MODEL HOME[/caption]
The North Bend Film Festival revealed the first wave of films and the haunting poster from Pacific Northwest artist Zachary Schomburg, featuring the region’s scenic slopes and ghostly pines, for its inaugural edition in North Bend, Washington, taking place from August 23rd to the 26th.
Best known as the original shooting location for Twin Peaks, the festival will take place in the beautiful historic North Bend Theatre, embracing the classic diner and eerie woods that once gave David Lynch & Mark Frost so much inspiration, just a couple of miles away from the iconic Salish Lodge.
The festival seeks to spotlight innovative means of storytelling, while exploring surrealism as well as highlighting multi-dimensional stories and one-of-a-kind experiences. Introducing a new structure in nonfiction form, Khalik Allah’s sophomore documentary BLACK MOTHER offers us insight into daily life in Jamaica, unfolding like a historical mixtape that immerses the audience in a sensorial journey in space, time and culture. Building from coinciding social constructs, Patrick Cunningham’s debut film MODEL HOME is a surreal, free-wheeling take on the ostracization of the lower middle class. Blurring the line between dreams and reality, Mitzi Peirone’s BRAID feels like a fever dream by way of Sofia Coppola. A classic at first glance and shocking with every twist, Timur Bekmambetov’s PROFILE uses a minimalist visual setting, a computer screen (familiar to Bekmambetov from 2014’s hit Unfriended, which he produced), to tell a larger than life story about an ISIS investigation gone too deep and too far, all based on true events.
North Bend Film Festival’s focus on crossover storytelling includes the not-to-be-missed World Premiere of the immersive and intimate art performance from Ava Lee Scott (Sleep No More), ANNABELLEE, a mixed-media art experience using tarot reading, immersive theater and live-VR to enthrall and enchant. Navigating new ways of telling stories, the festival will also venture into linear virtual reality territory with five unique titles, each one bringing their own approach to molding new narratives.
For its first year, the festival will host a short film program dedicated to exploring the inspiration behind David Lynch’s work as an artist and filmmaker, called “THE EXTRA ORDINARY,” for which Jonathan Marlow of Camera Obscura has curated four influential films that speak to Lynch and his work, ranging from 1966 to 2000.
Profile (West Coast Premiere) Cyprus, Russian Federation, UK, USA | 2018 | 103 Min | Dir. Timur Bekmambetov
Amy, a struggling freelance journalist looking for her next big story, pitches her editor on investigating the recruitment of European women by ISIS. Pretending to be recently converted to Islam and using an alias, she creates an incriminating Facebook profile where she begins to like and share posts themed around islamic extremism. It doesn’t take long for Bilel, a Jihad fighter in Syria, to set his eyes on this seemingly vulnerable prey.
From the producers of UNFRIENDED, this breathtaking socio-political thriller takes place entirely through the perspective of a computer screen. Director Timur Bekmambetov transcends the format to create a sense of tension and suspense that even Hitchcock would admire. Sometimes we find vanguard filmmaking hidden in the simplest visual aesthetics; something that this sure-to-be iconic catfish thriller achieves tenfold. North Bend is proud to open with such a tour-de-force that pushes the boundaries of filmmaking in a powerfully topical and unique way.
Black Mother (Pacific Northwest Premiere) USA | 2018 | 77 Min | Dir. Khalik Allah
As BLACK MOTHER begins, like something out a dream, you’re thrust into some of the most intimate areas of Jamaica. What you’re met with volleys from educational to surreal. A large swath of folks ranging from religious leaders to sex workers and wide-eyed children engage with you directly; sonically, deeply introspective narrations from unidentified speakers are constant, with voices and unwieldy visuals sometimes totally out of sync with each other. Breathe easy, though: you’re in the hands of documentarian Khalik Allah, an emerging master of the form.
Equal parts haunting travelogue and tone poem, BLACK MOTHER is a uniquely engrossing look at Jamaican culture and identity that no history book could ever deliver. It’s pure cinema. Inspired by Allah’s mother’s heritage, the director’s remarkable second feature, following his Harlem-focused 2015 debut FIELD NIGGAS and cinematography work for Beyoncé’s LEMONADE, is in a class all its own.
Braid (West Coast Premiere) USA | 2018 | 82 Min | Dir. Mitzi Peirone
Two fugitive women elude capture and seek refuge at the estate of their rich and very much psychotic childhood friend (an unhinged Madeline Brewer in peak form) where they enter a terror-fueled game of make believe in a bid to rob the woman’s safe. A candy colored and hallucinogen-fueled lunacy binge, writer-director Mitzi Peirone’s feature debut takes you on an entrancing journey of insanity through its gorgeously framed imagery, vibrant palette and cryptic narrative riddles. An absolute visual feast, this tale of nefarious women trapped in a spiraling nightmare, caught between reality and fantasy, deftly balances themes of childhood connection, experience and the inescapable circular nature of life, all from an exciting new voice in genre cinema.
Model Home (World Premiere) USA | 2018 | 82 Minutes | Dir. Patrick Cunningham
A deserted housing development post-market crash sets the stage for this unique thriller based around “live-in staging,” where developers hire low-income families to decorate and maintain properties to attract potential buyers. For a Latina single mother and her imaginative young son, being allowed to live in a dream house rent free seems too good to be true. As the cruel summer rages on and the mother’s obsessive and unstable mental state emerges, so too does living the American Dream devolve into a waking nightmare. An unusual mix of dark comedy, woman-on-the-edge tropes and a dash of Twin Peaks weirdness, director Patrick Cunningham’s fascinating debut uses a diverse cocktail of genres to tell a tragic and singular vision that speaks to Hispanic American identity.
Experience mystification with “The Extra Ordinary” shorts block; a curation of films that speak to the work of David Lynch
While countless writers have tried distilling David Lynch’s cinema into words, the man himself recently provided the ultimate case study of his structure-shattering, mind-warping brand of storytelling in less than an hour. “Gotta Light,” the incredible eighth episode of last year’s TWIN PEAKS: THE RETURN, told a quasi-standalone anti-narrative about the Atomic Age, history’s imprints on the future, and cigarette-puffing hobo demons with apocalyptic intentions. Everything that is film’s greatest enigmatic auteur can be seen in “Gotta Light,” yet nothing is easily deciphered.
Comprised of four short films that either influenced or take cues from Lynch, THE EXTRA ORDINARY is an alternate attempt to execute what “Gotta Light” so brilliantly does: convey the disorientation, intellectual stimulation, and formative experimentation that exemplify the TWIN PEAKS mastermind in one short burst. Provided by Jonathan Marlow of Camera Obscura, with contributions from Canyon Cinema and Zeitgeist Films, these works will mesmerize and perplex in equal measure—just as Mr. Lynch would like it.
ALL MY LIFE (1966) dir. Bruce Baillie
ALPSEE (1995) dir. Matthias Müller
IN ABSENTIA (2000) dir. Stephen & Timothy Quay
CROSSROADS (1976) dir. Bruce Conner
Cross dimensions with Annabellee in a World Premiere immersive experience from Sleep No More performer Ava Lee Scott!
In this multi-dimensional experience from the mind of NYC interactive theater veteran Ava Lee Scott (Sleep No More, Serenade), participants are invited to let go of their inhibitions and immerse themselves in a journey filled with magic, discovery and new truths. Once you welcome Annabellee into your world, there is no turning back.
Annabellee is a soothsayer, who during a visit to Snoqualmie Falls, as part of her mission to find the most sacred places of creation, discovered a mystical root. Enchanted by the area and this strange gift from the earth, she has decided to set up camp in a curious cabin outside Snoqualmie.
Legend has it that when a soothsayer arrives and reveals the secrets of the universe, you must make haste, seize the opportunity and track her down.
Taking place throughout the festival weekend, audience members will meet Annabellee in different experiences, both virtually and, for a select, brave few, in person. Participants’ nerves will be tested as they venture deeper into her world. This experience is not for the faint-hearted.
Immersive VR showcase
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The Caretaker[/caption]
THE CARETAKER
USA | 2018 | 13 Minutes | Project Creator: Jacob Wasserman, Nicolas Pesce, Adam Donald | Key Collaborators: Hidden Content, RealMotion VFX
After a couple’s car breaks down on the side of the road, they are forced to seek refuge in an ominous hotel manned by an mysterious bellhop. As they explore the dark crevices and secrets of its halls, the girlfriend begins to feel that something is off. As she dives deeper into the darkness, she fears that there is more than just getting their car fixed at stake.
DINNER PARTY
Puerto Rico/USA | 2018 | 13 Minutes | Project Creators: Angel Manuel Soto, Charlotte Stoudt, Laura Wexler | Key Collaborators: Rachel Skidmore, Bryn Mooser, Erik Donley, Ryot Studios
Based on true events, this experience tells the story of Barney and Betty Hill, an interracial couple who in 1961 broke national news as the first reported extraterrestrial abduction in history. Trying to cope with the residual scars of their experience, they unexpectedly decide to seek out answers from an old tape recorder while hosting a dinner party.
MEETING A MONSTER
USA | 2018 | 9 Minutes | Project Creator: Gabriela Arp | Key Collaborators: Oculus VR for Good, Life After Hate
With a past steeped in hatred and prejudice, a former white supremacist journeys back in time and invites us to experience both the stereotypes and bigotry that lured her into the white power movement as well as the encounters that led her back out. Before she can help others change their ways, she must come to terms with a true monster: herself.
MUSEUM OF SYMMETRY
Canada | 2018 | 20 Minutes | Project Creator: Paloma Dawkins | Key Collaborator: Casa Rara Studio, National Film Board of Canada
An absurdist mind-and-body romp through the highest clouds to the ocean deep, Museum of Symmetry is the explosive feel-good alter-universe of cartoonist and animator Paloma Dawkins—a room-scale VR experience with 2D animation in a 3D playground.
THE ORACLE
USA | 2018 | 15 Minutes | Project Creator: Ava Lee Scott | Key Collaborator: AltspaceVR
In this social VR experience, users will discover the oracle of AltspaceVR: Annabellee. Each Querent will be invited to her sacred space where, through the Major Arcana Tarot cards, she will reveal their past, present and future.
This VR experience is one branch on the tree of life that makes up the Annabellee Experience, taking place across the festival weekend.
WE’RE STILL HERE
USA | 2018 | 3 Minutes | Creator: Jesse Ayala | Key Collaborators: Oculus VR for Good, The Pride Foundation
Struggling to preserve his cultural identity, an artist and historian from Boise, Idaho takes viewers on a journey to learn about what it means to be “Two Spirit,” a cultural term describing the fluidity of gender identity and sexuality with respect to traditional tribal roles across First Nations.
Dynamite Graffiti[/caption]
From vicious, life destroying phone scams to balletic battles between equally corrupt cops and yakuza, the 17th edition of the New York Asian Film Festival (
BuyBust[/caption]
Closing Night is the world premiere of Erik Matti’s BuyBust from the Philippines. On the surface, it is structured like an action film in the vein of The Raid, with superstar Anne Curtis and MMA world champion Brandon Vera as narcs taking down a drug kingpin against insurmountable odds over one unrelenting rainy night. The film employed 309 stuntmen and features a wildly ambitious three minute, one cut action scene. Being a Matti film, it also offers a searing perspective on the ongoing drug war and broader issues of political corruption. The director and stars will attend the screening.
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Men on the Dragon[/caption]
The Centerpiece is the world premiere of Sunny Chan’s Men on the Dragon, starring Francis Ng and Jennifer Yu. Always central to the festival’s DNA, Hong Kong cinema demonstrates the resiliency of an industry whose identity is easily blurred with Mainland China, but on which it also exerts a considerable influence and provides storytelling expertise and craftsmanship. The film is a quintessential underdog story about a group of blue collar workers who reluctantly join their company’s dragon boat team. A directorial debut of a veteran Hong Kong screenwriter, Chan’s film is being presented one year after NYAFF had a special focus on firsttime directors from the territory. Chan and actress Jennifer Yu will be among the attending guests.
Seven films will battle in the second edition of the festival’s relaunched Main Competition: Shiraishi Kazuya’s Blood of Wolves (Japan), Nam Ron’s Crossroads: One Two Jaga (Malaysia), Naito Eisuke’s Liverleaf (Japan), Dong Yue’s The Looming Storm (China), Sunny Chan’s Men on the Dragon (Hong Kong), Jeon Gowoon’s Microhabitat (South Korea), and Treb Monteras’s Respeto (Philippines). Six of the seven films are receiving their North American premieres at NYAFF, with one world premiere. Four of the competition titles are debut films, reflecting the festival’s ongoing support for new directors.
This year, the festival presents two Star Asia Awards:
South Korea’s Kim Yunseok is best known to North American audiences for his role as the grizzled excop in 2008 serial killer thriller The Chaser. A decade on, he stands firmly in the top tier of his country’s leading men. Like his contemporaries Song Kangho and Choi Minshik, he came late to movies after a background in theater. Jang Joonhwan’s powerful drama 1987: When the Day Comes screens, in which Kim plays the frightening head of South Korea’s anticommunist bureau, hellbent on holding back the country’s democracy movement.
Chinese filmmaker Jiang Wu’s career has bridged independent cinema and mainstream success for 25 years. Two decades ago, he was at the forefront of a new populist independent cinema about big city life that transformed modern Chinese cinema with Zhang Yang’s Shower. He has worked with Zhang Yimou (To Live), Jiang Wen (Let the Bullets Fly), Jia Zhangke (A Touch of Sin), and Herman Yau (Shock Wave). Xin Yukun’s part noir, part western Wrath of Silence will screen in tribute, in which his terrifying nouveau riche mining magnate falls into a trap of his own design.
The Star Asia Lifetime Achievement Award goes to Japan’s Harada Masato, a former U.S.based film critic. He is most recognizable to Western viewers for his role as the villain Mr. Omura opposite Tom Cruise in The Last Samurai. Since his debut in 1979, he has positioned himself as one of Japan’s most unique and important directors. While he has worked in nearly every genre, he is best known for tackling societal issues such as teenage prostitution, illegal immigrants, and the role of the media. Screening in the festival are his dark classic gem Kamikaze Taxi on 35mm, the recent Kakekomi (2016), a period piece about female empowerment, and his most recent historical epic Sekigahara, about the oneday battle in 1600 that defined modern Japan.
The Screen International Rising Star Asia Award recipient will be announced at a later date.
The Hong Kong Panorama, backbone of the festival’s programming, returns with nine features, including two world premieres: Sunny Chan’s debut Men of the Dragon and Antony Chan’s comeback House of the Rising Sons. Antony Chan is an original member of The Wynners, the popular teenidol band of the 1970s that launched the careers of megastars Alan Tam and Kenny Bee. Chan, the band’s drummer, returns to the director’s chair after 26 years to present a vibrant biopic that avoids hagiography. Highlighting the miracles of motion and irresistible kinetic force that are the signature of Hong Kong cinema, is a threefilm Dante Lam tribute, and an actionpacked thriller run on July 4: Jonathan Li’s debut The Brink, Oxide Pang’s The Big Call, and Wilson Yip’s Paradox. Also screening is Chapman To’s family drama set in the world of karate, The Empty Hands starring Stephy Tang.
The China section continues to take a more central role. One year ago, NYAFF committed to supporting the new generation of firsttime directors emerging in Asia with the Young Blood series, focusing on Hong Kong; this year the festival shifts to Mainland China. Once again, the films are heady and diverse in subject matter, including Hunanset, raindrenched serialkiller thriller The Looming Storm, Inner Mongoliaset sexagenarian drama Old Beast (produced by Chinese auteur Wang Xiaoshuai), and the razorsharp Northeastern comedy Looking for Lucky, which revolves around a man, his father, and a missing dog. The Chinese film industry is changing fast, and trends are best reflected in where new directors are taking it. We also present films about the shifting rules of romance: Dude’s Manual and The ExFiles 3: The Return of the Exes.
The New Cinema from Japan lineup is represented by one of the festival’s largest contingents of directors yet. In addition to NYAFF’s tribute to veteran director Harada Masato, the festival is bringing a group that could be described as defining a “new wave” of Japanese cinema: Naito Eisuke with his circleofrevenge drama Liverleaf, Ogata Takaomi with experimental youth drama The Hungry Lion, Takeshita Masao with slowburn drama The Midnight Bus, and Kanata Wolf with his slacker debut Smokin’ on the Moon. Also attending is actor Emoto Tasuku who brings his mischievous charm to the protagonist of porn publishing odyssey Dynamite Graffiti. Other highlights include Sato Shinsuke’s crossgenerational superhero showdown Inuyashiki, Ueda Shinichiro’s meta zombie film homage One Cut of the Dead, and Yukisada Isao’s brutal youth drama River’s Edge.
There are ten films in the South Korean Cinema section. This year, femaledirected titles represent almost half of the NYAFF selection. They include Jeon Gowoon’s competition title Microhabitat, Yim Soonrye’s Little Forest, and Jeong Gayoung’s Hit the Night. Actress and director Jeong’s positioning of herself as a female Hong Sangsoo—she recently starred in and directed Bitch on the Beach—is itself a critique of the macho posturing of much of South Korean cinema.
The festival selected five films showcasing the uniqueness of Taiwan cinema and the strength of both its arthouse productions and its genre output. Of note is the North American premiere of gangster film Gatao 2: Rise of the King, poised comfortably between classic yakuza and triad movies from Japan and Hong Kong. In complete contrast is The Last Verse, which charts a romantic relationship through the turbulence of three presidential eras; it was directed by Tseng Yingting, one of Taiwan cinema’s freshest voices since Edward Yang.
This year’s program features the largest Southeast Asian Vanguard selection yet, representing a fifth of the festival lineup. This region is one of the most creative corners of Asia, which NYAFF continues to champion in the film selection and guest lineup. Outside of Asia, arguably no other film event has so fully committed to exploring Southeast Asian cinema, which is at the heart of the festival’s future. Six films from the Philippines, three films from Thailand, two films from Malaysia, and one film from Indonesia will screen.
The festival goes all in on the Philippines with the largest lineup in NYAFF since 2013. Three strong films examine the nation’s ongoing drug war: Mikhail Red’s Neomanila, about a “mother and son” death squad; Treb Monteras’ Respeto, set in the milieu of rap battles; and Erik Matti’s BuyBust. There will also be a special screening of Matti’s thriller On the Job. On opening night, NYAFF hosts the world premiere of Richard Somes’s brutal We Will Not Die Tonight, starring Erich Gonzales as a stuntwoman trying to survive a single night. On a lighter note, Irene Villamor’s blockbuster (anti)romance Sid & Aya (Not a Love Story) screens, also starring Anne Curtis from BuyBust.
There has been a recent Malaysian New Wave reflecting the country’s societal and political changes, and it is only now reaching our cinema screens. NYAFF presents two films that would never have seen the light before 2018: police corruption thriller Crossroads: One Two Jaga and black magic thriller Dukun. The latter is the longburied debut of top Malaysian director Dain Said, screening twelve years after its shoot was completed. Together with Brutal/Jagat (NYAFF 2016), these films hint at why Malaysian cinema is a territory to watch.
Southeast Asian Westerns: The links between the western genre and Japanese cinema are well documented, from remakes of Akira Kurosawa’s classics to Lee Sungil’s own remake of Clint Eastwood’s Unforgiven. But the western was also a genre embraced in Southeast Asia for decades, most recently with two Indonesian films: Mouly Surya’s Marlina the Murderer in Four Acts (which opens in New York on June 22) and Mike Wiluan’s Buffalo Boys, which screens on the final day of the festival. Like their Northeast Asian counterparts (the Manchurian western), the genre offers tales of freedom and emancipation with Eastern heroes rising against their colonial oppressors. This year, Wisit Sasanatieng’s madcap Tears of the Black Tiger returns in a special 35mm screening.
The TIFFxInstagram Shorts Festival, launched in 2016, in partnership with Instagram to discover and celebrate emerging, diverse, and creative voices from the global film community is back for a third year. This year, the TIFFxInstagram Shorts Festival is committed to meeting gender parity within its final selection with the addition of the new Share Her Journey Prize.
TIFF’s Share Her Journey campaign is a five-year commitment to championing women, both in front of and behind the camera, by investing in their skill development. The TIFFxInstagram Shorts Festival is supporting this initiative by enlisting an all-woman jury made up of some of the industry’s most creative, knowledgeable, and experienced experts.
This year’s jury features award-winning UK writer, director, and Share Her Journey Ambassador Amma Asante (@iammasante); leading arts-marketing guru and #oscarssowhite creator April Reign (@reignofapril); TCM and FilmStruck host, author Alicia Malone (@aliciamalone), rapper, comedian, and Ocean’s 8 star Awkwafina (@awkwafina), and activist, artist, and actor Sarain Fox (@sarainfox).
Since the launch of TIFFxInstagram Shorts Film Festival, jury members have included Isabelle Huppert, Lake Bell, Ava DuVernay, Xavier Dolan, Ashton Sanders, Director X, and Priyanka Chopra. The Share Her Journey Prize recipient will be selected by Amma Asante. Eligibility for the prize is based solely on a film’s direction by an individual who identifies as a woman. Additional jury members will be revealed in the coming weeks.
“In many ways, the TIFFxInstagram Shorts Festival is reflective of the ever-evolving nature of storytelling and digital media. The film industry is going through a period of change, and the addition of the new Share Her Journey Prize reinforces our commitment to achieving gender parity,” said Malcolm Gilderdale, Director of Content, Creative, and Digital at TIFF. “With the support of our amazing partners at Instagram and the generous participation of our jury, we are grateful to have the opportunity to champion the brilliant work that we know will be presented during this year’s edition of the TIFFxInstagram Shorts Festival.”
Last year saw entrants from regions all over the world — including submissions from America, Europe, Asia, and Africa — whose films reached more than 64 million users on the social platform. The 
Rose McGowan today released a very important timely message, in the wake of the recent suicides, including that of Anthony Bourdain, who was in a relationship with her close pal Asia Argento. If you are considering suicide, please find information below.
Sitting across from me is the remarkable human and brave survivor, Asia Argento, who has been through more than most could stand, and yet stand she does. She stood up to her monster rapist and now she has to stand up to yet another monster, suicide. The suicide of her beloved lover and ally, Anthony Bourdain. I write these truths because I have been asked to. I know so many around the world thought of Anthony Bourdain as a friend and when a friend dies, it hurts. Many of these people who lost their ‘friend’ are wanting to lash out and blame. You must not sink to that level. Suicide is a horrible choice, but it is that person’s choice.
When Anthony met Asia, it was instant chemistry. They laughed, they loved and he was her rock during the hardships of this last year. Anthony was open with his demons, he even wrote a book about them. In the beginning of their relationship, Anthony told a mutual friend, “He’s never met anyone who wanted to die more than him.” And through a lot of this last year, Asia did want the pain to stop. But here’s the thing, over their time together, thankfully, she did the work to get help, so she could stay alive and live another day for her and her children. Anthony’s depression didn’t let him, he put down his armor, and that was very much his choice. His decision, not hers. His depression won. Anthony and Asia had a free relationship, they loved without borders of traditional relationships, and they established the parameters of their relationship early on. Asia is a free bird, and so was Anthony. Was. Such a terrible word to write. I’ve heard from many that the past two years they were together were some of his happiest and that should give us all solace.
Anthony was 61, the same age my father was when he died. My father also suffered from intermittent deep depression, and like Anthony, was part of a “pull up your bootstraps and march on” generation. The a “strong man doesn’t ask for help” generation. I know before Anthony died he reached out for help, and yet he did not take the doctor’s advice. And that has led us here, to this tragedy, to this loss, to this world of hurt. Do NOT do the sexist thing and burn a woman on the pyre of misplaced blame. Anthony’s internal war was his war, but now she’s been left on the battlefield to take the bullets. It is in no way fair or acceptable to blame her or anyone else, not even Anthony. We are asking you to be better, to look deeper, to read and learn about mental illness, suicide and depression before you make it worse for survivors by judging that which we do not understand, that which can never fully be understood. Sometimes we are stuck in the unknowable, and that is where we are now, a massive wave of darkness that threatens to swallow everyone in its wake.
As I watch Asia do her job on set today, I see a pillar of strength who continues to work to put food on her children’s table. I see Elizabeth Taylor carrying on filming Cat on a Hot Tin Roof despite her love, her husband, dying in a plane crash. I see all of us who have carried on. Please join me in sending healing energy to Anthony on his journey, and to all who’ve been left behind to journey on without him. There is no one to blame but the stigma of loneliness, the stigma of asking for help, the stigma of mental illness, the stigma of being famous and hurting.
We must do more and be better. Anthony, our friend, would want it that way.
To the media and to the random commenter, Anthony would never have wanted Asia to be hurt, I’d like to think he would want us to have the collective conversation that needs to be had about depression. Blame is NOT a conversation, it is the shutting down of our collective growth. Which is where we are now. We have a choice as humans, shrink to our smaller, uglier selves, or be better and grow as only true Phoenixes can. I urge you to be that Phoenix.
With great sadness and even greater hope, I remain,
Rose McGowan
cc: Asia Argento
If you are considering suicide, reach out. We need you here. You matter. You exist. You count. There is help a phone call away, reach out.
Suicide Prevention Hotlines:
Argentina: +5402234930430
Australia: 131114
Austria: 017133374
Belgium: 106
Bosnia & Herzegovina: 080 05 03 05
Botswana: 3911270
Brazil: 212339191
Canada: 5147234000 (Montreal); 18662773553 (outside Montreal)
Croatia: 014833888
Denmark: +4570201201
Egypt: 7621602
Finland: 010 195 202
France: 0145394000
Germany: 08001810771
Holland: 09000767
Hong Kong: +852 2382 0000
Hungary: 116123
India: 8888817666
Ireland: +4408457909090
Israel: 1201 or 972-889-1333 from abroad
Italy: 800860022
Japan: +810352869090
Mexico: 5255102550
New Zealand: 045861048
Norway: +4781533300
Pakistan: 15 / 115 (Emergency)
Philippines: 028969191
Poland: 5270000
Russia: 0078202577577
Spain: 914590050
South Africa: 0514445691
Sweden: 46317112400
Switzerland: 143
United Kingdom: 08457909090
USA: 18002738255
For a USA Crisis Text Line, please text CONNECT to 741741 from anywhere in the USA, anytime, about any type of crisis.
Breach directed by Lorenzo Monti[/caption]
Breach directed by Lorenzo Monti picked up the coveted best of the fest Grand Chameleon Award, as well as Best Experimental Film at the Brooklyn Film Festival’s 21st edition: THRESHOLD, which wrapped on Sunday. Felipe Vara de Rey’s 
Nosotros[/caption]
Best Narrative Feature – NOSOTROS by FELIPE VARA DE REY
Best Documentary Feature – AFGHAN CYCLES by SARAH MENZIES
Best Short Documentary – GIVE by DAVID DE ROZAS
Best Narrative Short – COUNTERFEIT KUNKOO by REEMA SENGUPTA
Best Animation – LA MORT, PERE & FILS by PARONNAUD VINCENT and WALTGENWITZ DENIS
Best Experimental – BREACH by LORENZO MONTI
Best New Director – BROTHERS by BRAM SCHOUW
Best Brooklyn Project – ONE BEDROOM by DARIEN SILLS-EVANS
EIGHTH GRADE[/caption]
The 
Eunice Gayson, the very first ‘Bond girl’ who played Sylvia Trench in Dr. No and From Russia With Love died on Friday, June 8. She was 90. The news was 
Common at 2017 Tribeca Talk: Storytellers, Tribeca Film Festival[/caption]
FOX Sports Films has acquired the boxing documentary “They Fight,” directed by Andrew Renzi and produced by actor/rapper Common. The documentary follows Coach Walt Manigan’s Lyfe Style Boxing, an after-school program in Washington, D.C.’s Ward 8 – a community rife with inequity. Walt mentors young boxers, “Peanut” Bartee and Quincey Williams on the path to the 2017 Junior Olympics, while he also fights to find a permanent home for his program to help young fighters avoid the troubles he found in his own youth.
“It is important to share Coach Walt’s story and seeing how he overcame extreme hardships and now serves as a mentor to the youth in Ward 8,” said Common. “It is a true example as to how we can take the most challenging of situations and turn them into a positive, not only for ourselves but for others. Boxing is more than just a sport to these kids, it empowers and unifies them to fight for a better life.”
This project is the newest in the Sports Emmy(R)-nominated “MAGNIFY” series from FOX Sports Films. The series leverages sports as a lens for exploring important cultural stories and investigates the challenges, change, and unity they bring to communities. Since its November 2017 launch, the MAGNIFY series’ roster of influential contributors includes: LeBron James, Dwyane Wade, Chance the Rapper; and, most recently, Kevin Durant.
“From the opening minutes of this powerful film, we knew it was a perfect fit for our ‘Magnify’ series,” said Gabe Spitzer, Senior Vice President and Executive Producer, FOX Sports Films. “The power of sports as a community builder is visible throughout the documentary.”
“They Fight” will premiere this fall as a FOX Sports broadcast. Other “MAGNIFY” films, past and future:
2018 Sports Emmy(R)-nominated “89 Blocks,” executive produced by James and Carter for Uninterrupted, along with Sports Illustrated (November 2017)
“Shot in the Dark,” executive produced by Wade and Chance the Rapper (February 2018)
“Nossa Chape,” from award-winning directors Jeffrey Zimbalist and Michael Zimbalist (The Two Escobars, Pele: Birth of a Legend) focuses on the 2016 plane crash involving Brazilian soccer club Chapecoense. It premieres June 23rd at 4:15 pm ET on FOX immediately following 2018 FIFA(TM) World Cup coverage.
The recently announced, “Q Ball,” from Executive Producer Golden State Warriors All-Star Durant, follows the lives of the San Quentin Warriors — teammates and inmates at “The Q”, California’s San Quentin State Prison. Set to premiere in early 2019
Giant (Handia)[/caption]
Out of State (d. Ciara Lacy)[/caption]
TAFFNY closes on Friday, June 15 at 6 p.m. with the Awards Ceremony of The Americas Short Films Competition at the 
HBO has released the first trailer for the documentary