on 10 November, produced by Element Pictures and starring Olivia Colman, Emma Stone and Rachel Weisz; and The Dig, directed by Ryan and Andrew Tohill, starring Moe Dunford, which was awarded Best Irish Feature at Galway Film Fleadh earlier this year.”
The Closing Night Gala will also feature the work of an outstanding female director, with the Irish premiere of Nadine Labaki’s multi-award-winning Capernaum (November 18). This urgent and important film is on child poverty and the denial of an individual’s human rights. Other Irish premieres of international features include The Old Man and the Gun, starring Robert Redford as a septuagenarian bank robber; Peter Strickland’s sumptuous and spooky tale, In Fabric; and Wash Westmoreland’s period biopic, Colette, starring Keira Knightley.
The program features 40 documentaries, with highlights to include veteran auteur Frederick Wiseman’s Monrovia, Indiana, and Werner Herzog’s Meeting Gorbachev, cementing Cork Film Festival as the destination festival for documentary in Ireland.
Illuminate, the Festival’s unique series of film and discussion events exploring mental health and wellbeing, is presented in association with Arts+Minds, the HSE Cork Mental Health Service and Irish Rail Iarnród Éireann. Screenings include Trauma is a Time Machine, For the Birds, and Ordinary People.
The fun-packed family strand will be screened throughout the Festival at The Gate Cinema. The program includes the highly-anticipated family friendly animations, The Grinch (November 10) and The Overcoat (November 17), which features the voice of Cork actor Cillian Murphy.
In total, 117 world-class shorts will be presented across the 10 days and will be considered for either the Grand Prix Irish Short or the Grand Prix International Short Awards. The winners of both, announced at the Awards Ceremony on November 18 at the Triskel, will be automatically longlisted for the Oscars®.
The 26th Hamptons International Film Festival which will take place over the upcoming Columbus Day Weekend, October 4 to 8, 2018, unveiled the full slate of films. The festival also revealed the anticipated films, Yorgos Lanthimos’ THE FAVOURITE, starring Academy Award®- winning actresses Emma Stone and Rachel Weisz and Golden Globe®-winning actress Olivia Colman, about two cousins fighting to be the court favorite of Queen Anne, which will serve as the Friday Centerpiece; and Marielle Heller’s CAN YOU EVER FORGIVE ME?, which wll screen as the Sunday Centerpiece, a biopic based on the life of writer Lee Israel and starring Academy Award®-nominated actress Melissa McCarthy.
The festival added two films to the Spotlight section: Academy Award®-winning director Steve Mc Queen’s WIDOWS, starring Academy Award®-winning actress Viola Davis, Michelle Rodriguez, Elizabeth Debicki and Cynthia Erivo, the story of four women with nothing in common except a debt left behind by their dead husbands’ criminal activities; and the East Coast Premiere of Felix Van Groeningen’s (HIFF 2009 & 2013 alum) BEAUTIFUL BOY, starring Academy Award®-nominated actor Timothée Chalamet and Golden Globe®-nominated actor Steve Carell, adapted from father and son David and Nic Sheff’s best-selling memoirs about a son’s struggle with drug addiction that threatens to tear a family apart.
This year’s Narrative and Documentary Competition slate offers a wide variety of stories to audiences and represents the best of the industry with the Competition slate consisting of 50% female directors and 50% male directors. Overall, the festival’s full slate is 47% female directors. Narrative Competition films include the New York Premiere of Yen Tan’s 1985, the U.S. Premiere of Eva Trobisch’s ALL GOOD, Ali Abbasi’s BORDER, the U.S. Premiere of Zsófia Szilágyi’s ONE DAY, and Dominga Sotomayor’s TOO LATE TO DIE YOUNG.
Documentary Competition Films include the World Premiere of Jesse Sweet’s CITY OF JOEL, Alexis Bloom’s DIVIDE AND CONQUER: THE STORY OF ROGER AILES, the East Coast Premiere of Shannon Service and Jeffrey Waldon’s GHOST FLEET, and the New York Premiere of Daniel Zimmerman’s WALDEN, as well as the East Coast Premiere of the previously announced THE LAST RACE from Michael Dweck, also screening in the Views From Long Island Section.
As part of their Signature Programs, the Views From Long Island section will also include BLACK MOTHER, directed by Khalik Allah, about two different worlds on the island of Jamaica, through the lens of an intimate documentary portrait; as well as the World Premieres of Emily Anderson’s short film ONLY THE WIND IS LISTENING, set against the backdrop of an unforgiving Montauk winter and Ross Kauffman’s STILL PLAY WITH TRAINS, where John Scully reconstructs his idyllic 1950s childhood in the form of one of the world’s largest model train sets in his East Hampton basement.
The Air, Land & Sea program will present Academy Award®-nominated director Rory Kennedy’s ABOVE AND BEYOND: NASA’S JOURNEY TO TOMORROW, a Discovery Channel documentary chronicling the history and exploration of America’s space force, as well as Nicolas Brown’s THE SERENGETI RULES, about five international scientists during the 1960s and their attempt to learn more about the planet. The section will also include the previously announced U.S. Premiere of GRIT, directed by Sasha Friedlander and Cynthia Wade.
The Compassion, Justice, & Animal Rights program will include a World Premiere presentation of Rob Fruchtman and Steven Lawrence’s THE CAT RESCUERS, about four activists in Brooklyn setting out to provide housing for the over one million cats abandoned in New York City alone. The section will also include the previously announced East Coast Premiere of Richard Miron’s FOR THE BIRDS.
The Conflict & Resolution program will include five films: the New York Premiere of Talal Derki’s OF FATHERS AND SONS, which provides a look at war-torn Syria through the eyes of a photojournalist posing as pro-jihadist; the New York Premiere of Chris Martin’s UNDER THE WIRE, about the final mission of war correspondent Marie Colvin and photographer Paul Conroy; Charles Ferguson’s WATERGATE, examining the Watergate scandal from new interviews and subjects from all sides of the investigation; and Almudena Carracedo and Robert Bahar’s THE SILENCE OF OTHERS, about six individuals looking to bring those responsible for Spain’s 40-year dictatorship to justice. The section will also include the previously announced New York Premiere of Ísold Uggadóttir’s AND BREATHE NORMALLY.
In the World Cinema Narrative section the slate includes the addition of the U.S. Premiere of “I DO NOT CARE IF WE GO DOWN IN HISTORY AS BARBARIANS” directed by Radu Jude, as well as NON-FICTION, directed by Olivier Assayas, and PRIVATE LIFE, directed by Tamara Jenkins; in addition to the previously announced World Premiere of ASK FOR JANE directed by Rachel Carey; the U.S. Premieres of LETO directed by Kirill Serebrennikov, STYX directed by Wolfgang Fischer, and WOMEN AT WAR directed by Benedikt Erlingsson; the New York Premiere of BIRDS OF PASSAGE directed by Christina Gallego and Ciro Guerra (Colombia’s official entry for the Best Foreign Language Film Oscar®); and BURNING directed by Lee Changdong, COLD WAR directed by Pawel Pawlikowski, DEAD PIGS directed by Cathy Yan, THE GUILTY directed by Gustav Möller, HAPPY AS LAZZARO, directed by Alice Rohrwacher, SHOPLIFTERS directed by Hirokazu Kore-eda (Japan’s official entry for the Best Foreign Language Film Oscar), and WILD NIGHTS WITH EMILY directed by Madeleine Olnek.
In the World Cinema Documentary section, the full slate includes the addition of Academy Award®-winning director Morgan Neville’s THEY’LL LOVE ME WHEN I’M DEAD; the U.S. Premiere of THIS CHANGES EVERYTHING, directed by Tom Donahue; MARIA BY CALLAS, directed by Tom Volf, MONROVIA, INDIANA, directed by Frederick Wiseman, and TIME FOR ILHAN, directed by Norah Shapiro; as well as the previously announced World Premieres of HENRI DAUMAN: LOOKING UP, directed by Peter Jones, and THE PANAMA PAPERS directed by Alex Winter; the East Coast Premiere of MAKING THE GRADE, directed by Ken Wardrop; the New York Premiere of THE TRUTH ABOUT KILLER ROBOTS, directed by Maxim Pozdorovkin; A MURDER IN MANSFIELD, directed by Barbara Kopple, THE PROPOSAL, directed by Jill Magid, ROLL RED ROLL, directed by Nancy Schwartzman, SHIRKERS, directed by Sandi Tan. World Cinema Documentary is sponsored by Investigation Discovery.
HIFF also announced eight programs of short films this year, including Narrative and Documentary Short Film Competitions; New York Women In Film and Television: Women Calling the Shots; Zoom! Shorts For All Ages; University Short Films Showcase; Let’s Go Crazy; Never Going Back Again; Please Don’t Tell; and five short films that will play before features.
Academy Award®-winning director Damien Chazelle, whose film FIRST MAN will screen in the Spotlight section; Emilio Estevez, whose film THE PUBLIC will screen in the Spotlight section; and Academy Award®- and Golden Globe®-nominated actress Maggie Gyllenhaal, who stars in the festival’s Opening Night film THE KINDERGARTEN TEACHER, will all participate in the festival’s signature program “A Conversation With…” series. All events will take place at Bay Street with Gyllenhaal on Friday, October 5th at 3:00PM, Estevez on Saturday, October 6th at 3:30PM, and Chazelle on Sunday, October 7th at 12:30PM.
The festival will present a special screening of Dava Whisenant’s BATHTUBS OVER BROADWAY, winner of the 2018 SummerDocs Audience Award, sponsored by Candescent Films.
HIFF will feature an immersive storytelling and VR experience THE HIDDEN, a political thriller that literally drops you in the middle of a high-stakes game of cat and mouse without telling you who is hunting whom, which will be available for audiences at Mulford Farm in the afternoons on October 5-8. This program is presented with the support of the Organización Latinoamericana de Alcaldes (OLA).
HIFF also announced the jury members for the 2018 festival. The Narrative Jury will include Geralyn Dreyfous, Academy Award®-winning producer of BORN INTO BROTHELS, THE SQUARE and THE INVISIBLE WAR and founder of the Utah Film Center and co-founder of Impact Partners Film Fund, Jamie Patricof, producer of THE AFTER PARTY, THE ZOOKEEPER’S WIFE, CAPTAIN FANTASTIC and BLUE VALENTINE, and Linus Sandgren, FSF, Academy Award®-winning Cinematographer who collaborated on films including FIRST LAND, LA LA LAND, JOY and AMERICAN HUSTLE. The Documentary Jury will currently include Rory Kennedy, Academy Award®-nominated director of films including ETHEL, LAST DAYS IN VIETNAM and the upcoming ABOVE AND BEYOND: NASA’S JOURNEY TO TOMORROW, screening at the festival. Additional jurors will be announced in the coming weeks.
The Kindergarten Teacher[/caption]
THE KINDERGARTEN TEACHER (USA)
East Coast Premiere
Director: Sara Colangelo
Writer/director Sarah Colangelo (LITTLE ACCIDENTS, HIFF 2014 and Screenwriters Lab 2013) returns to the festival with her prize-winning sophomore feature. Based on Nadav Lapid’s 2014 Israeli drama, THE KINDERGARTEN TEACHER follows Lisa Spinelli (Maggie Gyllenhaal), a Staten Island teacher who accidentally discovers her young student’s prodigious gift for poetry. Desperately seeking her own creative recognition, Lisa’s fascination with the boy quickly unravels into an all-encompassing fixation. Anchored by Gyllenhaal’s fearless performance, THE KINDERGARTEN TEACHER is a electrifyingly unpredictable morality tale about the precarious line between protection and obsession.
A PRIVATE WAR[/caption]
A PRIVATE WAR (USA)
East Coast Premiere
Director: Matthew Heineman In an industry defined by those willing to place themselves in the midst of tremendous danger, photojournalist Marie Colvin (Academy-Award® nominee Rosamund Pike) distinguished herself as one of the world’s most celebrated war correspondents. In his feature narrative debut, acclaimed documentary filmmaker Matthew Heineman (CARTEL LAND, CITY OF GHOSTS) pays tribute to Colvin’s extraordinary life both on and off the battlefield. Portrayed with rebellious conviction by Pike, and aided by a supporting cast including Jamie Dornan and Stanley Tucci, A PRIVATE WAR is a thrilling look at one individual’s devotion to bringing a voice to the voiceless.
BEAUTIFUL BOY (USA)
East Coast Premiere
Director: Felix van Groeningen
Adapted from father and son David and Nic Sheff’s best-selling memoirs, HIFF alum Felix van Groeningen (THE MISFORTUNATES, HIFF 2009 and THE BROKEN CIRCLE BREAKDOWN, HIFF 2013) chronicles the struggle with drug addiction that threatened to tear their family apart in this emotionally charged drama. Passionately led by Academy Award®-nominees Steve Carell and Timothée Chalamet (following up his breakthrough role in last year’s CALL ME BY YOUR NAME), BEAUTIFUL BOY portrays their story as a heartbreaking—and ultimately inspiring—story of a family struggling to stay on top of the waves of recovery and relapse as Nic moves in and out of his father’s life.
BEN IS BACK (USA)
U.S. Premiere
Director: Peter Hedges
On Christmas Eve, the Burns family is stunned by the unexpected arrival of their son Ben (Academy Award® nominee Lucas Hedges), returning home for the first time after entering rehab for opioid addiction. His mother, Holly (Academy Award® winner Julia Roberts), is quick to eagerly welcome her son in, while the rest of the family are more skeptical of the reasons for his surprise return. As Ben is torn between proving his sobriety and falling into his old ways, Roberts perfectly portrays a mother struggling with her own warring instincts in this affecting look at one family’s struggle with a national epidemic.
CAPERNAUM (Lebanon)
U.S. Premiere
Director: Nadine Labaki
Scraping by on the chaotic streets of Beirut, 12-year-old Zain (Zain al Rafeea) is one of many children born into an uncertain future in the city’s slum. Living a deeply troubled life on the streets and branded the sole caretaker of an abandoned toddler, Zain makes the desperate move of suing his negligent parents for giving him life and trapping him in a hostile world. Utilizing a cast of non-professional actors (including two revelatory performances from its child leads), Lebanese director Nadine Labaki’s Cannes Jury Prize-winner is a stirring slice of social-realist protest cinema, driven equally by righteous anger and enduring empathy, and sure to be one of the most talked about films of the year.
EVERYBODY KNOWS (France/Spain/Italy)
East Coast Premiere
Director: Asghar Farhadi
Transplanting his trademark psychological drama from his native Iran to the foothills of Spain, two-time Academy Award®-winning director Asghar Farhadi (THE PAST [HIFF 2014], THE SALESMAN [HIFF 2017]) returns with a story of secrets and intrigue in Spanish wine country. Returning to her childhood home to celebrate a family wedding, Laura (Penélope Cruz) finds long-simmering tensions coming to the surface when her daughter suddenly disappears amidst a power outage, with her distanced family and ex (Javier Bardem) the most likely suspects. Beautifully realized and constantly engrossing, Farhadi has crafted another masterful thriller with a deep ensemble cast of Spanish legends, led by Bardem, Cruz, and Bárbara Lennie.
GREEN BOOK (USA)
East Coast Premiere
Director: Peter Farrelly
It’s 1962 America, and impeccably stylish jazz musician Don Shirley (Academy Award® winner Mahershala Ali) needs to hire a bodyguard to get him safely from venue to venue on his upcoming Southern tour. Enter Tony “Lip” Valelonga (Viggo Mortensen): a loud-mouthed Italian-American bouncer who’s quicker to enter a situation fists first if it means coming out on top. Together, the unlikely pair set out on a road trip through the American South, using the Negro Motorist Green Book as a guide to find welcoming lodging; along the way, they forge a surprising camaraderie in this heartwarming and comedic true story.
ROMA (Mexico)
Director: Alfonso Cuarón
Inspired by the early 1970’s Mexico City of his childhood, celebrated auteur Alfonso Cuarón (GRAVITY, CHILDREN OF MEN, Y TU MAMA TAMBIEN) returns with this semi-autobiographical look at a middle-class family making a life for itself within a time of political turbulence and patriarchal rule. Filmed on a giant canvas in 65mm and utilizing stunningly detailed black and white photography, ROMA recreates the world of his past with a cinematic grandeur and vibrancy. Acting as his own cinematographer and working with a remarkable cast of largely unknown actors, Cuarón places the viewer in the middle a world alive with the anxious energy of the period, while paying respect to the individuals that would help to shape his life.
THE HAPPY PRINCE (Germany/Belgium/Italy)
Director: Rupert Everett
In the final three years of his life (1897-1900), Oscar Wilde finds himself adrift. Coming off the heels of his trial for indecency and subsequent imprisonment, Wilde lives out his last days in exile, moving between a small group of enduring friends (Colin Firth, Edwin Thomas) under assumed names and torn between whether to go back to his ex-lover (Colin Morgan) or estranged wife (Emily Watson). Written, directed by, and starring Rupert Everett as the ailing Wilde, THE HAPPY PRINCE is at once a moving evocation of the literary genius’ final act and a stirring paean to the brilliant wit that endured to his last moments.
THE HATE U GIVE (USA)
Director: George Tillman Jr.
As a way to escape the limited options of the streets she grew up on, sixteen-year-old black teenager Starr Carter (Amandla Stenberg) is torn between two lives: one at school amidst her predominantly rich, upper-class white classmates, and another within her working-class neighborhood. But Starr’s dual life is torn apart when a reunion with a childhood sweetheart ends in tragedy at the hands of a local police officer, forcing her to take a side amidst a swelling of protests in the local community. Adapting Angie Thomas’s award-winning novel to the big screen with the same sense of urgency that shot it to the top of the bestsellers list, THE HATE U GIVE is a stirring look at one teenager’s personal awakening.
THE PUBLIC (USA)
East Coast Premiere
Director: Emilio Estevez
As the day’s activities wind down and library workers Stuart (Emilio Estevez) and Myra (Jena Malone) prepare to close for the day, a group of homeless patrons decide to stage an act of rebellion when they refuse to leave the building to find somewhere to sleep in the wintry night. Soon the scene outside becomes a carnival of riot gearwearing officers and local news reporters, leading to a standoff between the city’s have’s and have-not’s. Aided by a deep supporting cast, including Jeffrey Wright, Michael K. Williams, and Alec Baldwin, writer, director, and star Emilio Estevez continues to showcase his skills as a gifted multi-hyphenate force with his latest ode to the struggles of the disenfranchised.
TO DUST (USA)
Director: Shawn Snyder
Shmuel (Geza Rohrig, last seen at HIFF with 2015’s SON OF SAUL), a Hasidic cantor living in upstate New York, is unable to cope with the untimely death of his wife. Struggling to find religious solace in the face of tremendous grief and plagued by nightmares about his wife’s decaying body, Shmuel looks to Albert (Matthew Broderick), a community college biology professor, to teach him more about the decomposition process facing her. In director Shawn Snyder’s darkly comic first feature, the two form an unlikely bond via clandestine biological experiments, despite the blasphemous consequences.
WIDOWS (UK/USA)
Director: Steve Mc Queen
From Academy Award®-winning director Steve Mc Queen (12 YEARS A SLAVE) and co-writer and bestselling author Gillian Flynn (GONE GIRL) comes a blistering, modernday thriller set against the backdrop of crime, passion and corruption. WIDOWS is the story of four women with nothing in common except a debt left behind by their dead husbands’ criminal activities. Set in contemporary Chicago, amid a time of turmoil, tensions build when Veronica (Oscar® winner Viola Davis), Linda (Michelle Rodriguez), Alice (Elizabeth Debicki) and Belle (Cynthia Erivo) take their fate into their own hands and conspire to forge a future on their own terms. WIDOWS also stars Liam Neeson, Colin Farrell, Robert Duvall, Daniel Kaluuya, Lukas Haas and Brian Tyree Henry.
WILDLIFE (USA)
Director: Paul Dano
In 1960s Montana, Jerry Brinson (Jake Gyllenhaal) finds his family at yet another crossroads when he loses his job at the local golf course. With a wildfire raging in the surrounding mountains, Jerry decides to join a group of firefighters and leaves his wife Jeanette (Carey Mulligan) and teenage son (Ed Oxenbould) on their own in their small town, where both begin to question the stability of the life they’ve known for so long. With this astonishingly well-realized directorial debut, Paul Dano reveals himself to be a director of considerable emotional depth in this melancholic look at the steady decline of the nuclear family, anchored by Mulligan’s towering central performance.
Divide and Conquer: The Story of Roger Ailes[/caption]
DIVIDE AND CONQUER: THE STORY OF ROGER AILES (USA)
Director: Alexis Bloom
At the time of his death in May 2017, a mere four months after the inauguration of Donald Trump, Former Fox News head Roger Ailes left behind undoubtedly one of the largest legacies of any individual on the American political landscape. Looking at the legacy of the man who was both the leading strategist behind the election of numerous Republican presidents and one of the first larger-than-life figures to be taken out of power by accusations of sexual misconduct, filmmaker Alexis Bloom sheds light on the multitude of ways in which the story of Ailes’s rise to power reflects the story of the modern Republican party, as well as the disquieting history of abuse that followed it.
GHOST FLEET (USA)
East Coast Premiere
Director: Shannon Service, Jeffrey Waldron
Amidst the unsustainable expansion of Thailand’s fishing market, the global fishing industry has engaged in the illegal practice of holding workers against their will for years at sea, with little hope of returning to their families. Defying threats of torture and imprisonment to those who attempt to escape, many workers have jumped ship and found themselves taking refuge in local jungles. Following Thai human-rights activist Patima Tungpuchayakul and her team as they set off on a mission to rescue the prisoners who have successfully escaped to the southern islands of Indonesia, GHOST FLEET is an eye-opening expose of the ways in which slavery continues to exist in the modern world, and an inspiring look at those devoting their lives to ending it.
THE LAST RACE (USA)
East Coast Premiere
Director: Michael Dweck
Long Island is the birthplace of American stock car racing, but today, only one racetrack remains: Riverhead Raceway. Established in 1949 on an initially rural part of Long Island, the land has seen its value skyrocket in the subsequent years. With the track now worth over $10 million, the octogenarian owners Barbara and Jim Cromarty struggle to keep the bulldozers at bay. In his debut feature, acclaimed visual artist Michael Dweck explores the issues of class divide and corporate interest that have impacted both the racing industry and region as a whole in this beautiful, visceral, mesmerizing ode to a dying American tradition. *Also screening as part of View From Long Island section.
WALDEN (Switzerland/Austria)
New York Premiere
Director: Daniel Zimmermann
On a gentle day, deep in an Austrian forest, we hear the sudden sound of a chainsaw sending a fir tree to the ground, and thus begins Daniel Zimmerman’s formally fascinating and uncompromising experimental documentary. Entirely comprised of thirteen 360° panning shots, WALDEN follows the tree’s lumber from its harvest in the Austrian wilderness around the globe, as it slowly makes its way across towns, ports, and continents. Equal parts challenging and hypnotizing, Zimmerman’s film is a rhythmic rumination on the role nature plays in all of our lives, both as individuals and as those living in a world defined by globalization.
Monrovia, Indiana[/caption]
MONROVIA, INDIANA (USA)
Director: Frederick Wiseman
Turning his attention away from the large-scale city institutions that have defined his work for much of the past decade, legendary documentarian Frederick Wiseman aims his camera towards the residents of Monrovia, Indiana: a small midwest town with a population of just over 1,000. Observing life in this middle-American community, Wiseman moves between a variety of locales, ranging from the churches and farms that have defined the region for centuries to the gun shop visits, school performances, and Freemason society meetings that showcase the town’s daily rituals. Through it all, Wiseman creates a remarkable space for contemplation of a type of community rarely depicted on screen, despite the undeniable role these towns play in contemporary American politics.
A MURDER IN MANSFIELD (USA)
Director: Barbara Kopple
Academy Award® winner Barbara Kopple’s latest documentary explores the ramifications of a horrific crime that shook the small town of Mansfield, Ohio. In 1990, 12-year-old Collier stepped onto the witness stand during the most explosive murder trial in the history of his hometown. Many locals still remember the boy’s dramatic testimony—blaming his father, a prominent doctor, for the murder of his mother Noreen. Twenty-six years later, Collier returns, seeking to heal the lingering trauma associated with the crime and confront his imprisoned father, who continues to withhold his admission of guilt in the events that changed so many lives.
THE PANAMA PAPERS (USA)
World Premiere
Director: Alex Winter
Leaked by an anonymous source to journalists in 2015, The Panama Papers were an explosive collection of 11.5 million documents, exposing the use of secretive offshore companies to enable widespread tax evasion and money laundering. Largely viewed as the largest data leak in history, the release of the Papers had wide-reaching implications, incriminating 12 current or former world leaders, 128 politicians or public officials, and various celebrities and public figures (among others). In his expansive documentary, director Alex Winter speaks to the journalists who worked to ensure the release, and examines how it reshaped our understanding of corruption amidst the highest forms of government, along with the ongoing effects on global inequality.
THE PROPOSAL (USA)
Director: Jill Magid
Hidden away in a vault in Switzerland lies the professional archive of Mexico’s most renowned architect Luis Barragán, now fiercely protected by its sole owner, who has almost completely restricted access to the public over the last 20 years. Determined to relocate the archive back to Mexico City, American conceptual artist, writer, and filmmaker Jill Magid initiates a dialogue with the owner, and in the process, begins to construct her own piece ruminating on the dangers of cutting off accessibility to an artist’s work from the outside world. With this provocative and haunting film, Magid challenges the perception of who truly controls an artist’s legacy and how the world should engage with their work.
ROLL RED ROLL (USA)
Director: Nancy Schwartzman
In 2012, the sleepy town of Steubenville, Ohio made international news when a whistleblowing blogger discovered a set of disturbing online evidence documenting the sexual assault of a teenage girl by star members of the high school football team. Examining the complicated motivations of the perpetrators, bystanders, and community leaders who actively denied and dismissed the event, documentarian Nancy Schwartzman attempts to unpack the harmful attitudes at the core of their unconscionably complicit behavior. Timely and undeniably affecting, ROLL RED ROLL goes behind the headlines to uncover the deeply entrenched, social media-fueled “boys will be boys” culture at the root of sexual assault in America.
SHIRKERS (USA)
Director: Sandi Tan
Spending her days seeking refuge in zines, bootlegs, and American independent cinema, teenager Sandi Tan found herself among the first generation of Singapore’s burgeoning counterculture movement when she began working on her DIY-labor of love film SHIRKERS in the early 90s. But Sandi and her co-conspirators’ dreams of beginning a new film movement were crushed when Georges, her mysterious American mentor, disappeared with the entirety of the footage without warning. Two decades later, Tan and her collaborators return to the footage they lost in order to grapple with the movement their optimism inspired—and the man who tore it away from them—in this singular look at one artist’s attempt to reckon with the past.
THEY’LL LOVE ME WHEN I’M DEAD (USA)
Director: Morgan Neville
THE OTHER SIDE OF THE WIND was to be Orson Welles’s grand comeback, until years of financial, legal, and creative issues halted the completion of the CITIZEN KANE director’s final work. Now nearly 50 years later, Oscar®-winning documentary director Morgan Neville (20 FEET FROM STARDOM, WON’T YOU BE MY NEIGHBOR) looks back at the winding and nearly unbelievable story of the making of the film, created guerrilla-style by a director living in exile, and the decades of failure that came to define the project’s legacy. Aided by Peter Bogdanovich, Frank Marshall, Beatrice Welles, and other living collaborators, THEY’LL LOVE ME WHEN I’M DEAD is a lively tribute to one of cinema’s true giants.
THIS CHANGES EVERYTHING (USA)
U.S. Premiere
Director: Tom Donahue
One year after the Harvey Weinstein allegations ignited the #MeToo movement, THIS CHANGES EVERYTHING offers a comprehensive look at the film industry’s role in reinforcing gender dynamics over the last century, and the resounding call for action pushing back. Speaking with a tremendous group of Hollywood’s biggest names, including Meryl Streep, Jessica Chastain, Natalie Portman, Cate Blanchett, Reese Witherspoon, and countless others, the film stands as a timely testament to the urgent need for change facing both the entertainment industry and society as a whole.
TIME FOR ILHAN (USA)
Director: Norah Shapiro
On November 8, 2016, Ilhan Omar—a young, hijab-wearing mother-of-three—made history as the first Somali Muslim woman to be elected to legislative office in the United States. With incredible access to Omar’s campaign, documentarian Norah Shapiro follows the candidate and her team on the trail as they attempt to unseat the 43-year incumbent in a hard-fought race to represent the country’s largest Somali community. At a time of tremendous political turmoil, TIME FOR ILHAN intimately chronicles the inspiring journey of one of the nation’s brightest rising political stars and offers a fresh perspective on the American Dream.
THE TRUTH ABOUT KILLER ROBOTS
New York Premiere
Director: Maxim Pozdorovkin
As defined by science fiction giant Isaac Asimov, the first law of robotics states, “A robot may not injure a human being, or through inaction, allow a human being to come to harm.” So what happens once we live in an era where the law has already been broken? Using three recent case studies of moments in which robots have caused the death of a human as a starting point, director Maxim Pozdorovkin creates an equally thought-provoking and wryly provocative survey of just how much we’ve allowed robots into our lives, and the extent to which our often unnoticed reliance on machines may have already defined our fate.
Birds of Passage[/caption]
BIRDS OF PASSAGE (Mexico, Colombia, Denmark)
New York Premiere
Director: Christina Gallego, Ciro Guerra
In the follow-up to his visually stunning foreign language Oscar®-nominated EMBRACE OF THE SERPENT (HIFF 2015), director Ciro Guerra depicts a single Colombian family who find themselves increasingly forced into the violence and capitalist pull of the country’s burgeoning drug trade. Co-directed alongside his longtime collaborator Cristina Gallego, BIRDS OF PASSAGE provides a visceral and multi-faceted look at the two-decade rise of the Colombian drug trade through the eyes of the indigenous communities who both helped to shape it and were subsequently devastated by it. Sprawling in scope and filled with a sense of surreal beauty, Guerra and Gallego deliver an unparalleled crime saga. Selected as Colombia’s official entry for the Best Foreign Language Film Oscar®.
BURNING (South Korea)
Director: Lee Chang-dong
Years after leaving his small northern hometown for Seoul, an aspiring writer (Yoo Ahin) unexpectedly runs into a childhood acquaintance (Jeon Jong-seo). Their chance encounter soon blossoms into a tentative relationship, until her return from an impromptu trip with a mysterious new companion (Steven Yeun, The Walking Dead) sets in motion an accidental love triangle that soon morphs into something much more sinister. Based on Haruki Murakami’s short story Barn Burning, director Lee Changdong’s masterful film became one of the most celebrated titles of the last decade upon its premiere at the Cannes Film Festival—an exhilarating thriller that is as precise as it is undefinable.
COLD WAR (Poland)
Director: Pawel Pawlikowski
In the midst of tremendous political upheaval, two folk musicians meet in post-war Poland, where one attempts to escape a troubled past while the other increasingly questions the pair’s role in the country’s propaganda machine. Soon they fall in love and find fame in the smoke-lit bars of Eastern Europe, setting in motion a relationship that will span decades and cross borders. Sumptuously shot in beautiful black and white, Polish filmmaker Pawel Pawlikowski (in the follow-up to his Foreign Language Academy Award® winner IDA) returns to his home country with an achingly seductive tale of love and loss.
DEAD PIGS (USA/China)
Director: Cathy Yan
Against the backdrop of urban development, gentrification, and thousands of discarded pigs mysteriously floating down the Yangtze River, a brassy salon owner, lonely busboy, trust-fund princess, expat architect, and bumbling farmer find their lives unexpectedly converging in Cathy Yan’s sprawling directorial debut. Yan, a participant in the 2016 HIFF Screenwriters Lab and the recipient of support from the inaugural Melissa Mathison Fund, effortlessly weaves together the individual narratives of five Shanghai residents in her biting satire. Based on true events, DEAD PIGS is a wicked and whimsical examination of contemporary China’s ongoing clash between traditionalism and modernization.
THE GUILTY (Denmark)
Director: Gustav Möller
Following a suspension, police officer Asger Holm (a hypnotic Jakob Cedergren) is reassigned as an emergency dispatcher. During one seemingly typical night he receives a unusually distressing call, and slowly realizes that the woman on the other end of the line has been kidnapped. Confined to his desk with only his direct line of communication to aid him, Holm must act without delay in order to save her. Winner of audience awards at Sundance, Rotterdam, Montclair and more, first-time director Gustav Möller experiments with the boundaries of traditional narrative to create one of the year’s most suspenseful thrillers.
HAPPY AS LAZZARO (Italy)
Director: Alice Rohrwacher
Within an impoverished Italian countryside estate, a group of sharecroppers spend their days harvesting tobacco for their overbearing Marchesa, while the wide-eyed, innocent local Lazzaro (first-time actor Adriano Tradiolo) is at once beloved and taken advantage of by his fellow workers. This life continues on in the town, until Lazzaro’s involvement in a kidnapping scheme at the hands of the Marchesa’s entitled son sets in motion a string of events that will push him towards a place and time far from his rustic home. Blending the lines between Italy’s history of neo-realism and bucolic fables into a transfixing parable of the country’s modern day society, director Alice Rohrwacher’s (CORPO CELESTE, HIFF 2011) third feature is a stunning achievement of contemporary European cinema.
I DO NOT CARE IF WE GO DOWN IN HISTORY AS BARBARIANS (Romania/Czech Republic/France/Bulgaria/Germany)
U.S. Premiere
Director: Radu Jude In the latest provocation from Romanian director Radu Jude, local theater director Mariana Marin (Ioana Iacob) prepares to stage a public recreation of the 1941 Odessa Massacre, an often-ignored ethnic cleansing in which tens of thousands of Ukrainian Jews were murdered at the hands of Romanian soldiers. As Mariana attempts to push back on both calls for censorship from a city representative looking for a more traditional display of nationalist pride and a burgeoning mutiny amongst her cast of local volunteers, Jude crafts a timely and constantly engaging examination of the ways in which barbarism is not only defined by its perpetrators, but by those insistent on pushing it to the sidelines of history as well.
LETO (Russia)
U.S. Premiere
Director: Kirill Serebrennikov
As the political repression of the USSR enters its final decade, Mike Naumenko (Roman Bilyk), frontman of the early 1980s Leningrad band Zoopark, welcomes a new singer that will soon break out far past the reach of their comparatively underground rock scene. Looking back at the music landscape of his youth, director Kirill Serebrennikov has crafted a sprawling portrait of a vibrant scene alive with the riotous, uncontrollable energy of the era. Filled with an electrifying soundtrack, LETO provides a nostalgic, yet un-romanticized look at a period that seemed to exist almost entirely outside of both what had come before and was yet to come in its native country.
NON-FICTION (France)
Director: Olivier Assayas
Internationally acclaimed French auteur Olivier Assayas (CLOUDS OF SILS MARIA, HIFF 2014) returns to the festival with this charmingly playful comedy. Facing both a rapidly changing industry and the lingering feeling that his relationship with his wife (Juliette Binoche), a professional actress, is growing stale, publishing executive Alain (Guillaume Canet) struggles to find his place while dealing with an oafish author (Vincent Macaigne) and significantly younger new recruit (Nora Hamzawi). As his perfectly cast ensemble move between dinner parties and bedrooms, Assayas crafts a deliciously mischievous look at the difficulty of adapting to today’s new-media world.
PRIVATE LIFE (USA)
Director: Tamara Jenkins
Feeling the pressure of repeated failed attempts to have a child, middle-aged New York couple Rachel (Kathryn Hahn) and Richard (Paul Giamatti) seem to have run out of options when their step-niece Sadie (HIFF 2018 Breakthrough Artist Kayli Carter) arrives at their doorstep looking for a place to crash. When Sadie agrees to donate her eggs and become the last piece of their fertility puzzle, the three form an unconventional bond as they set about creating a family. With her first film in 10 years, director Tamara Jenkins (THE SAVAGES) and her wonderful cast craft a knowingly tender portrait of the pressures facing one middle-class family.
[caption id="attachment_29298" align="aligncenter" width="926"]
MANBIKI KAZOKU(Shoplifters) by KORE-EDA Hirokazu[/caption]
SHOPLIFTERS (Japan)
Director: Hirokazu Kore-eda
The winner of the Palme d’Or at this year’s Cannes Film Festival, prolific Japanese auteur Hirokazu Kore-eda (LIKE FATHER LIKE SON, HIFF 2013) returns to the festival with a nuanced, heartbreaking look at a family of misfits living in the margins of contemporary Tokyo. Making a life for themselves by shoplifting from local grocery stores and finding food where they can, the film’s central family find their impoverished but tranquil life threatened when they take a young girl under their wing, and her abusive parents fight back for custody. An impassioned plea for those struggling to stay afloat, this is another must-see from one of international cinema’s greatest filmmakers. Selected as Japan’s official entry for the Best Foreign Language Film Oscar®.
STYX (Germany/Austria)
U.S. Premiere
Director: Wolfgang Fischer
Rike (Susanne Wolff), a forty-year-old woman working contentedly as a successful doctor in the city, finally fulfills a lifelong dream when she uses an annual holiday to set sail on a solo voyage from Gibraltar to Ascension, an island in the middle of the Atlantic Ocean. Following an intense storm, Rike’s holiday is interrupted by the discovery of a badly damaged and overloaded refugee boat, with over one hundred passengers’ lives threatened and her calls for help unanswered. Director Wolfgang Fischer crafts a stunning story of survival, as well as a striking allegory for the sometimes impossible task of acting to save those imperiled by an impassive system.
WILD NIGHTS WITH EMILY (USA)
Director: Madeleine Olnek
Literary icon Emily Dickinson (Molly Shannon) breaks free from her public persona as a famously prudish spinster and claims her status as a vibrant lesbian hero. Balancing raucous humor with tender romance, Shannon establishes Dickinson as a spirited artist who drew inspiration from her passionate, lifelong affair with her secret lover, Susan Dickinson (Susan Ziegler). In the delightfully irreverent WILD NIGHTS WITH EMILY, writer/director Madeleine Olnek refreshingly upends the false narratives that have historically dominated the poet’s life and work, and examines the way we as a society choose to write and remember our powerful women.
WOMAN AT WAR (France/Iceland/Ukraine)
U.S. Premiere
Director: Benedikt Erlingsson
Fifty-year-old choir teacher Halla (Halldóra Geirharðsdóttir) has, on the surface, an uneventful life in her Icelandic countryside home. By day a pillar of the local community, Halla leads a secret life as an eco-terrorist, devoting herself to a campaign against the aluminum industry by sabotaging local electric pylons and spearheading factory sieges. When the balance of her dual life is threatened by the approval of a longstanding adoption request, she is forced to decide whether to sacrifice the cause for the desire to settle down. Examining the nuanced relationship between the personal and the political with an unexpectedly offbeat, comic tone, WOMEN AT WAR is a stirring tale from emerging Icelandic director Benedikt Erlingsson.
BLACK MOTHER (USA)
Director: Khalik Allah
Filmmaker, photographer, and Long Island resident Khalik Allah’s second feature is, much like his debut film FIELD N*****, a mesmerizing documentary portrait. Allah casts his lens on two dissonant worlds on the island of Jamaica, showcasing the sacred and profane alike. Switching among multiple formats, from the raw texture of super 8mm film, to videotape, to HD video, Allah skillfully creates another intimate and daring portrait of kaleidoscopic beauty, revealing Jamaica—the birthplace of his mother—as a blessed place, dreamlike, full of rhythm and seduction.
THE LAST RACE (USA)
East Coast Premiere
Director: Michael Dweck
Long Island is the birthplace of American stock car racing, but today, only one racetrack remains: Riverhead Raceway. Established in 1949 on an initially rural part of Long Island, the land has seen its value skyrocket in the subsequent years. Now worth over $10 million, the octogenarian track owners Barbara and Jim Cromarty struggle to keep the bulldozers at bay. In his debut feature, acclaimed visual artist Michael Dweck explores the issues of class divide and corporate interest that have impacted both the racing industry and region as a whole in this beautiful, visceral, mesmerizing ode to a dying American tradition. *Also screening as part of Documentary Competition Section.
ONLY THE WIND IS LISTENING (USA)
World Premiere
Director: Emily Anderson
Set against the backdrop of an unforgiving Montauk winter, the lives of a fisherman and a writer intertwine as they attempt to navigate off-season loneliness. *Also screening as part of the Shorts Playing Before Features.
STILL PLAYS WITH TRAINS (USA)
World Premiere
Director: Ross Kauffman
In the basement of his East Hampton home, John Scully reconstructs his idyllic 1950s childhood in the form of one of the world’s largest model train sets. *Also screening as part of the Shorts Playing Before Features.
Watergate[/caption]
WATERGATE (USA)
Director: Charles Ferguson
Few moments loom larger on the collective conscious of contemporary American history than the Watergate investigation, and the subsequent resignation of Richard Nixon in 1974. Now over 40 years later, filmmaker Charles Ferguson utilizes new interviews with surviving subjects from all sides of the investigation—including reporters, prosecutors, senators, congressmen, and former members of the Nixon administration—to shine a new light on the landmark case. Following up his 2008 expose on the financial crisis INSIDE JOB, which landed him an Academy Award® for Best Documentary Feature, Ferguson’s WATERGATE is a stunning, all-encompassing look at a scandal that, until recently, stood without parallel in US politics
Frederick Wiseman’s documentary Monrovia, Indiana which is set to world premiere at the 2018 Venice Film Festival, will be released in theaters on October 26 at New York’s Film Forum as it begins a national theatrical rollout via Zipporah Films. Los Angeles will open November 2 with additional top markets to follow in November and December. Following Venice, the film will also play at the Toronto International Film Festival and the New York Film Festival.
Located in mid-America, Monrovia, IN (population 1,063), founded in 1834, is primarily a farming community. The film is about the day-to-day experiences living and working in Monrovia, with emphasis on community organizations and institutions, religion and daily life in this farming community.
Forty-six million Americans live in rural, small town America. These towns were once the backbone of American life. While their number and populations have shrunk, the importance of rural America as a formative center of American politics and values was demonstrated in the 2016 presidential election. To understand more about American life, it is important acknowledge the unique and important contributions small towns make to American character and culture, in addition to providing most of our food, raw materials and drinking water.
The film explores the conflicting stereotypes and illustrates how values like community service, duty, spiritual life, generosity and authenticity are formed, experienced and lived. The film gives a complex and nuanced view of daily life in Monrovia and provides some understanding of a rural, mid-American way of life that has always been important in America but whose influence and force have not always been recognized or understood in the big cities on the east and west coasts of America and in other countries.
On his inspiration for the film Wiseman stated:“I thought a film about a small farming community in the Midwest would be a good addition to the series I have been doing on contemporary American life. Life in big American cities,on the east and west coasts,is regularly reported on and I was interested in learning more about life in small town America and sharing my view.”
Since 1967, Frederick Wiseman has directed 42 documentaries—dramatic, narrative films that seek to portray ordinary human experience in a wide variety of contemporary social institutions. His films include TITICUT FOLLIES, HIGH SCHOOL, WELFARE, JUVENILE COURT, BOXING GYM, LA DANSE, BALLET, CENTRAL PARK, BALLET, LA COMEDIE FRANCAISE, CRAZY HORSE, AT BERKELEY, NATIONAL GALLERY, IN JACKSON HEIGHTS, and EX LIBRIS – THE NEW YORK PUBLIC LIBRARY. He has directed one fiction film, THE LAST LETTER (2002). His films are exhibited in theatres and broadcast on television in many countries.
Michael Moore’s Fahrenheit 11/9[/caption]
The World Premiere of Michael Moore’s Fahrenheit 11/9 , a radical and humorous look at the United States under Donald Trump, will open the Toronto International Film Festival 2018 documentary program. The Festival will screen 27 feature-length non-fiction films, representing 19 countries in the 2018 documentary program.
Other World Premieres include Rashida Jones and Alan Hicks’ Quincy, profiling musical icon Quincy Jones; Victoria Stone and Mark Deeble’s The Elephant Queen, narrated by Chiwetel Ejiofor, tracing the epic journey of an elephant herd; Billy Corben’s Screwball, a true-crime comedy on doping in Major League Baseball; and Maxim Pozdorovkin’s The Truth About Killer Robots, investigating the lethal consequences of automation.
One-third of this year’s doc features are directed or co-directed by female filmmakers including TIFF Docs closing film, Margarethe von Trotta’s Searching for Ingmar Bergman, which offers a multi-faceted look at the Swedish auteur’s life 100 years after his birth. Women creators, trailblazers, and the #MeToo movement are also examined within the lineup: Naziha Arebi’s Freedom Fields, about a Libyan women’s football team; Alex Holmes’ Maiden recounts the story of the first all-women sailing crew in the Whitbread Round the World Race (now the Volvo Ocean Race), skippered by Tracy Edwards; and Tom Volf’s Maria by Callas, narrated by Joyce DiDonato, profiles one of the major icons of the 20th century. More highlights include Alexis Bloom’s Divide and Conquer: The Story of Roger Ailes, covering the Fox News creator who was ousted for allegations of sexual harassment; and Tom Donahue’s This Changes Everything, an examination of gender dynamics in Hollywood, executive produced by Geena Davis. Mark Cousins’ Women Make Film: A New Road Movie Through Cinema , narrated by Tilda Swinton, explores international cinema through the lens of women directors.
Global politics and leaders of modern society are put under the microscope with films such as Werner Herzog and André Singer’s Meeting Gorbachev, on the former Soviet leader; Vitaly Mansky’s Putin’s Witnesses, focusing on Russia’s president; and Errol Morris’ American Dharma , looking at controversial Trump strategist Steve Bannon.
Grand adventures are at the heart of several docs in the selection. E. Chai Vasarhelyi and Jimmy Chin’s Free Solo captures Alex Honnold’s unprecedented climb of El Capitan without safety ropes; Andrey Paounov’s Walking on Water documents the artist Christo’s project The Floating Piers; John Chester’s The Biggest Little Farm chronicles an eight-year struggle to run a family farm; and Shannon Service and Jeffrey Waldron’s Ghost Fleet captures a nail-biting rescue of fishermen enslaved at sea.
After directing last year’s Festival opener Borg vs McEnroe, Janus Metz teams with Sine Plambech for the World Premiere of Heartbound, a longitudinal study 10 years in the making about the trend of Thai women marrying Danish men. And several documentaries represent eclectic perspectives told from around the world, including: Rithy Panh’s Graves Without a Name, on the legacy of Cambodia’s genocide; Jawad Rhalib’s When Arabs Danced, on Muslim performers pushing boundaries; James Longley’s Angels Are Made Of Light, about a group of Afghan children and their teachers; and Frederick Wiseman’s Monrovia, Indiana , about a small town in America’s Midwest.
The 43rd Toronto International Film Festival runs from September 6 to 16, 2018.
If Beale Street Could Talk[/caption]
The Film Society of Lincoln Center today announced the 30 films for the Main Slate of the 56th New York Film Festival taking place September 28 to October 14, 2018.
This year’s Main Slate showcases films from 22 different countries, including new titles from celebrated auteurs, extraordinary work from directors making their first NYFF bows, and captivating features that wowed audiences at international festivals. Five films in the festival were honored at Cannes, including Hirokazu Kore-eda’s Palme d’Or–winner Shoplifters; Jean-Luc Godard’s The Image Book, awarded a Special Palme d’Or; Cold War, which took home the Best Director prize for Paweł Pawlikowski; and Alice Rohrwacher’s Happy as Lazzaro and Jafar Panahi’s 3 Faces, which shared the Best Screenplay award. Returning to the festival for the third consecutive year is Hong Sangsoo with two new films, joined by his fellow NYFF54 filmmakers Olivier Assayas and Barry Jenkins. Frederick Wiseman makes his 10th appearance at the festival, while other returning filmmakers include Joel & Ethan Coen, Alex Ross Perry, Claire Denis, Ulrich Köhler, Lee Chang-dong, Jia Zhangke, and Christian Petzold. Making both their directorial and NYFF debuts are Paul Dano and Richard Billingham, and Louis Garrel makes his first NYFF showing as a director. Other filmmakers new to the festival include Dominga Sotomayor, Christophe Honoré, Tamara Jenkins, Mariano Llinás, and Ying Liang, as well as Bi Gan and Ryûsuke Hamaguchi, both alumni of New Directors/New Films 2016.
The NYFF56 Opening Night is Yorgos Lanthimos’s The Favourite, Alfonso Cuarón’s ROMA is Centerpiece, and Julian Schnabel’s At Eternity’s Gate will close the festival.
NYFF Director and Selection Committee Chair Kent Jones said, “Francis Ford Coppola said that the cinema would become a real art form only when the tools of moviemaking became as inexpensive as paints, brushes, and canvases. That has come to pass, but at the same time it’s become increasingly tough to do serious work that is beholden to nothing but the filmmaker’s need to express these emotions in this form in moving images and sound. So if I were pressed to choose one word to describe the films in this year’s Main Slate, it would be: bravery. These films were made all over the globe, by young filmmakers like Dominga Sotomayor and masters like Fred Wiseman, by artists of vastly different sensibilities from Claire Denis to the Coen Brothers, Jafar Panahi to Jean-Luc Godard. And the unifying thread is their bravery, the bravery needed to fight past the urge to commercialized smoothness and mediocrity that is always assuming new forms. That’s what makes every single title in this year’s Main Slate so precious, and so vital.”
The 56th New York Film Festival Main Slate
Opening Night
The Favourite
Dir. Yorgos Lanthimos, Ireland/UK/USA, 2018, 121m
In Yorgos Lanthimos’s wildly intricate and very darkly funny new film, Sarah Churchill, the Duchess of Marlborough (Rachel Weisz), and her servant Abigail Hill (Emma Stone) engage in a sexually charged fight to the death for the body and soul of Queen Anne (Olivia Colman) at the height of the War of the Spanish Succession. This trio of truly brilliant performances is the dynamo that powers Lanthimos’s top-to-bottom reimagining of the costume epic, in which the visual pageantry of court life in 18th-century England becomes not just a lushly appointed backdrop but an ironically heightened counterpoint to the primal conflict unreeling behind closed doors. A Fox Searchlight Pictures release.
Centerpiece
ROMA
Dir. Alfonso Cuarón, Mexico/USA, 2018, 135m
In Alfonso Cuarón’s autobiographically inspired film, set in Mexico City in the early ’70s, we are placed within the physical and emotional terrain of a middle-class family whose center is quietly and unassumingly held by its beloved live-in nanny and housekeeper (Yalitza Aparicio). The cast is uniformly magnificent, but the real star of ROMA is the world itself, fully present and vibrantly alive, from sudden life-changing events to the slightest shifts in mood and atmosphere. Cuarón tells us an epic story of everyday life while also gently sweeping us into a vast cinematic experience, in which time and space breathe and majestically unfold. Shot in breathtaking black and white and featuring a sound design that represents something new in the medium, ROMA is a truly visionary work. A Netflix release.
Closing Night
At Eternity’s Gate
Dir. Julian Schnabel, USA/France, 2018, 106m
North American Premiere
Julian Schnabel’s ravishingly tactile and luminous new film takes a fresh look at the last days of Vincent van Gogh, and in the process revivifies our sense of the artist as a living, feeling human being. Schnabel; his co-writers Jean-Claude Carrière and Louise Kugelberg, also the film’s editor; and cinematographer Benoît Delhomme strip everything down to essentials, fusing the sensual, the emotional, and the spiritual. And the pulsing heart of At Eternity’s Gate is Willem Dafoe’s shattering performance: his Vincent is at once lucid, mad, brilliant, helpless, defeated, and, finally, triumphant. With Oscar Isaac as Gauguin, Rupert Friend as Theo, Mathieu Amalric as Dr. Gachet, Emmanuelle Seigner as Madame Ginoux, and Mads Mikkelsen as The Priest. A CBS Films release.
3 Faces
Dir. Jafar Panahi, Iran, 2018, 100m
U.S. Premiere
Iranian director Jafar Panahi’s fourth completed feature since he was officially banned from filmmaking is one of his very best. Panahi begins with a smartphone video shot by a young woman (Marziyeh Rezaei) who announces to the camera that her parents have forbidden her from realizing her dream of acting and then, by all appearances, takes her own life. The recipient of the video, Behnaz Jafari, as herself, asks Panahi, as himself, to drive her to the woman’s tiny home village near the Turkish border to investigate. From there, 3 Faces builds in narrative, thematic, and visual intricacy to put forth a grand expression of community and solidarity under the eye of oppression.
Asako I & II
Dir. Ryûsuke Hamaguchi, Japan/France, 2018, 119m
U.S. Premiere
A truly original Vertigo riff, based on a novel by Tomoka Shibasaki, Asako I & II is an enchanting, unnerving paean to the notion of love as a trance state. Asako (Erika Karata) and Baku (Masahiro Higashide) share an intense, all-consuming romance—but one day the moody Baku ups and vanishes. Two years later, having moved from Osaka to Tokyo, Asako meets Baku’s exact double. Ryûsuke Hamaguchi, who gained plenty of attention for 2015’s five-hour-plus Happy Hour, has returned with a beguiling and mysterious film that traces the trajectory of a love—or, to be accurate, two loves—found, lost, displaced, and regained. A Grasshopper Film release.
Ash Is Purest White
Dir. Jia Zhangke, China, 2018, 142m
U.S. Premiere
Jia Zhangke’s extraordinary body of work has doubled as a record of 21st-century China and its warp-speed transformations. A tragicomedy in the fullest sense, Ash Is Purest White is at once his funniest and saddest film, portraying the passage of time through narrative ellipses and, like his Mountains May Depart (NYFF53), a three-part structure. Despite its jianghu—criminal underworld—setting, Ash is less a gangster movie than a melodrama, beginning by following Qiao and her mobster boyfriend Bin as they stake out their turf against rivals and upstarts in 2001 postindustrial Datong before expanding out into an epic narrative of how abstract forces shape individual lives. As the formidable, quick-witted Qiao, a never better Zhao Tao has fashioned a heroine for the ages. A Cohen Media Group release.
The Ballad of Buster Scruggs
Dir. Joel Coen & Ethan Coen, USA, 2018, 128m
North American Premiere
Here’s something new from the Coen Brothers—an anthology of short films based on a fictional book of “western tales,” featuring Tim Blake Nelson as a murderous, white-hatted singing cowboy; James Franco as a bad luck bank-robber; Liam Neeson as the impresario of a traveling medicine show with increasingly diminishing returns; Tom Waits as a die-hard gold prospector; Zoe Kazan and Bill Heck as two shy people who almost come together on the wagon trail; and Tyne Daly, Saul Rubinek, Brendan Gleeson, Chelcie Ross, and Jonjo O’Neill as a motley crew on a stagecoach to nowhere. Each story is distinct, but unified by the thematic thread of mortality. As a whole movie experience, Buster Scruggs is wildly entertaining, and, like all Coen films, endlessly surprising. An Annapurna Production and Netflix release.
Burning
Dir. Lee Chang-dong, South Korea, 2018, 148m
Expanded from Haruki Murakami’s short story “Barn Burning,” the sixth feature from Korean master Lee Chang-dong, known best in the U.S. for such searing, emotional dramas as Secret Sunshine (NYFF45) and Poetry (NYFF48), begins by tracing a romantic triangle of sorts: Jongsu (Yoo Ah-in), an aspiring writer, becomes involved with a woman he knew from childhood, Haemi (Jun Jong-seo), who is about to embark on a trip to Africa. She returns some weeks later with a fellow Korean, the Gatsby-esque Ben (Steven Yeun), who has a mysterious source of income and a very unusual hobby. A tense, haunting multiple-character study, the film accumulates a series of unanswered questions and unspoken motivations to conjure a totalizing mood of uncertainty and quietly bends the contours of the thriller genre to brilliant effect. A Well Go USA release.
Cold War
Dir. Paweł Pawlikowski, Poland, 2018, 90m
Academy Award–winner Paweł Pawlikowski follows up his box-office sensation Ida with this bittersweet, exquisitely crafted tale of an impossible love. Set between the late 1940s and early 1960s, Cold War is, as the title implies, a Soviet-era drama, but it stringently and inventively avoids the clichés of many a classical-minded World War II art film, tracking the tempestuous love between pianist (Tomasz Kot) and singer (Joanna Kulig) as they navigate the realities of living in both Poland and Paris, in and outside of the Iron Curtain. Shot in crisp black-and-white and set to a bewitching jazzy score, Pawlikowski’s evocative film consummately depicts an uncompromising passion caught up in the gears of history. An Amazon Studios release.
A Faithful Man / L’Homme fidèle
Dir. Louis Garrel, France, 2018, 75m
U.S. Premiere
Nine years after she left him for his best friend, journalist Abel (Louis Garrel) gets back together with his recently widowed old flame Marianne (Laetitia Casta). It seems to be a beautiful new beginning, but soon the hapless Abel finds himself embroiled in all sorts of dramas: the come-ons of a wily jeune femme (Lily-Rose Depp), the machinations of Marianne’s morbid young son, and some unsavory questions about what exactly happened to his girlfriend’s first husband. Shifting points of view as nimbly as its players switch partners, the sophomore feature from actor/director Louis Garrel—co-written with the legendary Jean-Claude Carrière—is at once a beguiling bedroom farce and a slippery inquiry into truth, subjectivity, and the elusive nature of romantic attraction.
A Family Tour
Dir. Ying Liang, Taiwan/Hong Kong/Singapore/Malaysia, 2018, 107m
U.S. Premiere
Since his 2012 feature When Night Falls, a stinging critique of state power that the Chinese authorities attempted to suppress, the director Ying Liang has been forced to live in exile in Hong Kong. His return to feature filmmaking is a characteristically precise and powerful work, and, as inspired by his own precarious situation and based on a reunion with his in-laws, an autobiographical one. The film follows a Hong Kong–exiled director (Gong Zhe) as she travels to a film festival in Taiwan with her husband and toddler, while her ailing mother (Nai An) vacations there separately with a tour group. To avoid attracting attention, the family shadows the tour’s sightseeing itinerary, visiting each other during photo stops and mealtimes. An empathetic snapshot of a mother-daughter relationship, this brave, poised film is also a deeply moving testament to the inseparability of the personal and the political.
La Flor
Dir. Mariano Llinás, Argentina, 2018, 807m
North American Premiere
A decade in the making, Mariano Llinás’s follow-up to his 2008 cult classic Extraordinary Stories is an unrepeatable labor of love and madness that redefines the concept of binge viewing. The director himself appears at the start to preview the six disparate episodes that await, each starring the same four remarkable actresses: Elisa Carricajo, Valeria Correa, Pilar Gamboa, and Laura Paredes. Overflowing with nested subplots and whiplash digressions, La Flor shape-shifts from a B-movie to a musical to a spy thriller to a category-defying metafiction—all of them without endings—to a remake of a very well-known French classic and, finally, to an enigmatic period piece that lacks a beginning (granted, all notions of beginnings and endings become fuzzy after 14 hours). An adventure in scale and duration, La Flor is a marvelously entertaining exploration of the possibilities of fiction that lands somewhere close to its outer limits.
Grass
Dir. Hong Sangsoo, South Korea, 2018, 66m
U.S. Premiere
Sitting in a café, typing on a laptop, Areum (Kim Min-hee) eavesdrops on three dramatic situations unfolding in her general vicinity: a young woman bound for Europe and a male friend who erupt in vitriolic accusations, a washed-up actor trying to sweet-talk his way into staying with an old friend, and a narcissistic actor-director (Jung Jin-young) trying to rope a young writer into his next project. Playing out largely in long-take two-shots, these conversations create a kind of never-ending theatrical performance, with Areum as the anchor. With its raw emotions and seeming formal simplicity masking a complex episodic approach, Grass finds Korean master Hong Sangsoo setting up a fascinating narrative problem for himself and solving it as only he can. A Cinema Guild release.
Happy as Lazzaro / Lazzaro felice
Dir. Alice Rohrwacher, Italy, 2018, 128m
North American Premiere
In the transfiguring and transfixing third feature from Alice Rohrwacher (The Wonders, NYFF52), we find ourselves amid a throng of tobacco farmers living in a state of extreme deprivation on an estate known as Inviolata, with wide-eyed teenager Lazzaro (nonprofessional discovery Adriano Tardiolo) emerging as a focal point. Although this all seems to be taking place in the past (as implied by the warm grain of Hélène Louvart’s 16mm cinematography), a stunning mid-movie leap vaults the narrative squarely into the present day and into the realm of parable. In a fable touching on perennial class struggle with Christian overtones, Rohrwacher summons the spirit of Pasolini, while also nodding to Ermanno Olmi and Visconti. A Netflix release.
Her Smell
Dir. Alex Ross Perry, USA, 2018, 134m
U.S. Premiere
The latest from Alex Ross Perry (Listen Up Philip, NYFF52) traces the psychology of an unforgettable woman under the influence. Becky Something (Elisabeth Moss, in a powerhouse performance), the influential lead singer of a popular ’90s alt-rock outfit, struggles with her demons as friends, family, and bandmates alike behold her unraveling through a prism of horror, empathy, and resentment. Perry tracks Becky’s self-destruction—and potential creative redemption—through snaking long takes (arguably some of DP Sean Price Williams’s finest work) in claustrophobic backstage hallways, garishly lit dressing rooms, and recording studios, and the film’s ensemble cast (including Cara Delevingne, Ashley Benson, Amber Heard, Virginia Madsen, Dan Stevens, and Eric Stoltz) is impeccable in support of Moss’s rattling trip to the brink.
High Life
Dir. Claire Denis, Germany/France/USA/UK/Poland, 2018, 110m
U.S. Premiere
Claire Denis’s latest film is set aboard a spacecraft piloted by death row prisoners on a decades-long suicide mission to enter and harness the power of a black hole. But as is always the case with this filmmaker, the actual structure seems to evolve organically through moods and uncanny spells, and the closest juxtapositions of violence and intimacy. High Life features some of the most unsettling passages Denis has ever filmed, as well as moments of the greatest delicacy and tenderness. With Robert Pattinson, Juliette Binoche, André Benjamin, and Mia Goth.
Hotel by the River
Dir. Hong Sangsoo, South Korea, 2018, 96m
U.S. Premiere
Two tales intersect at a riverside hotel: an elderly poet (Ki Joo-bong), invited to stay there for free by the owner, summons his two estranged sons, sensing his life drawing to a close; and a young woman (Kim Min-hee) nursing a recently broken heart is visited by a friend who tries to console her. At times these threads overlap, at others they run tantalizingly close to each other. Using a stark black-and-white palette and handheld cinematography (with frequent DP Kim Hyung-ku), Hong crafts an affecting examination of family, mortality, and the ways in which we attempt to heal wounds old and fresh.
If Beale Street Could Talk
Dir. Barry Jenkins, USA, 2018
U.S. Premiere
Barry Jenkins’s follow-up to his Oscar-winning Moonlight is a carefully wrought adaptation of James Baldwin’s penultimate novel, set in Harlem in the early 1970s. Fonny (Stephan James) and Tish (KiKi Layne) are childhood friends who fall in love as young adults. Tish becomes pregnant, and Fonny suffers a fate tragically common to young African-American men: he is arrested and convicted for a crime he didn’t commit. Jenkins’s deeply soulful film stays focused on the emotional currents between parents and children, couples and friends, all of whom spend their lives repairing and reinforcing the precious but fraying bonds of family and community in an unforgiving racist world. With Regina King, Colman Domingo, Teyonah Parris, Aunjanue Ellis, and Michael Beach. An Annapurna Pictures release.
The Image Book / Le Livre d’image
Dir. Jean-Luc Godard, Switzerland, 2018, 90m
U.S. Premiere
Jean-Luc Godard’s “late period” probably began with 2001’s In Praise of Love, and since then he has been formulating and enacting a path toward an ending: the ending of individual films, the ending of engagement with cinema, and, now that he’s 87, the possible ending of his own existence. With The Image Book all barriers between the artist, his art, and his audience have dissolved. The film is structured in chapters and predominantly comprised of pre-existing images, many of which will be familiar from Godard’s previous work. The relationship between image and sound is, as always, intensely physical and sometimes jaw-dropping. And…isn’t it enough to say, simply, that this is the work of a master? And that you have to see it? A Kino Lorber release.
In My Room
Dir. Ulrich Köhler, Germany, 2018, 119m
U.S. Premiere
The fourth feature from German director Ulrich Köhler (Sleeping Sickness, NYFF49) takes a disarmingly realistic and restrained approach to a fantastical premise: the eternally popular fantasy of the last man on earth. Sad-sack, 40ish TV cameraman Armin (Hans Löw) has been summoned home by his father to help tend to his terminally ill grandmother, but awakens one morning to find the world around him entirely depopulated. Eventually, the film introduces a fellow survivor, an Eve (Elena Radonicich) to complicate the apparent contentment of its Adam. In My Room is a film of meticulous details and sly, subtle ironies, crafted by the skills, temperament, and philosophical inquiry of an emerging master. A Grasshopper Film release.
Long Day’s Journey Into Night
Dir. Bi Gan, China/France, 2018, 133m
U.S. Premiere
As proven by his knockout debut, Kaili Blues, Bi Gan is preoccupied with film’s potential to both materialize mental space and convey physical sensation. His cinematic ambitions are further crystallized, to say the least, in Long Day’s Journey Into Night, a noir-tinged film about a solitary man (Huang Jue) haunted by loss and regret, told in two parts: the first an achronological mosaic, the second a nocturnal dream. Again centering around his native province of Guizhou in southwest China, the director has created a film like nothing you’ve seen before, especially in the second half’s hour-long, gravity-defying 3D sequence shot, which plunges its protagonist—and us—through a labyrinthine cityscape.
Monrovia, Indiana
Dir. Frederick Wiseman, USA, 2018, 143m
U.S. Premiere
Every new film from Frederick Wiseman, now 88 years old, seems more vigorous and acute than the last. His subject here is Monrovia, Indiana; population 1063, as of 2017; located deep in the American heartland. Wiseman alights on key activities: talk among friends over coffee at the diner, packaging meat at the supermarket, trucks loading with corn, expansion debates at town planning commission meetings, and, most intriguingly, a funeral. Monrovia, Indiana is a tough, piercing look at the rhythm and texture of life as it is lived in a wide swathe of this country. A Zipporah Films release.
Non-Fiction / Doubles vies
Dir. Olivier Assayas, France, 2018, 106m
Set within the world of publishing, Olivier Assayas’s new film finds two hopelessly intertwined couples—Guillaume Canet’s troubled book executive and Juliette Binoche’s weary actress; Vincent Macaigne’s boorish novelist and Nora Hamzawi’s straight-and-balanced political operative—obsessed with the state of things, and how (or when) it will (or might) change. Is print dying? Has blogging replaced writing? Is fiction over? But the divide between what these characters—and their friends, and their enemies, and everyone in between—talk about and what is actually happening between them, moment by moment, is what gives Non-Fiction its very particular charm, humor, and lifelike stabs of emotion. A Sundance Selects release.
Private Life
Dir. Tamara Jenkins, USA, 2017, 123m
In Tamara Jenkins’s first film in ten years, Kathryn Hahn and Paul Giamatti are achingly real as Rachel and Richard, a middle-aged New York couple caught in the desperation, frustration, and exhaustion of trying to have a child, whether by fertility treatments or adoption or surrogate motherhood. They find a willing partner in Sadie (the formidable Kayli Carter), Richard’s niece by marriage, who happily agrees to donate her eggs, and the three of them build their own little outcast family in the process. Private Life is a wonder, by turns hilarious and harrowing (sometimes at once), and a very carefully observed portrait of middle-class Bohemian Manhattanites. With John Carroll Lynch and Molly Shannon. A Netflix release.
RAY & LIZ
Dir. Richard Billingham, UK, 2018, 107m
U.S. Premiere
English photographer and visual artist Richard Billingham’s first feature is grounded in the visual and emotional textures of his family portraits, particularly those of his deeply dysfunctional parents, whose names give the film its title. Billingham builds astonishing and unflinching scenes with his principal actors—Ella Smith as Liz, Justin Salinger as Ray, Patrick Romer as the older Ray, Tony Way and Sam Gittins as neighbors, and Joshua Millard-Lloyd as the youngest child—that play out second by second as if by some new form of direct transmission from the artist’s memory bank. There is not a single second of this electrifying debut that doesn’t feel 100% rooted in personal experience.
Shoplifters
Dir. Hirokazu Kore-eda, Japan, 2018, 121m
Hirokazu Kore-eda’s Cannes Palme d’Or winner is a heartrending glimpse into an often invisible segment of Japanese society: those struggling to stay afloat in the face of crushing poverty. On the the margins of Tokyo, a most unusual “family”—a collection of societal castoffs united by their shared outsiderhood and fierce loyalty to one another—survives by petty stealing and grifting. When they welcome into their fold a young girl who’s been abused by her parents, they risk exposing themselves to the authorities and upending their tenuous, below-the-radar existence. The director’s latest masterful, richly observed human drama makes the quietly radical case that it is love—not blood—that defines a family. A Magnolia Pictures release.
Sorry Angel
Dir. Christophe Honoré, France, 2018, 132m
North American Premiere
The ever-unpredictable Christophe Honoré (Love Songs) returns with perhaps his most personal, emotionally rich work yet. At once an intimate chronicle of a romance and a sprawling portrait of gay life in early 1990s France, Sorry Angel follows the intertwining journeys of Jacques (Pierre Deladonchamps), a worldly, HIV-positive Parisian writer confronting his own mortality, and Arthur (Vincent Lacoste), a curious, carefree university student just beginning to live. Brought together by chance, the men find themselves navigating a casual fling that gradually deepens into a tender, transformative bond. Graced with vivid, complex characters and inspired flights of cinematic imagination, this is a vibrant, life-affirming celebration of love, friendship, and human connection. Released by Strand Releasing.
Too Late to Die Young
Dir. Dominga Sotomayor, Chile/Brazil/Argentina/