Pictured from left to right at the 2020 Athena Film Festival Awards, held February 26 at Barnard College in New York City: filmmaker Effie T. Brown, Athena Film Festival co-founder/artistic director Melissa Silverstein, filmmaker Unjoo Moon, actress Beanie Feldstein, Athena Film Festival co-founder Kathryn Kolbert and Barnard College president Sian Beilock. (Photo by Lars Niki/Getty Images for the Athena Film Awards)
The 10th annual Athena Film Festival—which took place at New York City’s Barnard College from February 27 to March 1, 2020—once again had an impressive presentation of female-oriented movies, panels and networking events.
The festival was preceded on February 26 by the annual Athena Film Festival Awards, which honored actress Beanie Feldstein, filmmaker Jennifer Kaytin Robinson and producer Effie T. Brown with Athena Awards, while filmmaker Unjoo Moon received the event’s first Breakthrough Award. Moon’s Helen Reddy biopic “I Am Woman” was the opening-night film at the festival, where the movie had its New York premiere. Gloria Steinem, filmmaker Greta Gerwig (a 2006 Barnard graduate), director Paul Feig (“Bridesmaids”), actress Lorraine Toussaint and Oscar-winning filmmaker Dan Cogan (“Icarus”) were among the presenters at the award show, while singer Arianna Afsar performed at the event. Also in attendance were actress Andrea Riseborough, filmmaker Liz Garbus (“What Happened, Miss Simone?”) and author/public speaker Verna Myers.
Greta Gerwig at the 2020 Athena Film Festival Awards at Barnard College’s Diana Center in New York City, on February 26, 2020. (Photo by Lars Niki/Getty Images for the Athena Film Awards)
Beanie Feldstein at the 2020 Athena Film Festival Awards at Barnard College’s Diana Center in New York City, on February 26, 2020. (Photo by Lars Niki/Getty Images for the Athena Film Awards
Gloria Steinem at the 2020 Athena Film Festival Awards at Barnard College’s Diana Center in New York City, on February 26, 2020. (Photo by Lars Niki/Getty Images for the Athena Film Awards)
Arianna Afsar at the 2020 Athena Film Festival Awards at Barnard College’s Diana Center in New York City, on February 26, 2020. (Photo by Lars Niki/Getty Images for the Athena Film Awards)
Effie T. Brown at the 2020 Athena Film Festival Awards at Barnard College’s Diana Center in New York City, on February 26, 2020. (Photo by Lars Niki/Getty Images for the Athena Film Awards)
Unjoo Moon, Beanie Feldstein and Effie T. Brown at the 2020 Athena Film Festival Awards at Barnard College’s Diana Center in New York City, on February 26, 2020. (Photo by Lars Niki/Getty Images for the Athena Film Awards)
Liz Garbus at the 2020 Athena Film Festival Awards at Barnard College’s Diana Center in New York City, on February 26, 2020. (Photo by Lars Niki/Getty Images for the Athena Film Awards)
Lorraine Toussaint at the 2020 Athena Film Festival Awards at Barnard College’s Diana Center in New York City, on February 26, 2020. (Photo by Lars Niki/Getty Images for the Athena Film Awards)
Andrea Riseborough at the 2020 Athena Film Festival Awards at Barnard College’s Diana Center in New York City, on February 26, 2020. (Photo by Lars Niki/Getty Images for the Athena Film Awards)
Dan Cogan at the 2020 Athena Film Festival Awards at Barnard College’s Diana Center in New York City, on February 26, 2020. (Photo by Lars Niki/Getty Images for the Athena Film Awards)
Paul Feig at the 2020 Athena Film Festival Awards at Barnard College’s Diana Center in New York City, on February 26, 2020. (Photo by Lars Niki/Getty Images for the Athena Film Awards)
Verna Myers at the 2020 Athena Film Festival Awards at Barnard College’s Diana Center in New York City, on February 26, 2020. (Photo by Lars Niki/Getty Images for the Athena Film Awards)
One of the changes to Athena Film Festival this year was that it became more environmentally conscious by not having pamphlets, which were provided at previous Athena Film Festivals. (People who still needed to see a schedule on paper could go to the information area, which had a paper schedule on display.) Saving paper by not having pamphlets and encouraging people to go online for information are steps in the right direction for helping the environment. Kudos to the Athena Film Festival producers for being forward-thinking about this important issue.
Almost all of the movies had their world premieres at other festivals, but there were several that had their New York premieres at the Athena Film Festival. (Full reviews will be posted later and can be found at Culture Mix’s Movie & TV Reviews section.)
The New York premieres at the Athena Film Festival included these movies:
The narrative centerpiece film was “Lost Girls,” a mystery thriller directed by Liz Garbus and starring Amy Ryan as a mother searching for her missing 24-year-old daughter. The movie is based on the true story of Mari Gilbert’s quest to find justice for her daughter Shannan Gilbert, who was among the victims of the Gilbo Beach Murders on New York’s Long Island. The story includes how Mari and other family members of the murder victims joined forces to try find out who murdered their loved ones. Netflix will begin streaming “Lost Girls” on March 13, 2020.
If you liked Netflix’s 2019 “Unbelievable” limited series (which was based on a true crime story about the hunt for a serial rapist), you’ll also like “Lost Girls.” The movie’s screenplay, written by Michael Werwie, is based on Robert Kolker’s book “Lost Girls: An Unsolved American Mystery.”
“Lost Girls” team members at the Athena Film Festival premiere of the movie at Barnard College in New York City on February 29, 2020. Pictured from left to right: producer Anne Carey, actress Molly Brown, actress Amy Ryan, actress Miriam Shor, actress Lola Kirke, actress Oona Laurence and director Liz Garbus. (Photo by Carla Hay)
At the Q&A after the “Lost Girls” screening, which was attended by many of the real-life people who are portrayed in the film, Garbus said that she wanted to direct this movie: “I fell in love with the story. I felt if I could be part of telling and elevate the story again and appreciating the incredible work by these women in keeping their loved ones’ stories alive, then it would be a great honor.”
Ryan, who plays Mari Gilbert in “Lost Girls,” was visibly moved when she spoke to Mari’s daughter Sherre Gilbert, who was in the front row of the audience. “I am so grateful to use my voice to help to keep this story going …This story matters. it was really an honor to play your mom.” Ryan added that the actresses who portrayed the grieving allies shared a real-life friendship on the movie set. “Our connection to each other was an amazing reflection of that … I just think when you get a group of women together in a room, it can be very powerful.”
“Never Rarely Sometimes Always” was another standout film at the Athena Film Festival. This drama, written and directed by Eliza Hittman, follows the emotionally harrowing journey of a 17-year-old named Autumn Gallagher (played by Sidney Flanigan), who has to travel from her hometown in rural Pennsylvania to New York City to get an abortion for an unplanned and unwanted pregnancy. The movie realistically shows the obstacles she faces, as well as the toll that her abortion decision takes on her physically and psychologically. Hittman had been scheduled to do a post-premiere Q&A at the Athena Film Festival, but she had to bow out to attend the Berlin International Film Festival, where “Never Rarely Sometimes Always” won the Silver Bear Award (second-place prize). Focus Features will release “Never Rarely Sometimes Always” in select U.S. cinemas on March 13, 2020.
The dramatic film “The Perfect Candidate,” directed and co-written by Haifaa al-Mansour, is about a woman named Maryam (played by Mila Al Zahrani), who’s facing a different type of obstacle. She’s a Saudi Arabian female doctor who running for her local city council, in a culture where women rarely try to be political leaders because it’s considered unladylike and almost taboo. Not surprisingly, she faces a lot of sexism and degrading reactions to her campaign. It’s a well-acted film that provides further insight into how far some countries need to go before they won’t place a stigma on gender-equality opportunities that women in other countries take for granted. Music Box Films will release “The Perfect Candidate” in U.S. cinemas, on a date to be announced. The movie was already released in Saudi Arabia, which selected “The Perfect Candidate” as the country’s official 2019 Academy Awards submission for Best International Feature Film.
Perhaps the best underrated gem of the festival was the Canadian drama “Kuessipan,” directed and co-written by Myriam Verreault and Naomi Fontaine, based on Fontaine’s novel of the same time. The mostly French-language movie tells the story of two teenage girls in Québec who’ve been best friends since childhood, but their lives are going in different directions. Mikuan (played by Sharon Ishpatao Fontaine) comes from a stable family and is headed to college, while Shaniss (played by Yamie Grégoire) comes from a troubled broken home and is an unwed teenage mother who’s dropped out of school. What makes this story different from others with a similar concept is that the girls happen to be from the Innu tribe. Their racial identity and issues related to their culture are rarely seen in movies, so it’s refreshing that this film does it in a very authentic way. The movie is engaging and very well-made, from beginning to end. “Kuessipan” is highly recommended for anyone who likes coming-of-age stories that ring true.
The only feature film to have its world premiere at the festival was the documentary “Dying Doesn’t Feel Like What I’m Doing,” directed by Paula Weiman-Kelman, about female rabbi/activist Rachel Cowan and how she lived with terminal brain cancer before her death in 2018. The movie played to a sold-out audience. It’s an intimate and starkly made film that treats Cowan with dignity and respect. At the Q&A that was held after the screening, Weiman-Kelman said that she started filming the documentary before Cowan was diagnosed with brain cancer, but Cowan graciously wanted her to keep filming after the diagnosis.
The inspiring documentary “Woman in Motion” (directed by Todd Thompson) tells the story of “Star Trek” actress Nichelle Nicholas’ 1970s campaign to recruit more women and people of color to join NASA and become astronauts. This movie would make a great companion piece to the 2016 Oscar-nominated hit drama “Hidden Figures,” which told the story of three African American women who were underappreciated pioneers at NASA in the 1960s. “Woman in Motion” also takes a look at how “Star Trek” also played a role in opening up people’s minds to the idea that a diverse group of people could be in outer space.
The Irish horror flick “Sea Fever” (written and directed by Neasa Hardiman) is definitely influenced by the 1979 classic film “Alien,” since it’s about a group of people trapped on board with a parasitic creature that can multiply easily, infect humans, and then kill them. And the smartest one in the group is a scientific-minded woman, who’s the best chance that they have of survival. But instead of being a gun-toting warrior like Sigourney Weaver’s “Alien” character Ripley, the heroine of “Sea Fever” is a marine-biology student Siobhán (played by Hermione Corfield), who’s the youngest person on an isolated ship that’s under attack by a mysterious sea creature. Even though the movie has some predictable tropes, what makes “Sea Fever” different from other horror films of this type is that Siobhán has to deal with ageism, as well as the expected sexism. For most of the story, the other people on board don’t take her seriously. And there are dire consequences when her warnings go unheeded. Gunpowder & Sky will release “Sea Fever” in U.S. cinemas on a date to be announced.
“Rocks,” a drama directed by Sarah Gavron, was the festival’s closing-night film. “The movie (written by Theresa Ikoko and Claire Wilson) is about a London teenager nicknamed Rocks (played by Bukky Bakray), who comes home to find her single mother missing, and she has to take care of her younger brother Emmanuel (played by D’angelou Osei Kissiedu) by herself. With the help of her female friends, Rocks tries to hide her situation from child protective services, which would separate the siblings in foster care. Overall, the movie is good, although some people might have an issue with one aspect of the movie’s conclusion that ends up being vague and open to interpretation. (It has to do with a decision that Rocks makes about Emmanuel.) However, the movie’s greatest strength is that it doesn’t sugarcoat the problems that Rocks encounters as an unexpected underage guardian of her brother. Film4 will release “Rocks” in the U.K. and Ireland on April 24 , 2020. The movie’s U.S. release date is undetermined, as of this writing.
Other movies that had their New York City premieres at the festival included the Marie Curie biopic “Radioactive”; the lesbian cop drama “The Long Shadow”; the Papua New Guinea women’s rugby documentary “Power Meri”; the British drama “Military Wives”; the Israeli political documentary “Objector”; the French coming-of-age drama “Stars by the Pound”; the Spanish lesbian drama “Carmen & Lola”; and the Italian female boxing documentary “Butterfly.”
The festival had some movies that were originally released in 2019 and have won prizes and Oscar nominations. They included the Syrian war documentary “For Sama” (co-directed by and starring Waad al-Kateab); Greta Gerwig’s Oscar-nominated version of “Little Women,” based on the classic Louisa May Alcott novel; the Disney animated sequel “Frozen 2” (co-directed by Jennifer Lee); and the Harriet Tubman biopic “Harriet,” directed by Kasi Lemmons.
There were also networking events (most were invitation-only), discussion panels and creative workshops.
The Athena Film Festival’s “The Silence Breakers” panel at Barnard College in New York City on February 29, 2020. Pictured from left to right: Sarah Anne Masse, Jasmine Lobe, Drew Dixon and Sheri Sher. (Photo Carla Hay)
The most-talked about panel, which also packed the room with about 250 people, was “The Silence Breakers,” featuring #MeToo accusers of disgraced entertainment moguls Harvey Weinstein and Russell Simmons. The panel, which took place on February 29, was moderated by The Hollywood Reporter executive film editor Tatiana Siegel, who has covered several #MeToo stories in the entertainment industry. The panelists shared their thoughts on the February 24 verdict that convicted Weinstein of a first-degree criminal sexual act and a third-degree count of rape. A New York City jury of seven men and five women delivered the verdict, which acquitted Weinstein of the most serious charges: two counts of predatory sexual assault and one count of first-degree rape.
The panelists shared their thoughts on the verdict. “I was really relieved. It felt like a weight I’d been carrying on my shoulders for 12 years had been lifted,” commented actress Sarah Ann Masse, who claims that Weinstein sexually harassed her during a job interview in 2008. “I was expecting him to get away with it, like he had for decades.”
Jasmine Lobe, an writer/actress who says that Weinstein sexually assaulted her in 2006, had this to say about Weinstein being convicted of sex crimes: “There was a tremendous sense of victory. We were all preparing for the worst.” Weinstein continues to deny all sexual-misconduct allegations against him. He will receive his prison sentence on March 11, 2020.
Drew Dixon (a former A&R executive at Def Jam Records and Arista Records) and Sheri Sher (a founding member of the all-female hip-hop group Mercedes Ladies) each claim that they were raped by Simmons, who founded the companies Def Jam and Rush Communications. He stepped down from his businesses in 2017, after several women went public with similar allegations. Dixon says her assault happened in 1995, while Sher claims that Simmons sexually violated her in 1983. Simmons has denied all the accusations against him. As of this writing, he has not been arrested for any alleged sex crimes that still fall under the statute of limitations, but he’s being sued in California by an unnamed woman who claims he raped her in 1988.
“It is a game-changer, a watershed moment,” Dixon said of the Weinstein rape conviction. “Also, the fact that a majority-male jury understood the nuance of remaining in touch with your perpetrator.” Simmons accuser Sher added that since the resurgence of the #Me Too movement and now that Weinstein has been convicted of rape, there’s a “sense that it’s a new era. It’s time to change. It’s real.”
Dixon and Sher are among the Simmons accusers featured in the documentary “On the Record,” directed by Amy Ziering and Kirby Dick. The movie was publicly protested by Simmons and some of his supporters. Executive producer Oprah Winfrey and Apple TV+ then dropped out of the project. HBO Max then picked up the documentary, which will begin streaming on a date to be announced. Dixon mentioned that when black women accuse black men of abuse, the situation is more complicated because of the racial injustices that black men face in the legal system.
Meanwhile, the panelists said that although organizations such as Time’s Up have been helpful for many #MeToo survivors, a lot more progress needs to be made in order to change the culture where sexual harassers and predators can still thrive. The panelists advocate for laws that extend or suspend statutes of limitations for sex crimes. They also think there should be more policies that won’t allow non-disclosure agreements for settlements involving sexual misconduct.
Masse and Dixon also noted that more industry people in power who say they care about this issue need to practice what they preach and hire #MeToo silence breakers who’ve been victims of career retaliation. Because the #MeToo issue is not limited to the entertainment industry, Dixon commented that it’s everyone’s responsibility to do their part to stop the cycle of abuse: “If you see something, say something. You call it out. You don’t laugh it off.”
The following is a press release from the Tribeca Film Festival:
The 19th annual Tribeca Film Festival, presented by AT&T, today announced its 2020 Shorts Program lineup. Setting a record with over 6,100 submissions, the final program roster includes 64 diverse and captivating short films from 20 countries around the globe, and features 46 world premieres, including DreamWorks Animation’s new animated short, To Gerard. The short films will be presented in 10 distinct competition programs which include five narrative, four documentary, and one animation program. For the fourth consecutive year, 40 percent of the selections are directed by female filmmakers. Queen Collective by Procter & Gamble in partnership with Queen Latifah, Flavor Unit Entertainment and Tribeca Studios is back, a program dedicated to supporting gender and racial equality behind the camera. The 2020 shorts lineup is programmed by Sharon Badal and Ben Thompson. The 2020 Tribeca Film Festival takes place April 15 – April 26.
“In this important election year we have a political doc shorts program that illustrates contemporary issues facing our country, as well as a music doc shorts program that’s very diverse,” said Sharon Badal, Vice President of Filmmaker Relations and Shorts Programming, Tribeca Film Festival. “Everyone needs some escapism too, so our comedy shorts, sci-fi shorts, and New York shorts programs are back by popular demand.”
Tribeca’s defining tradition of discovering talent and supporting filmmaker alumni development will again be on full display in this year’s short program. A cohort of seven student films will make their debut, and Tribeca welcomes back many alumni with short films, including Alex Budovsky (Bathwell in Clerkentime), Carlos Javier Ortiz (Shikaakwa), Bryan Buckley (Saria), James Burns (Solitary), Chris Burkard (Unnúr), and Scott Calonico (Betrayal).
Notable voiceover talent and actors featured in the 2020 Tribeca Film Festival Shorts Film program include Benedict Cumberbatch (The Tiger Who Came to Tea), Dennis Quaid (John Bronco), and Ruth Bader Ginsberg (Making the Case). Plus, Stephan Jenkins of Third Eye Blind (Motorcycle Drive By) will perform after the world premiere of the program Shorts: Rhythm of Life in Hoboken, NJ.
International storytelling will be celebrated in Tribeca’s Short Film program, with 44 percent of its selections originating from 20 different countries, including: Australia, Brazil, Canada, Colombia, Finland, Germany, Hong Kong SAR, Iceland, Ireland, Israel, New Zealand, Norway, Peru, Qatar, Russia, Spain, South Africa, Switzerland, the United Kingdom, and the United States.
2020 best live-action short and best documentary short Academy Award® winners The Neighbors’ Window and Learning to Skateboard in a War Zone (If You’re A Girl) both world premiered at the 2019 Tribeca Film Festival and continue the latest in Tribeca’s long tradition of curating films that have been nominated or won an Oscar. Recipients of the Tribeca Film Festival awards for Best Narrative Short, Best Documentary Short, and Best Animated Short will qualify for consideration in the Academy Awards’ Short Films category, provided the film complies with Academy rules. Tribeca Film Festival also gives out a Student Visionary Award.
The 2020 Tribeca Film Festival Shorts Program is as follows:
Animated Shorts Curated by Whoopi G
Imaginative storytelling and captivating craft. Suggested for those 14 and older.
“Grandad Was a Romantic” (Image by Maryam Mohajer)
Grandad Was A Romantic, directed, written, and by Maryam Mohajer. (UK) – New York Premiere, Short Animation. Grandad first fell in love with granny seeing her picture. It sounds like a fairy tale. All it needs is a happy ending. With Maya Naraghi.
Umbrella, directed and written by Helena Hilario, Mario Pece. Produced by Helena Hilario. (Brazil) – New York Premiere, Short Animation. Inspired by true events, Umbrella is a short film that follows Joseph, a boy who lives in an orphanage and dreams of having a yellow umbrella.
The Tiger Who Came to Tea, directed by Robin Shaw, written by Joanna Harrison, Judith Kerr. Produced by Ruth Fielding, Camilla Deakin. (UK) – World Premiere, Short Animation. A mysterious tiger turns up unannounced and invites himself in for afternoon tea. With David Oyelowo, Benedict Cumberbatch, Tamsin Greig, Clara Ross, David Walliams.
Beyond Noh, directed by Patrick Smith, written by Patrick Smith, Kaori Ishida. Produced by Kaori Ishida. (USA) – World Premiere, Short Animation. Beyond Noh rhythmically animates 3,475 individual masks from all over the world.
Kapaemahu, directed by Hinaleimoana Wong-Kalu, Dean Hamer, Joe Wilson. Produced by Hinaleimoana Wong-Kalu, Dean Hamer, Joe Wilson. (USA) – World Premiere, Short Animation. Four mysterious boulders on Waikiki Beach have a hidden history; within them, there are legendary transgender healing spirits. In Hawaiian with English subtitles.
Bathwell in Clerkentime, directed, written, and produced by Alex Budovsky. (Colombia, USA) – World Premiere, Short Animation. This is the animated short that completes the trilogy about cuckoos from Clerkenwell going nuts. In this episode birds face problems with marriage, raising kids, and alcohol.
Friends, directed, written, and produced by Florian Grolig. (Germany) – North American Premiere, Short Animation. The “small” one is, well, small, and the “big” one is definitely very very big. They are friends.
To Gerard, directed and written by Taylor Meacham. Produced by Jeff Hermann. (USA) – World Premiere, Short Animation. A sprightly elderly man brightens the day of a little girl through magic.
Choose Your Battles
Docs about politics, perseverance and purses.
“Sixth of June”
Sixth of June, directed by Henry Roosevelt. Produced by Rylan Soref, Nicole Galovski. (USA) – New York Premiere, Short Documentary. Why do we remember, and what do we lose if we forget? With Susan Eisenhower, Helen Patton, Keith Nightengale.
USA V SCOTT, directed by Ora DeKornfeld, Isabel Castro. Produced by Ora DeKornfeld. (USA) – New York Premiere, Short Documentary. When an Arizona resident is charged with three felony counts and faces a 20-year prison sentence for helping migrants, his community grapples with moral questions posed by his arrest. With Scott Warren, Emily Saunders, Greg Kuykendall.
The Undocumented Lawyer, directed by Zach Ingrasci, Chris Temple, written by Zach Ingrasci, Chris Temple. Produced by Jenna Kelly. (USA) – World Premiere, Short Documentary. Lizbeth Mateo is an attorney who swore to uphold the Constitution. She’s also undocumented. When a client takes sanctuary in a church, Lizbeth’s own experience guides their fight for justice. With Lizbeth Mateo, Edith Espinal. In English, Spanish with English subtitles.
Shikaakwa, directed by Carlos Javier Ortiz, written by Carlos Javier Ortiz, Tina K. Sacks. Produced by Carlos Javier Ortiz, Tina K. Sacks. (USA) – World Premiere, Short Documentary. Its title derived from the indigenous word for Chicago, this story meditates on the physical spaces that hold us up and hold us back. With Ondelee Pertee, Deetreena Perteet.
Vote Neil, directed by Honora Talbott. Produced by Honora Talbott. (USA) – New York Premiere, Short Documentary. A Marine vet runs to be the first openly gay man elected to the Alabama State Legislature. With Neil Rafferty, Michael Rudulph.
Making The Case, directed, written, and produced by Jennifer Callahan. (USA) – World Premiere, Short Documentary. Justice Ruth Bader Ginsburg, for whom legal arguments are daily currency, examines her handbags, revealing a corner of a mind that has argued and won historic cases.
Don’t Look Back
Some decisions are irrevocable.
“The Last Ferry From Grass Island” (Photo by Giorgos Valsamis)
The Last Ferry from Grass Island (島嶼故事), directed and written by Linhan Zhang. Produced by Clifford Miu. (Hong Kong SAR, USA) – World Premiere, Short Narrative. A Hong Kong hitman retires as a fisherman on the peaceful Grass Island. One day, his Chinese apprentice shows up, tasked to kill him before the last ferry departs. With Tai Bo, Wang Yang, Yee Yee Yeung. In Cantonese, Mandarin with English subtitles.
No More Wings, directed and written by Abraham Adeyemi. Produced by Abiola Rufai. (UK) – World Premiere, Short Narrative. At a divergent point in their lives, two lifelong friends (Ivanno Jeremiah, Parys Jordon) meet at their favorite South London fried chicken shop. With Ivanno Jeremiah, Parys Jordon, Joshua Cameron, Tyrus Mckenzie.
Burros, directed and written by Jefferson Stein. Produced by Liz Cardenas. (USA) – World Premiere, Short Narrative. While traveling through the Tohono O’odham tribal lands into the United States, a six-year-old indigenous girl (Amaya Juan) discovers a Hispanic migrant her age who has lost her father. With Amaya Juan, Zuemmy Carrillo, Virginia Patricio, Rupert Lopez. In English, Spanish with English subtitles.
The Cypher, directed by Letia Solomon, written by Wes Akwuobi. Produced by Anne Brashier, C. Craig Patterson. (USA) – World Premiere, Short Narrative. With his reputation and a potential record deal on the line, Khalil (Nigel Cox) confronts his opponent (Kerrice Brooks) and defends his identity after being outed during a freestyle competition. With Nigel Cox, Kerrice Brooks, Juan Gil, O’Shay Neal, Nelcie Souffrant, Alexander Robinson, Michael Devon.
The Catch (El Salto), directed by Thais Drassinower, written by Camila Zavala. (Peru) – World Premiere, Short Narrative. The trust between married trapeze artists (Oscar Meza, Vania Accinelli) is threatened before the most important performance of their career. With Oscar Meza, Vania Accinelli, Roberto Ruiz. In Spanish with English subtitles.
Saria, directed and written by Bryan Buckley. Produced by Aura Santamaria. (USA) – New York Premiere, Short Narrative. Two inseparable orphaned sisters, Saria and Ximena (Estefanía Tellez, Gabriela Ramírez), fight against daily abuse and unimaginable hardship at Virgen de La Asuncion Safe Home in Guatemala. With Estefanía Tellez, Gabriela Ramírez. In Spanish with English subtitles.
Live and Learn
Doc life lessons past, present and future.
“Mr. Somebody” (Photo by Brian Wertheim)
Mr. Somebody, directed and written by Brian Wertheim. Produced by Jared Callahan, Jonathan Pickett. (USA) – New York Premiere, Short Documentary. A former member of the Crips searches for redemption after 14 years behind bars. With Jerome “Bam” Blackburn.
Solitary, directed and written by James Burns, Shal Ngo. Produced by Chris Wilson, Jake Ewald. (USA) – World Premiere, Short Documentary. A documentary hybrid about solitary confinement, following three people who have spent a combined nine years in solitary, one of whom co-directed the film. With James Burns, Pamela Winn, Five Mualimm-ak, Jack DiFalco, Alana Barrett-Adkins, Daniel Danielson.
Float, directed, written and produced by Saila Huusko. (Finland) – World Premiere, Short Documentary. Women in Sri Lanka confront community expectations by learning to swim; along the way, swimming becomes a way to stay afloat. In English, Sinhalese with English subtitles.
Betrayal, directed by Scott Calonico, written by Scott Calonico, Harmon Leon. Produced by Harmon Leon. (Germany, UK, USA) – World Premiere, Short Documentary. Andy (Andreas Stiller Hudson), deserted as a child by his father (Werner Stiller), uncovers a forgotten 40-year-old goodbye letter from his dad. With Andreas Stiller. In with English subtitles.
Crescendo!, directed by Alex Mallis. Produced by Matt O’Neill, Perri Peltz. (USA) – World Premiere, Short Documentary. An opera singer (Michael Fabiano) finds his voice. With Michael Fabiano.
Unnúr, directed by Chris Burkard, written by Matt McDonald, Ben Weiland. Produced by Mike Sandifer. (USA) – World Premiere, Short Documentary. Elli is an Icelandic photographer, surfer, and kayaker whose perspective changed after surviving a near death experience. Today he is a father and the film details the complicated world of parenthood. With Elli Thor Magnusson, Unnur Erlendsdottir.
LOL
Comedies that go off the rails.
Suresh John in “One Last Last Heist” (Photo by Stuart Campbell)
One Last Last Heist, directed and written by Darrin Rose. Produced by Courtney Hicks. (Canada) – New York Premiere, Short Narrative. An armed robber (Suresh John) sets up his heartbroken buddy on a meet-cute — during a heist. With Suresh John, Darrin Rose, Ava Julien, Marito Lopez.
A Piece of Cake, directed and written by The Bragg Brothers. Produced by Lana Link, RD Delgado, Rob Pfaltzgraff. (USA) – New York Premiere, Short Narrative. When a desperate father (Rich Sommer) discovers his daughter’s (Riona O’Donnell) favorite cake decoration is illegal, he descends into a confectionery black market. Should he break a birthday promise or break the law? With Rich Sommer, Natalie Britton, Riona O’Donnell, Michael Villar.
Query, directed by Sophie Kargman, written by Ryan Farhoudi, Sophie Kargman. Produced by Sophie Kargman, Nicole Smolen, Ryan Farhoudi, Nick Delli Santi, Ashton Ramsey. (USA) – World Premiere, Short Narrative. A leisurely day belies its uninvited end as Jay (Justice Smith) and Alex (Graham Patrick Martin), best friends and roommates, challenge one another on their opinions of sexuality. With Justice Smith, Graham Patrick Martin, Armie Hammer, Olivia Sui.
I Can Change, directed and written by Jim Jenkins. Produced by Marc Grill, Greg McCollum. (USA) – World Premiere, Short Narrative. The night before his wedding, an underachiever (John Hoogenakker) receives the power to stop time, so he attempts to make major life changes his fiancé (Lucy Cudden) wants him to make, all before morning. With John Hoogenakker, Lucy Cudden, Annie Sertich, Kimberly Dooley, Matt Newell.
Egg, directed and written by Michael J. Goldberg. Produced by Kara Taylor Goldberg. (USA) – World Premiere, Short Narrative. Under the watchful eye of an elderly woman (Gabrielle Chan), a young girl (Kim Doan), bored in suburbia, becomes determined to claim a large Easter egg as her own. With Alex Anfanger, Caitlin McGee, Patrick Woodall, Leah Henoch, Aaron Schroeder.
John Bronco, directed by Jake Szymanski. Produced by Marc Gilbar, Meredith Kaulfers, Rebecca Donaghe, Maggie McLean. (USA, Iceland) – World Premiere, Short Narrative. The legendary pitchman for the Ford Bronco rises, falls, and is ultimately redeemed. With Walton Goggins, Tim Meadows, Tim Baltz, Kareem Abdul-Jabbar, Bo Derek, Dennis Quaid.
New York
All world premiere stories from the city we call home.
“Prelude”
Prelude, directed by Tsubasa Matsumoto, written by Koji Enomoto, Tsubasa Matsumoto & Klark Chaudry. Produced by Victor Tyler, Zoey Pressey. (USA) – World Premiere, Short Narrative. Alex (Vincenzo Hickley) shares distressing thoughts about life to Marion (Jessica Park), a girl he is smitten with, and winds up revealing the truth of their birth. With Vincenzo Hickley, Jessica Park, Tara Westwood, Ariel Eliaz.
Black Ghost Son, directed and written by Christopher Low. Produced by Tiffany Jackman. (USA) – World Premiere, Short Narrative. Eddie (Gary Luk) is learning to become a father and his son, Troy (Kavon John Lightse), is navigating the spaces between ethnicity and identity. With Kavon John Lightsey, Gary Luk, Cece Anna Lee.
Shadows, directed and written by Ria Tobaccowala. Produced by Rekha Tobaccowala, Ashley Deckman, Ria Tobaccowala. (USA) – World Premiere, Short Narrative. During the fragile chapter when a girl faces womanhood, Naya (Crystal De La Cruz) explores her independence on homecoming night away from her watchful family. With Crystal De La Cruz, Reynaldo Piniella, Selenis Leyva, Juan Arturo, Awilda Santana. In English, Spanish with English subtitles.
Look At Me, directed and written by Nika Fehmiu. Produced by Nika Fehmiu, Anton Vicente Kliot, Hannah Vicente Kliot. (USA) – World Premiere, Short Narrative. On a winter night in New York City, a young, intoxicated boy’s (Connor Vasile) fate is determined by his brief encounters with strangers, and a deeper American truth is exposed. With Hadley Robinson, Connor Vasile, Juliette Alice Gobin, Snezana Bogdanovic, Uliks Fehmiu, John Gargan. In Bosnian, English with English subtitles.
Gets Good Light, directed by Alejandra Parody, written by Daniel Solé. Produced by Elizabeth Phillipson-Weiner. (USA) – World Premiere, Short Narrative. A luxury condo begins serving as an alluring open house by day, but by night becomes a brief refuge for a family targeted by immigration enforcement. With Jessica Pimentel, Cedric Lieba Jr., Edmond Cofie, Catherine Curtin. In English, Spanish with English subtitles.
Sloan Hearts Neckface, directed by Justin Fair, written by Ian Grody. Produced by Patrick Ng. (USA) – World Premiere, Short Narrative. An anonymous, anarchic graffiti artist (Raul Castillo) unexpectedly falls in love with a fan (Clara Mamet) but can’t be with her until he reveals his true identity. With Clara Mamet, Raúl Castillo, Isiah Whitlock Jr..
Tapes, directed and written by Dara Katz, Betsy Kenney. Produced by Sarah Donnenberg, Leah Donnenberg, Kirstin VanSkiver. (USA) – World Premiere, Short Narrative. A woman’s discovery of a 30-year-old recording leads to an awkward family dinner and an unexpected revelation about her mother (Maryann Plunkett). With Maryann Plunkett, Jay O. Sanders, Madeline Fischer, Jonathan Braylock, Devin Bockrath, Francis Li.
No Surrender
Docs concerning courage and conviction.
Miranda Miller in “On Falling” (Photo by Scott Secco)
On Falling, directed and written by Josephine Anderson. Produced by Joella Cabalu. (Canada) – World Premiere, Short Documentary. In a meditation on the limits of the body and the mind, three young women (Andréane Lanthier Nadeau, Miranda Miller, Brittany Phelan) muse on their experiences as professional mountain bikers. With Andréane Lanthier Nadeau, Miranda Miller, Brittany Phelan. Also playing as part of the Tribeca/ESPN Sports Film Festival.
Tall Tales with True Queens, directed by Kristina Budelis, Leandro Badalotti. Produced by Kristina Budelis. (USA) – World Premiere, Short Documentary. At Drag Queen Story Hour, a controversial children’s event series, a tale of pride and prejudice is told.
Akashinga, directed by Maria Wilhelm. Produced by Kim Butts, Drew Pulley, Maria Wilhelm. (USA) – World Premiere, Short Documentary. An all-female anti-poaching unit pushes a group of new recruits to the limit as they attempt to protect the elephants of their homeland.
Echoes in the Arctic, directed by Andy Maser, Paul Nicklen, Tahria Sheather. Produced by Tahria Sheather, Andy Maser, Sam Kretchmar. (USA, Norway) – World Premiere, Short Documentary. A team of dedicated filmmakers and scientists document the world’s healthiest orca population in the Norwegian Arctic to help protect it from oil exploration.
Tā Moko – Behind the Tattooed Face, directed by Mick Andrews, David Atkinson. Produced by Mick Andrews, David Atkinson. (New Zealand) – New York Premiere, Short Documentary. Maori face tattooing is a tradition that almost died out through colonization. Bernard and Sapphire show their passion to see Maori communities heal by receiving face tattoos of their own.
My Brother’s Keeper, directed and produced by Laurence Topham. (UK) – World Premiere, Short Documentary. A former Guantánamo detainee, Mohamedou Ould Salahi, and his one-time American guard, Steve Wood, form an unlikely friendship in an inspiring true story.
Rhythm of Life
Music infused docs with heart and soul.
“The Difference” (Photo by Tyler Bertram)
The Difference, directed and written by Brianne Berkson, Miguel Gluckstern (BriGuel). Produced by Brianne Berkson, Miguel Gluckstern, Andres Gonzalez, Atman Smith, Ali Smith, Dr. Megan Poe, Cassie Smith. (USA) – New York Premiere, Short Documentary. How do we provide our children with tools to live and thrive? What can we do to make a difference?
My Father The Mover, directed and written by Julia Jansch. Produced by Julia Jansch, Mandilakhe Yengo. (South Africa) – New York Premiere, Short Documentary. African electronic Gqom beats motivate kids in the township of Khayelitsha, South Africa to jive through their hardship and find their superpowers.With Stoan Galela, Alatha Galela. In English, Xhosa with English subtitles.
Welcome to a Bright White Limbo, directed and written by Cara Holmes. Produced by Zlata Filipovic. (Ireland) – International Premiere, Short Documentary. Combining documentary and dance performance, this visually arresting film dives into the mind and creative process of Oona Doherty’s award winning dance show, Hope Hunt. With Oona Doherty.
When I Write It, directed by Nico Opper, Shannon St. Aubin, written by Nico Opper, Shannon St. Aubin, Leila Mottley, Ajai Kasim. Produced by Nico Opper, Shannon St. Aubin. (USA) – World Premiere, Short Documentary. Two Oakland teens (Leila Mottley, Ajai Kasim) explore what it means to be young, black, and committed to making art in their rapidly changing city. With Leila Mottley, Ajai Kasim.
Motorcycle Drive By, directed and written by David Wexler. Produced by David Wexler, Bradford Coleman. (USA) – World Premiere, Short Documentary. Third Eye Blind cannot finish their new album in time for a massive tour. Their fans still show, breaking attendance records, and highlighting the importance of the band’s deep cuts. With Stephan Jenkins, Brad Hargreaves, Kryz Reid, Colin Creev, Alex LeCavalier.
Update Required
Out of this world sci-fi shorts.
Ben Mortley in “Carmentis” (Photo by David Le May and Antony Webb)
Carmentis, directed and written by Antony Webb. Produced by Jaclyn Hewer. (Australia) – World Premiere, Short Narrative. An injured and grief-stricken miner (Ben Mortley) on the desolate planet Carmentis must overcome his personal demons in order to survive, but can he get there before the planet freezes? With Ben Mortley, Adriane Daff, Jo Morris.
The Light Side, directed and written by Ryan Ebner. Produced by Dominick Ferro. (USA) – World Premiere, Short Narrative. An aging Sith Lord (Joseph Ragno) must come to grips with his past and discover why humility may be the greatest force in the galaxy. With Joseph Ragno.
Abducted, directed by Ben Joyner, written by Josh Barkey. Produced by Brad Jayne, Thomas Torrey, James Edward Tilden, Henry Drayton. (USA) – World Premiere, Short Narrative. A tongue-in-cheek Southern thriller about a rookie cop’s (Jenna Kannell) first date gone horribly wrong. With Jenna Kannell, Jay Devon Johnson, Jesse C. Boyd, Rebecca Koon.
System Error, directed and written by Matt Vesely. Produced by Kirsty Stark. (Australia) – World Premiere, Short Narrative. George works at a convenience store, desperately hoping for a friend. But George is a robotic service unit, and robotic service units do not have friends. Not yet, anyway. With David Quirk, Nick Nemeroff.
A Better You, directed and written by Eamonn Murphy. Produced by Quintin Ahern. (Ireland) – International Premiere, Short Narrative. Living in a dystopian, neo-steampunk world, a shy young man named Douglas (Seán T. Ó’Meallaigh) invests in a customizable carbon clone to help him win the girl of his dreams. With Seán T. Ó’Meallaigh, Hannah Mamalis, Charlie Kranz, Aoife Nic Ardghail, Márcio Wille.
TOTO, directed by Marco Baldonado, written by Marco Baldonado, Walter Woodman. Produced by Jeremiah Lapointe, Marco Baldonado. (Canada) – World Premiere, Short Narrative. Rosa Forlano, a 90 year old Nonna, falls in love with a Robot while teaching it how to make spaghetti. Unfortunately, her recipe is forgotten after a software update. With Rosa Forlano, Simon Dragland, Walter Woodman, Marco Baldonado, Justin Macri, Gabriela Francis, Mary Rose Sciarrillo.
Jack and Jo Don’t Want To Die, directed and written by Kantu Lentz. Produced by Roja Gashtili, Erica Fishman, Kate Bolger. (USA) – World Premiere, Short Narrative. Jack (Justin Kirk) works at a suspension facility where people choose to end their lives. On the night of his suspension, Jack’s life takes a turn when he meets Jo. With Justin Kirk, Olivia Edward, Moses Storm, Hemky Madera.
Without Borders
Compelling dramas from here and abroad.
“Grey Zone” (Phoro by Alon Daniel)
Grey Zone (תחום אפור), directed and written by Gal Sagy. Produced by Dor Azulay. (Israel) – North American Premiere, Short Narrative. On an urban crosswalk, Neta (Rachel Yaron) finds herself following a man (Udi Pers) who touched her abruptly and without her consent. With Udi Persi, Rachel Yaron. In Hebrew with English subtitles.
Cru-Raw (Cru), directed and written by David Oesch. Produced by Zurich University of the Arts. (Switzerland) – New York Premiere, Short Narrative. A young chef (Jeanne Werner) must learn that in this kitchen, a lot of blood, sweat, and tears go into making every dish. With Jeanne Werner, Malika Khatir, Nic Aklin. In French with English subtitles.
Liliu, directed and written by Jeremiah Tauamiti. Produced by Ngaire Fuata. (New Zealand) – New York Premiere, Short Narrative. An ambitious, young court interpreter (Vito Vito) risks everything to help Nua (Ana Tuisila), a wrongfully imprisoned chief, get back to her stranded grandchildren. With Vito Vito, Ana Tuisila, Peter Hayden, Tuiasau Uelese Petai. In English, Samoan with English subtitles.
Soup (Суп), directed by Inga Sukhorukova, written by Mark Kirdan, Inga Sukhorukova. Produced by Evgeniia Borisova, Inga Sukhorukova. (Russia) – World Premiere, Short Narrative. Can a bowl of soup heal old wounds? With Nikolay Kozak, Andrey Mihhalev. In Russian with English subtitles.
Blood and Glory, directed and written by Satinder Kaur. Produced by YJ Meira, Tema L. Staig, Allison Vanore, Kerry Michelle O’Brien, Uzma Xina Kang, Jeff Vespa. (USA) – World Premiere, Short Narrative. Two homeless, female veterans’ (Jomarla Melancon, Shara McGlinn) friendship is tested when they confront adversity, discrimination, and mother nature itself. With Jomarla Melancon, Shara McGlinn, Ian Littleworth, Tank Jones.
The Black Veil, directed and written by A.J. Al-Thani. Produced by Vibhav Gautam. (Qatar) – World Premiere, Short Narrative. An oppressed woman (Sana Al-Habib) puts her life at risk in order to find her freedom. With Sana Al-Habib, Ahmed Al-Nowfal Al-Tamimi. In Arabic with English subtitles.
Vera, directed and written by Laura Rubirola Sala. Produced by Laura Rubirola Sala, Clàudia Maluenda. (Spain) – World Premiere, Short Narrative. Vera (Paulina Garcia), a fan of classical music who works as a night-time cleaner, discovers Miguel a man she has never seen but who she imagines thanks to the objects on his desk. With Paulina García. In Catalan with English subtitles.
Queen Collective by Procter & Gamble in partnership with Queen Latifah, Flavor Unit Entertainment, and Tribeca Studios
This year’s docs feature authentic and positive portrayals of diverse women in front of the camera and celebrate multicultural women storytellers and directors behind the camera.
“Tangled Roots”
Tangled Roots, directed by Samantha Knowles. (USA) – World Premiere. Short Documentary. Tangled Roots follows Attica Scott, the only black woman representative in Kentucky, as she fights to dismantle a system of discrimination against black people penalized for something seemingly innocuous – their hair.
Gloves Off, co-directed by Nadine Natour and Ugonna Okpalaoka. (USA) – World Premiere. Short Documentary. Gloves Off follows the story of a young police officer who suits up and protects her community by day, then laces up and defends her undefeated boxing champion title by night. As she carves her own path in two male-dominated arenas, the film follows the people she fights for most: the residents on her patrol, her Florida hometown, and young boxers just like her.
Passes and Tickets for the 2020 Tribeca Film Festival:
All festival passes are on sale now. Ticket Packages are currently available for purchase and will remain on sale until March 8, 2020. Single tickets to attend the Festival go on sale on March 17, 2020. Visit: https://www.tribecafilm.com/festival/tickets
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About the Tribeca Film Festival:
The Tribeca Film Festival, presented by AT&T, brings visionaries and diverse audiences together to celebrate storytelling in all its forms, including film, TV, VR, gaming, music, and online work. With strong roots in independent film, Tribeca is a platform for creative expression and immersive entertainment. The Festival champions emerging and established voices; discovers award-winning filmmakers and creators; curates innovative experiences; and introduces new technology and ideas through premieres, exhibitions, talks, and live performances.
The Festival was founded by Robert De Niro, Jane Rosenthal, and Craig Hatkoff in 2001 to spur the economic and cultural revitalization of lower Manhattan following the attacks on the World Trade Center. Now in its 19th year, the Festival has evolved into a destination for creativity that reimagines the cinematic experience and explores how art can unite communities. The 19th annual edition will take place April 15 – 26, 2020. www.tribecafilm.com/festival
Hashtag: #Tribeca2020
Twitter: @Tribeca
Instagram: @tribeca
Facebook: facebook.com/Tribeca
About Presenting Sponsor AT&T:
As Presenting Sponsor of the Tribeca Film Festival, AT&T is committed to supporting the Festival and the art of filmmaking through access and innovation, while expanding opportunities to diverse creators around the globe. AT&T helps millions connect to their passions – no matter where they are. This year, AT&T and Tribeca will once again collaborate to give the world access to stories from underrepresented filmmakers that deserve to be seen. AT&T Presents: Untold Stories – an Inclusive Film Program in Collaboration with Tribeca, is a multi-year, multi-tier alliance between AT&T and Tribeca along with the year-round nonprofit Tribeca Film Institute.
About the 2020 Tribeca Film Festival Partners:
The Tribeca Film Festival is pleased to announce its 2020 Partners: Alfred P. Sloan Foundation, Bloomberg Philanthropies, Borough of Manhattan Community College (BMCC), BVLGARI, CHANEL, City National Bank, CNN Films, Diageo, ESPN, HBO, Montefiore, National CineMedia (NCM), New York Magazine, NYC Mayor’s Office of Media and Entertainment, P&G, PwC, Spring Studios New York, and Squarespace.
Pictured clockwise from left to right: Kris Hitchen, Debbie Honeywood, Rhys Stone and Katie Proctor in “Sorry We Missed You” (Photo courtesy of Zeitgeist Films in association with Kino Lorber)
Culture Representation: Taking place in Newcastle, England, the drama “Sorry We Missed You” (which has an all-white cast) shows the financial and personal pressures of a working-class family.
Culture Clash: The family’s patriarch and matriarch have high-stress jobs that require them to work long hours away from home, while their teenage son slides further into delinquency.
Culture Audience: “Sorry We Missed You” will appeal primarily to fans of arthouse cinema who want to see a well-written, realistic story of regular people coping with life’s struggles.
Kris Hitchen and Katie Proctor in “Sorry We Missed You” (Photo courtesy of Zeitgeist Films in association with Kino Lorber)
With more and more news reports exposing the high-pressure and unethical working conditions of independent workers in the auto transportation business (such as Uber drivers and Amazon delivery drivers), the timing is just right for the dramatic film “Sorry We Missed You,” which takes a riveting and emotionally moving look at how this type of stressful job affects a working-class family in Newcastle, England. “Sorry We Missed You,” directed by Ken Loach and written by Paul Laverty, could be an excellent companion piece to their award-winning 2016 film “I, Daniel Blake,” which was about a working-class Newcastle man who’s experiencing a different type of job-related problem.
At the beginning of “Sorry We Missed You,” Ricky Turner (played by Kris Hitchen) is at a job interview for a position as a package delivery driver for a large company that doesn’t keep its drivers on staff but instead hires them as independent workers who get to keep their own hours. (In other words, they’re not unionized and they don’t get employee insurance.) The catch is that the workers have to pay for the upkeep of their own automobiles that they use on the job, and the drivers usually can only make enough money for a decent living wage if they put in very long hours that go way beyond a regular 40-hour work week. And if any of these workers get sick or injured, even if it’s on the job, that’s the workers’ problem (not the company’s) and money out of the workers’ pockets.
Of course, the demanding supervisor named Maloney (played by Ross Brewster) who’s interviewing Ricky doesn’t tell him the down sides of the job in the interview. Instead, Maloney plays up the angle that the job doesn’t have an employee contract, which will give Ricky entreprenuerial freedom, since he’ll be a licensee for the company. As Maloney describes it, all Ricky needs is a driver’s license and a willingness to work hard to be on his way to financial freedom.
Ricky goes home to his loyal wife Abby (played by Debbie Honeywood) to talk about this new job prospect. He’s recently quit his job as a landscaper after being passed over for a promotion, so he’s desperate to find work, and he refuses to live off of government assistance. However, in order to take this new job as a delivery driver, Ricky has to invest in buying his own van. And in order to get the money, they have to sell the family’s only car, which Abby needs for her job as a traveling home-care attendant.
Although Ricky says that he wants to discuss the matter with Abby, the reality is that Ricky has already made up his mind to take the job. He and Abby, who lost their home in the 2008 market crash, have been trying to save up enough money to buy another home. Ricky is convinced that this new job will be the best path to reaching that goal. Abby and Ricky argue over the fact that their car will have to be sold in order to buy the van. But Ricky stands firm and Abby reluctantly agrees to the idea, even though she dreads the inconvenience of now having to take public transportation for her work.
Meanwhile, the couple avoids talking about their troubled teenage son Seb (played by Rhys Stone), who has the makings of becoming a juvenile delinquent. He’s been skipping school and hanging out with a group of mischief makers who like to steal and vandalize the area with graffiti. By contrast, Ricky and Abby’s other child, younger daughter Liza Jane (played by Katie Proctor), is obedient and tries to be as helpful as possible.
On his first day on the job as a delivery driver, Ricky is the very definition of an “eager beaver.” He’s not only eager to please his new boss, he’s also very ambitious and determined to out-work and out-earn all of his fellow drivers at the outpost where he reports, because the top driver get the biggest bonuses.
One of his co-workers offers Ricky an empty water bottle and Ricky asks why. The co-worker tells him he’s going to need the bottle to urinate in it while on the job because he won’t have time to use a restroom while working. Ricky scoffs at the idea and doesn’t take the bottle. It won’t be long before he finds out just how demanding the job is.
During training, Ricky learns that the drivers are under tremendous pressure to deliver a certain number of packages in a certain period of time. Those who fail to meet the company’s target goals are fined and eventually fired. The drivers are given scanners that track the packages and the workers’ every move when they’re on the job. The workers are told from the beginning that if their scanner is lost or stolen, they’re responsible for paying the hefty fee to buy a new scanner.
The drivers also have to follow strict rules to get a signature from everyone who receives a package. If someone isn’t home, the company requires that the drivers leave a “Sorry We Missed You” memo at the delivery address. On his first day on the job, Ricky discovers it’s not as easy as he thought it would be.
In addition to contending with occasional bad traffic and unexpected detours, he also has to deal with other annoyances that affect the speed at which he can deliver packages, such as being given the wrong address or encountering difficult people who don’t want to sign for the package. And sometimes a friendly exchange with a package recipient can turn heated, such as when Ricky (a Manchester native and avid Manchester United fan) gets into an argument with a package recipient who’s a fan of a rival team.
Meanwhile, Abby has had some difficulty adjusting to taking public transportation, which slows down the speed at which she can go from home to home for her job. Because it takes longer for her to travel to her next assignment, it reduces the number of assignments she can take per day, and she gets paid by the visit. The movie shows that Abby is a compassionate and patient person, as her clients (who are usually elderly or have physical limitations) are sometimes overly demanding and downright rude.
Abby, who says she dislikes angry confrontations, is the same way when it comes to dealing with family problems, since she’s more likely than Ricky to want to discuss matters calmly. Ricky has a short temper and is more likely to get into screaming arguments with people. Their contrasting personalities are also reflected in their different parenting styles. While Abby tries to be understanding in helping their obviously troubled son, Ricky is less patient and believes that “tough love” is the best way to get Seb to turn his life around.
Ricky and Abby are coping with the new adjustments in their lives as best as they can. But the inflexible nature of their jobs starts to have a huge effect when Seb begins getting into more trouble (such as fights at school), which requires Ricky or Abby to take time off from work to have meetings with school officials. For Ricky, taking any time off from work can have damaging consequences to his income, because if he doesn’t meet the company’s target goals every day, he will get severe fines.
Tensions come to a head when Ricky finds out that Seb has sold an expensive jacket to buy spray paint for graffiti. They get into an intense argument about Seb’s future, and Seb shouts that he doesn’t want to end up like Ricky. The irony of Ricky’s job is that he took the job to better provide for his family, but the demanding hours (and the fact that employees are punished for taking time off from work) have resulted in Ricky having to spend less time with his family than ever before.
Liza Jane, ever the helpful child, even accompanies Ricky on some weekend deliveries to assist him in making his delivery targets. But when Ricky’s supervisor finds out that an underage child has been working on the job with Ricky, he tells Ricky that he’s prohibited from bringing a child along for deliveries, for liability reasons. Tensions over the job and Seb’s angry rebellion reach a breaking point, and Ricky has to make tough decisions about saving his family from personal and financial ruin. Ricky also finds out how callous and unforgiving the company can be.
“Sorry We Missed You” takes an unflinching look at the toll that the “gig economy” takes on a family that’s living from paycheck to paycheck. The movie is also a scathing indictment of companies that exploit workers under the guise of “independent employment,” which really means that the workers are freelancers who don’t have the same legal protections that come with being a full-time staff employee. The company can then set rules and wages that require the workers to put in much longer hours than what a staff employee would be required to work. Staff employees at blue-collar jobs are usually protected by labor laws that limit the number of hours per week that the staffers can work, but those laws don’t apply to independent/freelance workers.
And when companies have a business model that relies on deliveries where the workers have to provide their own auto transportation for these deliveries, these companies save millions in expenses by not having to pay for the automobiles and any insurance or liabilities that come from owning the automobiles. There are many real-life news reports of current and former employees exposing the harsh working conditions they have to go through in order to make a living wage at these types of companies. (And yes, it’s a very common practice for these workers to urinate in a bottle in order to keep up with time demands.)
The acting, screenwriting and directing for “Sorry We Missed You” are top-notch, as the movie resists making the story into a hokey melodrama and instead realistically portrays the ebbs and flows of a family’s struggles. The Turner family is entirely believable and could be any number of people who are going through the same problems. Viewers don’t have to come from a working-class background to relate to some of the internal conflicts that the family members face.
“Sorry We Missed You” will also make you think twice about the delivery person who always seems to be in a rush and what kinds of job demands are being placed on that person. The movie is a brutally honest look at how conveniences such as quick deliveries come with very real and personal costs to the workers who provide these services.
Zeitgeist Films in association with Kino Lorber released “Sorry We Missed You” in New York City on March 4, 2020. The movie will be released in Los Angeles and in Montgomery, Alabama, on March 6, 2020. The U.S. theatrical release date expands to more cities in the subsequent weeks.
Culture Representation: Taking place in an unnamed U.S. city, the sex comedy “Holly Slept Over” focuses on two middle-class white American married couples and the biracial British free-spirited woman who had an affair with one of the women when they were in college.
Culture Clash: The men are bored with their sex lives and think of ways to spice things up in their marriages, while complaining that their wives are too uptight to agree to their ideas.
Culture Audience: “Holly Slept Over” will appeal mostly to people who want to see a formulaic comedy about a threesome.
Britt Lower and Josh Lawson in “Holly Slept Over” (Photo courtesy of Sony Pictures Home Entertainment)
The concept of two women and a man in a sexual threesome has been done so many times in movies and TV shows that the comedy film “Holly Slept Over” brings nothing new or clever to this idea. In fact, for most of this approximately 90-minute movie (written and directed by Joshua Friedlander), a hoped-for threesome is pretty much what the men in the movie obsess over, as soon as one of guys finds out that his wife had a sexual relationship in college with a woman who wants to see the wife again. It’s a flimsy basis for a story when the characters are as two-dimensional as the ones in this movie.
“Holly Slept Over” is the very definition of a “sex comedy,” because sex is the primary focus of all the main characters. The film’s opening scene is of friends/neighbors Noel (played by Josh Lawson) and Pete (played by Ron Livingston) barbecuing in a backyard and complaining about their sex lives. Pete warns Noel, who’s been trying to start a family with his wife, that having kids will kill a couple’s sex life. Pete tells Noel that he knows this from experience, because he and his own wife rarely have sex, ever since they’ve been raising children.
Pete confesses to Noel that because he’s had no satisfying release for his sex drive, he’s resorted to ejaculating on his wife’s breasts when she’s asleep. Pete also says that he’s been able to clean off the “evidence” without her knowing what happened. “Maybe I’m a monster,” Pete says unapologetically. “I defiled my wife. It’s the best feeling I’ve had in months.” Meanwhile, Noel’s biggest complaint about sex with his own wife is that it’s too boring.
As this conversation is taking place, Noel’s wife Audra (played by Britt Lower) and Pete’s wife Marnie (played by Erinn Hayes) are in the kitchen having their own candid talk. Audra hasn’t been able to get pregnant with Noel, and she reveals that she’s worried that she might not be able to conceive a child, ever since she miscarried an unplanned pregnancy when she was a junior in high school.
Audra also tells Marnie that she’s gotten an unexpected message from her former college roommate Holly, who contacted her out of the blue after they stopped speaking to each other 12 years ago. Holly wants to see Audra again, but Audra tells Marnie that she’s not interested in seeing Holly again. Audra says that when she and Holly were in college, their friendship ended because Holly was “too wild and free-spirited for me,” because Holly drank too much, did too many drugs, and slept around.
It isn’t long before the truth comes out about the real reason why Audra is uncomfortable with reconnecting with Holly. Audra tells Noel that she and Holly used to be lovers, but Audra describes it as an experimental fling. She insists that she hasn’t been with another woman since Holly, and she asks Noel to keep this a secret between the two of them. Noel is surprised by Audra’s revelation, because he always thought that Audra was sexually conservative.
“Holly Slept Over” uses a predictable trope that’s often seen in stories about two couples. One couple is “nice” (usually boring) and the other couple is “no filter” (usually quarrelling). It’s obvious within the first 10 minutes of the film which type of couple is which. Noel and Audra are both lawyers: He’s a tax attorney, and she’s a criminal-defense attorney. It’s not mentioned what Pete and Marnie do for a living, probably because viewers won’t care.
Another thing that’s obvious in this movie is that both couples have no privacy boundaries, because they blab sexual secrets about their spouses to someone who’s part of the other couple. It should come as no surprise then that Noel tells Pete about Audra’s affair with Holly. Pete then tells Marnie, who then tells Audra that she knows about Holly too.
It’s very easy to see that this movie was written and directed by a man, because the conversations between the two women don’t ring true and sound like they’re from a perspective of someone projecting male fantasies. For example, when Marnie and Audra talk about the affair with Holly that is no longer a secret, Marnie tells Audra that she’s impressed that Audra knows how to “dig clam.”
It’s the kind of talk that sounds like what you’d hear at a frat party instead of an authentic conversation between two adult female friends. That’s not to say that women don’t describe sex in raunchy terms. But when women talk about sex, they aren’t very likely to compare their private parts to sea creatures.
Despite the fact that three of the five main characters are women, a great deal of the movie is focused on what the husbands want and need, and the women’s wants and needs are secondary to the men’s. We know this because most of the complaining in the movie comes from the men feeling deprived by their “uptight” wives who aren’t giving them the kind of sex that they want. It didn’t occur to the filmmakers to show much of the women’s perspectives, since the women’s purpose in the movie is to react to what the men want.
For example, the filmmakers seem to want viewers to assume it’s all Marnie’s fault for losing interest in having sex with her husband Pete. However, it’s obvious within the first 10 minutes of the movie that he’s a selfish jerk in other aspects of life—he’s resentful of parental responsibilities because they take time away from when he wants to have sex—which probably has a lot to do with why his wife is turned off by him. Anyone who somewhat brags about sexually violating his wife’s body without her knowledge when she’s asleep (in other words, she didn’t consent) has some seriously unhealthy sexual issues. It tells you what you need to know about what a lousy husband he is.
Because Pete says he has such an unfulfilling sex life, he tries to live vicariously through Noel, whose marriage is happy in comparison to Pete’s marriage. Pete is the one who plants the idea in Noel’s head that Noel should have a threesome with Holly and Audra. Pete essentially berates Noel into thinking that he’ll be a boring wimp if he doesn’t try to have this threesome. After checking out Holly on Instagram and seeing how attractive she is, Noel confesses that the threesome is all he can think about, but he’s doubtful that Audra will agree to it. The two men then start scheming up ways to try to convince Audra to have a threesome with Holly and Noel.
By the time that Holly shows up about 30 minutes into the movie, it’s very easy to see where this story is going to go. Instead of staying at a hotel, Holly has sort of invited herself over to Noel and Audra’s place when she said she wanted to visit. And they didn’t say no. Never mind that Audra has been “estranged” from Holly for years and there’s no guarantee that their reunion will go well. Audra and Noel have let Holly stay over at their place anyway.
And when Holly arrives at their house, with her suitcase in hand, it’s around 8 a.m.—hours before Audra and Noel were expecting her. (How rude.) Holly tells a surprised Noel when he answers the door that she was so eager to get there, that she drove all night. Then, Holly asks to take a shower and a nap at their place, since she’s already there. Audra, who’s nervously taking a bath when Holly arrives, is a little put off by Holly showing up so early. But Audra and Noel clearly want Holly to be in their home, which sets the tone for the rest of her time there.
Holly’s “nap” turns into her sleeping for 11 hours. (An obvious sign that she’s hasn’t given up her partying ways.) Based on Audra’s annoyed reaction at not being able to hang out with Holly, because Holly’s been in a deep sleep, there’s more to Audra’s feelings for Holly than she’s willing to immediately reveal. When Holly wakes up, she and Audra make somewhat awkward apologies to each other for how their college relationship ended.
Audra and Holly ask each other questions about how their lives have been since college. To no one’s surprise, Holly is still single, sexually fluid, and she’s started her own marijuana edibles business called Holly’s Good & Baked. And guess what? She’s brought a gift basket of samples for all three of them to share.
At some point, Noel blurts out that he knows about Audra and Holly’s past sexual relationship. Audra seems to be horrified and embarrassed that Noel has even mentioned it. Holly then says that she’s done with having flings and only wants to have sex in “meaningful relationships.” The disappointed look on Noel’s face is all that manipulative Holly needs to start turning on the charm and flattery, because she now knows that she and Noel both have the same ulterior motive. Any adult can see what’s going to happen next in the movie.
To its credit, “Holly Slept Over” does not clutter the story with a lot of unnecessary characters. (The cast and film set are so small that this story could easily be a play.) And the movie telegraphs its intentions from nearly the beginning, so at least it’s up front that the potential threesome is the hook for this film. The problem is that the sparseness of the movie is to the detriment of character development.
The movie gives no indication of what any of these characters’ personal interests are besides sex. Pete complains about how being a parent has ruined his sex life, but the movie doesn’t show how he and Marnie are as parents. About 80% of what Noel and Audra talk about are topics related to their own sex life and how Holly is affecting them sexually. Even the marijuana edibles in the movie are only in the story to loosen up inhibitions for what is obviously going to happen.
The actors do the best that they can with the mediocre script that they’ve been given. As nerdy and insecure Noel, Lawson is the only actor in the cast who brings a playful sense of humor to the awkwardness and jealousy that can arise from a couple bringing a third person into their sex life. Some of his facial expressions are sure to make some viewers laugh at loud.
Livingston’s Pete character is the token crude blowhard that seems to be a required character in every sex comedy. Hayes plays Marnie as someone who can be sassy or shrewish, depending on her mood. (And it’s certainly not easy to be married to someone like Pete.)
Emmanuel portrays Holly as a lot more likable than her actions. Holly tends to do a lot selfish and irresponsible things. She’s also good at quickly figuring out what people want and using that to her advantage.
However, Holly is still a stereotypical “unicorn” (swingers’ terminology for a woman who’s open to dating couples) in movies like this—she’s pretty, available, and mostly invited into the couple’s sex life to fulfill their fantasies, but not get in the way of the couple’s relationship. She’s not there for any deeper meaning. And quite frankly, she’s a lot more disposable than she thinks she is—which is kind of like how someone could describe this movie.
Sony Pictures Home Entertainment released “Holly Slept Over” on digital and Redbox on March 3, 2020.
Culture Representation: In this documentary which has mostly white Americans and some Latino representation, actor Mark Patton (who’s best known for starring in “A Nightmare on Elm Street 2: Freddy’s Revenge”) tries to make sense of the circumstances that led him to quit acting in the 1980s, including the homophobia that he says ruined his career.
Culture Clash: Patton places a lot of blame for his career downfall on “A Nightmare on Elm Street 2: Freddy’s Revenge” screenwriter David Chaskin, who gave interviews saying that Patton made the movie too gay.
Culture Audience: This movie will appeal primarily to horror fans, audiences who care about LGBTQ issues, and people interested in “whatever happened to” stories.
David Chaskin and Mark Patton in “Scream, Queen! My Nightmare on Elm Street” (Photo courtesy of Virgil Films)
Faded actor Mark Patton says that the 1985 horror flick “A Nightmare on Elm Street 2: Freddy’s Revenge” was the best thing that ever happened to his career and also the worst thing. He never starred in another major motion picture again after this sequel got mixed-to-negative reviews. And in the documentary “Scream, Queen! My Nightmare on Elm Street,” he tries to make sense of what went wrong.
Patton is one of the producers of the documentary, which was capably directed by Roman Chimienti and Tyler Jensen. Because Patton is a producer of the documentary, it explains why the film is mostly a sympathetic portrayal of him. It’s a compelling story, even though Patton (who still calls himself a “movie star”) at times seems to have an exaggerated sense of importance about his impact on the movie industry. He certainly isn’t the only actor who’s become a “has-been.”
Narrated by Cecil Baldwin (who sounds like he could be narrating a true-crime documentary), the movie starts off with Baldwin’s voiceover saying that “the world wasn’t ready for a male scream queen” when “A Nightmare on Elm Street 2: Freddy’s Revenge” was released in 1985, when Patton was in his 20s. Although Patton’s Jesse Walsh character in the movie wasn’t explicitly gay, he had effeminate mannerisms, and the movie had some homoerotic undertones, which are explained in this documentary.
The basic premise of “Freddy’s Revenge” was that “A Nightmare on Elm Street” villain Freddy Krueger—the slasher serial killer with full-body burn scars, a striped sweater and gloves with knife blades as fingernails—had invaded the body of Jesse Walsh, a nerdy and sensitive high-school student. Jesse has been having nightmares about Freddy after moving into the same house where Freddy terrorized the main female character in the first “A Nightmare on Elm Street” movie. Jesse finds out later that his body has been possessed by Freddy—which is a departure from the first “Nightmare” movie, where Freddy only appeared when the main character was asleep.
In one of his dreams, Jesse goes to a gay bar and orders a drink. He’s seen at the bar by his gym teacher, who later punishes him for underage drinking. Freddy then kills the gym teacher in a homoerotic shower moment that includes the naked teacher getting slapped with a towel on his rear end. And the very concept of Freddy entering and leaving Jesse’s body has also been pointed to as homoerotic. Although Jesse shows a romantic interest in his friend Kim Myers (played by Lisa Webber), many people who’ve seen the movie think that Jesse is gay and in the closet.
“A Nightmare on Elm Street 2: Freddy’s Revenge” director Jack Sholder, who’s interviewed in the documentary, swears that he didn’t see any gay overtones when he was making “A Nightmare on Elm Street 2: Freddy’s Revenge.” Sholder says that he cast Patton in the starring role because Patton looked like he had the vulnerability needed for the Jesse Walsh character. The movie’s screenwriter David Chaskin is more evasive when he’s asked about any homoerotic content in the movie. Chaskin says that although he didn’t intend for “A Nightmare on Elm Street 2: Freddy’s Revenge” to be a gay horror movie, he understands why people think it is.
Patton was a closeted gay man during his brief acting career in the late 1970s to mid-1980s. After “A Nightmare on Elm Street 2: Freddy’s Revenge” was released to profitable box office but mixed-to-negative reviews, there were minor rumblings in the media about the gay overtones in the movie. Patton says the chatter was enough for his agent to get scared and demand that Mark only audition for roles where he played an obviously heterosexual character.
But except for two roles in television in 1986, Patton didn’t work as an actor again for decades. (He resumed his acting career with a small role in the 2016 independent horror film “Family Possessions.”) As far as a lot of people where concerned, he had disappeared. What really happened?
Patton places a lot of misdirected anger on Chaskin, whom he accuses of getting him “blacklisted” from the industry by “outing” Patton in interviews, where Chaskin would claim that he never wrote the Jesse Walsh character as gay and that Patton just played the character as gay. In the documentary, Chaskin gives his perspective: “‘Nightmare 2′ was a possession movie. I like the concept of an innocent person being invaded.”
But the more Patton tells his life story, the more it becomes obvious that Chaskin is just a scapegoat for what really led Patton to suddenly “disappear” from showbiz. Patton’s on-again, off-again live-in boyfriend—actor Timothy Patrick Murphy, best known for his early 1980s role as Mickey Trotter in “Dallas”—had AIDS, and so did many of their friends. Murphy was “in the closet” about being gay, at a time when almost no working Hollywood actors were openly gay.
In the documentary, Patton candidly talks about finding out around the same time that he was filming “A Nightmare on Elm Street 2” that he was also HIV-positive. Because his lover and many of his friends were HIV-positive or dying of AIDS, and because he didn’t know if or when he was going to die too, Patton says in the documentary that he had a “nervous breakdown,” and he decided to quit acting. After admitting all of that, why does he have so much hatred for Chaskin?
As Patton tells it, Chaskin deliberately and cruelly fueled the homophobia that Patton believes led to him becoming an industry pariah. Patton says that the AIDS crisis was just one of the reasons why he quit acting, but he believes that Chaskin and homophobia in Hollywood were the main reasons. It was also during a time when Rock Hudson revealed he had AIDS, and there was a “gay panic” in Hollywood to not hire actors who were rumored to be gay. (This was during the beginning of the AIDS crisis, when many people mistakenly thought that only gay men could get the disease.)
Even though homophobic ideas about AIDS certainly affected how Hollywood did business, Patton comes across as too paranoid and illogical when he says that Chaskin was out to get him. Chaskin never had that much power to get Patton blacklisted from Hollywood. “A Nightmare on Elm Street 2: Freddy’s Revenge” was Chaskin’s first movie screenplay, and his Hollywood career never really thrived after that. Chaskin has written only three feature-length movies since then (all little-seen independent films), the last one being 2000’s “Love Hurts.”
Furthermore, an untold number of gay actors were in the closet back then who had rumors swirling that they were really gay, but they still kept working. Patton’s boyfriend Murphy was one of them. Murphy’s last movie was released in 1988, the year that he died from AIDS at the age of 29. The reality is that Patton just gave up because of all the personal problems in his life. If he has anyone to blame other than himself, it’s probably his agent at the time, who obviously didn’t have enough confidence that Patton could find work because of the gay rumors.
We’ll never know what would’ve happened if Patton had a better agent at the time. But in hindsight, from the way that Patton describes his epic meltdown, he probably would’ve quit acting anyway, even if he had been getting steady work. He says he left Los Angeles, moved to Mexico, cut ties with showbiz, and spent years in a deep state of depression. He says that by the time he left the entertainment business, he had found out that he had “HIV, cancer and tuberculosis” and he was “bedbound for a year.” With all of these health problems that would affect his ability to work, exactly how is that David Chaskin’s fault?
And when Patton describes how he got into acting in the first place, it’s easy to see why he couldn’t handle the first major rough patch that came along. He never really struggled to get his big break. It all happened very quickly for him.
He describes his childhood in suburban Missouri, where he grew up in a Christian household, as living in an area where people looked just like him (white and wholesome-looking). However, his parents’ marriage was troubled (they divorced when he was 14), and his mother spent time in and out of psychiatric institutions.
In the documentary, Patton says he knew he was gay from an early age, but he went to great lengths to keep it a secret. He caught the acting bug when he would perform at talent shows in school. When he made the decision to move to New York City after high school, Patton says it was the first time in his life he felt he could be openly gay among his friends. (Although Patton’s IMDb page lists his birth year as 1964, more likely he was born in 1959 or 1960, because in the documentary, he says he moved to New York in 1977, after he graduated from high school.)
And how Patton broke into showbiz is the stuff that people dream about but rarely happens. Within days of getting his first agent, he was working as an actor, and he says it’s because he had the right “look.” (In other words, a pleasant-looking boy next door.) Getting work in commercials led to his first big break: a supporting role in the Broadway play “Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean,” starring Cher, Sandy Dennis and Karen Black. In 1982, Robert Altman directed the play and the movie, which had the same stars as the Broadway show.
That kind of luck—co-starring in your first movie with that level of talent at such a young age—almost never happens to most actors. Therefore, it’s easy to see why Patton took for granted that things would continue to go that easily for him. In the documentary, he’s somewhat arrogant in describing how lucky he was to have such smooth sailing in his first few years as an actor. His attitude comes across as, “Of course I got work right away. I was cute and I had a great personality.” He doesn’t fully acknowledge that the opportunities that he got at the beginning of his acting career is not how it happens for most people when they first become actors, even for those who reach the A-list.
Because he never really paid his dues before getting high-profile roles, Patton comes across as a little too entitled in thinking that the ride should’ve kept going that way for him because he thinks he deserved it. Even the biggest entertainers have had career flops and pitfalls. The ones who survive the bad times (such as Patton’s idol Cher) are the ones who don’t give up, like Patton did.
Early in the documentary, Patton quotes something that Cher told him: “In show business, you always have to do what’s best for you.” Patton should also have learned more than a few other things from Cher about how to get through career slumps. (He’s old enough to remember how Cher became a laughingstock of showbiz in the early 1990s when she did infomercials for Lori Davis hair-care products.)
Patton says he decided to return to the entertainment business shortly after he was tracked down in Mexico by the filmmakers of the 2010 documentary “Never Sleep Again: The Elm Street Legacy,” which was a comprehensive history of all the “Nightmare on Elm Street” movies up to that point. It was through that movie that Patton realized how the “Nightmare” fandom was still large enough that he could start making money by doing personal appearances, such as going to fan conventions that specialize in fantasy/horror entertainment.
A considerable amount of the documentary shows Patton doing just that, as he’s seen interacting with fans, doing Q&As at “Nightmare” events, and traveling with his assistant Bill Nugent from personal appearance to personal appearance. The documentary also features commentary from “Nightmare” fans, some more famous than others. (Podcast host John Fozzie Nelson and drag queens Peaches Christ and Knate Higgins are among those who say glowing remarks about Patton.) Most of them either comment on the “Nightmare on Elm Street 2” movie, Patton’s identity as a gay man and/or how he and the movie helped them accept their own sexuality.
To his credit, Patton seems very grateful for fan appreciation, now that he knows how fickle fame can be. He has this to say about interacting with fans: “They don’t want to know about your problems. They want to see a movie star.” And he offers this response to people who think that doing the convention circuit is degrading: “If it seems whorish to do this, then be a good whore, because you’re taking their money.”
When he’s not traveling, Patton runs a gift shop in Mexico, where he lives with a man who’s described in the movie as his husband Hector Morales, who didn’t know when they first met about Mark’s past as a Hollywood actor. Because Patton is now a passionate AIDS activist and because he seems to have found true love with Hector, it’s safe to say that Patton is in a much better place in his life right now.
One of the best parts of the documentary is when it shows the 30th anniversary reunion of “A Nightmare on Elm Street 2: Freddy’s Revenge,” which took place at Shock Pop Comic Con in Fort Lauderdale, Florida. The reunion included director Sholder, along with cast members Robert Englund (who plays Freddy Kreuger), Patton, Myers, Clu Gulager, Marshall Bell and Robert Rusler.
Patton’s co-stars have good things to say about him, but Sholder is the only one shown on camera giving Patton a much-needed reality check that he needs to let go of all this hatred toward Chaskin. (Chaskin was originally announced to attend the 30th anniversary reunion, but he ended up not going, for reasons that weren’t made clear in the documentary.)
And so, it’s inevitable that near the end of the film, Patton and Chaskin agree to sit down together and hash out their differences, after not speaking to each other for decades. It’s a necessary part of this documentary, since all of Patton’s whining about Chaskin gets very irritating after a while. Ultimately, “Scream, Queen! My Nightmare on Elm Street” is a cautionary tale about bitterness, and it’s a wake-up call for any actors who think they’re owed a long and successful career in showbiz just because they starred in a couple of movies.
Virgil Films released “Scream, Queen! My Nightmare on Elm Street” in Los Angeles on February 27, 2020, and on VOD on March 3, 2020.
Culture Representation: Taking place in the Southwest region of the United States (including Nevada and Arizona), “2 Graves in the Desert” is a drama/crime thriller with an almost-all white cast of characters representing the criminal underworld.
Culture Clash: Two thugs have kidnapped two other people who operate on the wrong side of the law.
Culture Audience: This movie will appeal primarily to people who like pulp B-movies, but there are numerous other films that are much better than this unimaginative drivel.
Cassie Howarth and Ivan Gonzalez in “2 Graves in the Desert” (Photo courtesy of 4Digital Media)
“2 Graves in the Desert” is a poorly written, sloppily directed movie that tries very hard to be like an early Quentin Tarantino film, even down to casting actor Michael Madsen, who co-starred in “Reservoir Dogs,” writer/director Tarantino’s 1992 feature film debut. But whereas Tarantino films are known for their memorable characters and unique dialogue, the opposite can be said of director Benjamin Goalabré’s “2 Graves in the Desert,” which falls into the “generic and forgettable” category of bad movies.
The movie essentially revolves around four characters and this plot: Two sleazy brothers—alpha-male Mario (played by William Baldwin) and his follower brother Vince (played by Madsen)—have beaten up and kidnapped a drug dealer named Eric (played by Ivan Gonzalez) and a high-priced hooker named Blake (played by Cassie Howarth) and dumped them in the back of a flatbed truck that the two brothers drive out to the desert. During the course of the movie, viewers find out why these two people were kidnapped. It’s a journey that’s more excruciating to watch because of the terrible dialogue and substandard acting rather than whatever brutalities are being portrayed on screen.
At the beginning of the film, Mario and Vince are out in the desert talking about James Cameron’s “Titanic” movie (of all things), while Mario urinates on some cactus. Mario is convinced that black people were among the stars in the movie and that everyone died on the Titanic. Mario thinks Samuel L. Jackson must’ve been in the movie since Jackson is an African American actor who’s been in a lot of blockbuster movies. (This mention of Jackson is another nod to Tarantino, since Jackson has been in several Tarantino films too.)
Vince tells Mario that all the stars of “Titanic” were actually white, and there were survivors in the story. Vince is right, of course, but Mario acts like that’s not possible, which is an indication of how Mario is arrogant and not as smart as he thinks he is. This pop-culture debate in “2 Graves in the Desert” is very Tarantino-esque, but there’s nothing funny or clever about it. This scene only serves the purpose to set up the flashback to the night before (what happened night before is the majority of the movie), so that the opening scene can be repeated again when the movie catches up to that part of the story.
Viewers don’t see how Eric and Blake were kidnapped, but it’s shown that it happened in Las Vegas and the truck is now heading somewhere else. The first time Eric and Blake are seen on screen is when they’re in the back of the truck, with bloody gashes on their heads, duct tape over their mouths, and wrapped thoroughly in cocoons made out of of cellophane. Eric manages to bite off the duct tape from his mouth and he does the same for Blake. She’s unconscious at first, but then regains consciousness.
But when Blake regains consciousnesses, the upper part of her body has been freed from the cellophane, while Eric is still wrapped up in his cocoon. She eventually frees herself and Eric from their cellophane bondage. An iPad in the back of the truck is suddenly operating and set to FaceTime mode with Mario and Vince, who are seated in the front of the truck with their own mobile device so they can keep video surveillance on their kidnapping victims. Mario and Vince use the iPad to communicate with Eric and Blake for the rest of the ride to the desert.
Mario tells Eric and Blake during the first FaceTime chat that he loosened the bonds for Blake to make things more comfortable and tells them that it’s kind of like this kidnapping’s version of business class. It isn’t clear if Mario and Vince checked to see if their kidnapping victims had any cell phones on them before they were put in the back of the truck. Blake doesn’t have a cell phone, but Eric does.
Most people in this situation would immediately call 911 or any police. But not Eric. The first call he makes is to his brother François (played by Jean Gardeil, who wrote “2 Graves in a Desert” screenplay), who’s been impatiently waiting for Eric at the airport because the two brothers (who are French Canadian) are supposed to visit their ailing mother at a hospital in Canada. Eric frantically tells François that he’s been kidnapped, and all he knows is that he’s trapped in the back of a flatbed truck. François has an odd response: He acts like he doesn’t care or doesn’t believe Eric, and he tells Eric to just get to the hospital as soon as he can.
Eric then calls the Vancouver police department, which tells Eric that they can’t help him because he’s out of their jurisdiction. (Obviously.) Eric also doesn’t know the truck’s make, model, license-plate number or destination. And wouldn’t you know, Eric has a burner phone that can’t be traced and the battery is running low.
Blake wants to know why Eric won’t call 911, but he gives her (and the viewers) no real answer. Considering the emergency situation, her response is a little too passive, because she won’t even try to grab the phone from Eric and call 911 herself. It’s one of the many stupid things about this movie, including the fact that the only woman with a significant on-camera role in the movie is a hooker. It makes the filmmakers look very backwards and sexist.
During the long ride in the truck (which is 80% of the movie), Eric tells Blake that she looks very familiar and he’s sure that they’ve met before. It’s then that Blake tells Eric that she’s a high-priced prostitute, and he was one of her clients. But don’t call her a “prostitute” or “hooker,” she tells Eric, because she’s an “escort.” Eric laughs at her pretentiousness (and most viewers will too) because he tells her it doesn’t matter what she calls herself, she’s still someone who has sex for money.
And why exactly were these two kidnapped? Blake tells Eric that she got a $40,000 fee from a client, and she hid the money from Mario, who’s her pimp. Eric tells Blake that he’s perfected a formula for a new underground drug, and Mario wants Eric to give him the formula, but Eric refuses to do it. The way that Eric describes the drug (which comes in pill form), it sounds like a cross between meth and Viagra.
Eric also tells Blake that he doesn’t care if he dies because he will never reveal the formula to Mario. He then offers Blake one of the pills that he happens to have on him. At first, Blake declines because she drops this bombshell: She’s pregnant. Blake won’t say who the father is, but she tells Eric that Mario thinks that he’s the father. And then she takes the pill anyway.
The tone of this movie is so off-kilter and nonsensical. For example, instead of trying to figure out a plan so they can get away from their captors, Blake and Eric have conversations in the back of the truck like they’re on a date. Blake also seems weirdly fixated on not having Eric negatively judge her for being a sex worker. It’s a little too late for that. He’s already been a client of hers. And apparently, the experience was so forgettable for him that she had to remind him.
In an apparent effort to impress Eric, Blake goes out of her way to tell Eric that she has a degree in economics, as if to prove she’s not a dumb hooker. But then she acts like a “dumb hooker” by pulling out some bright red lipstick from her purse and doing her makeup in the middle of this horrible situation. (The movie also has some bad continuity problems, because in one scene, Blake has heavy makeup on, and then minutes later, she doesn’t.) What kind of person would care about putting on makeup in the middle of being kidnapped and trapped in the back of a truck? So dumb.
And then there’s the terrible dialogue. Eric asks Blake, “Do you have any plans?” She thinks he means plans to escape. No, he corrects her, he meant plans “for the weekend.” She replies, “No, I’m the kind of girl who goes with the flow.” What is this? A kidnapping or a dinner date?
Meanwhile, Mario and Vince are occasionally shown in the front of the truck taunting their victims via iPad chats. There’s not much to these one-note performances by Baldwin and Madsen. Baldwin plays the bossy brother, while Madsen plays the brother who just goes along and takes orders. At one point in the movie, Blake and Eric get roughed up by Mario and Vince, just to bring some more violence to the film.
And then Mario and Vince throw a dead body wrapped in black polyethylene in the back of the truck, next to Blake and Eric. Blake and Eric (and the viewers) find out who it is, but even after the body is dumped next to them, Blake and Eric continue their conversation to get to know each other. Eric even tries to kiss her, and they do some canoodling, as if they’re snuggling by a cozy fire instead of being bloodied and beaten and on the way to their potential deaths.
Viewers get no sense of who these characters really are or if what they say about themselves is really true. Eric asks Blake if her parents know that she’s a prostitute, and she tells him that her father committed suicide when she was 15 and her mother is a pill addict. But it’s never explained why Blake went from having a job in Wall Street finance (a career she said she used to have) to being a kidnapped hooker in the back of flatbed truck.
It’s hinted that Eric has a business background too, but the “truth” about their backgrounds might not even matter because the characters in this movie are so unlikable and so untrustworthy that viewers probably won’t care. The only things we know about Mario and Vince’s past is a story about their childhood that Blake tells Eric. That story is tied to something that happens later in the movie.
The four main actors in “2 Graves in the Desert” do little to elevate this movie’s flimsy plot. Baldwin and Madsen look like this movie was just an excuse to party, because their performances are very “phoned in,” although at times it does look like they genuinely enjoy working together. Howarth makes an effort to bring empathy to her Blake character, but she’s limited by the character being written as a vapid sex object. Gonzalez is the worst actor of the four, because his stilted and wooden delivery of the lines ruin some of the scenes that could’ve been more watchable if a better actor had been cast in the role. He really needs to take some more acting lessons.
“2 Graves in the Desert” might have worked slightly better as a short film, because that long ride to the desert is really just a lot of filler that will leave a bad taste in viewers’ mouths.
4Digital Media released “2 Graves in the Desert” on digital HD, VOD and DVD on March 3, 2020.
Drew Barrymore and Drew Barrymore in “The Stand-In”
The following is a press release from the Tribeca Film Festival:
The 2020 Tribeca Film Festival, presented by AT&T, today unveiled its feature film lineup. Continuing its tradition of championing the discovery of emerging voices and celebrating new work from established talent, the 19th edition of the Festival foregrounds comedic, music-centered, political and socially-conscious films from diverse storytellers who use art to inspire positive change and community restoration. The 2020 Tribeca Film Festival will run April 15-26.
The features program will include 115 films from 124 filmmakers from across 33 different countries. The line-up includes 95 world premieres, 2 international premieres, 4 North American premieres, 4 U.S. premieres, and 9 New York premieres and one sneak preview. This year’s program includes 19 directors returning to Tribeca with their latest projects, and 44 of the feature films have one or more women directors. The feature program was curated from 3,385 submissions, and this year’s Festival received a record 10,397 total submissions across all categories.
“First comes the story, then empathy, then comes change. When you change the narrator, you empower different voices to show audiences new worlds through their eyes,” said Paula Weinstein, Chief Content Officer of Tribeca Enterprises and program advisor. “We are privileged to have so many new and rich worlds brought to life by visionary storytellers. We hope audiences leave the Festival deeply touched, moved, and entertained.”
“This year’s festival embraces the unique power of film to bring people together — whether that’s literally the communal experience of watching a film in a packed theater, or the more intangible way a great film can make you empathize with a stranger’s struggle,” said Cara Cusumano, Festival Director. “In an election year where we will go to the polls to make big decisions about our future together, these films are an opportunity for connection and understanding.”
“The 10 films in our International Competition reflect the power of political and artistic filmmaking from all over the world. From returning filmmakers to new voices, we will welcome and celebrate the diverse storytellers who will share their personal visions of their own cultures. Tribeca audiences will embark on 10 journeys full of poetry and emotion in these innovative international tales,” said Frédéric Boyer, Artistic Director.
The competition category includes 10 U.S. Narratives, 10 International Narratives, and 12 Documentary competition features. Additionally, the feature line-up includes 16 Spotlight Narratives, 20 Spotlight Documentaries, 17 Viewpoints, 5 Midnight, 13 Movies Plus selections; 6 Tribeca Critics’ Week, 3 films as part of this year’s new Women at Work section, and a family event.
As previously announced, the 2020 Festival will open April 15 with the world premiere of award-winning director Mary Wharton’s documentary, Jimmy Carter Rock & Roll President, at the Beacon Theatre as part of the City National Bank Screening Series with live performances from music legend Willie Nelson, Musical Director Paul Shaffer, Nile Rodgers and others. New this year, the Festival will be expanding across the Hudson river to the city of Hoboken, NJ, using cinematic storytelling and experiences to connect to this culturally vibrant community.
In addition to Weinstein, Cusumano, and Boyer, the programming team includes VP Filmmaker Relations and Shorts Programming, Sharon Badal; Senior Programmers Liza Domnitz (features, TV, and online work), Loren Hammonds (immersive and features), Lucy Mukerjee (features); Programmer Ben Thompson (shorts); and a team of associate programmers.
2020 Feature Film Selection:
U.S. NARRATIVE COMPETITION
Tribeca’s U.S. Narrative Competition showcases extraordinary work from breakout independent voices and distinguished filmmaking talent. These 10 world premieres will vie for the Founders Award for Best Narrative Feature, Best Screenplay, Best Cinematography, Best Actor, and Best Actress.
Angela Bettis in “12 Hour Shift”
12 Hour Shift, directed and written by Brea Grant. Produced by Jordan Wayne Long, Tara Perry, Matt Glass, Christina McLarty Arquette, David Arquette. (USA) – World Premiere. Nurse Mandy is just trying to make it through her double shift alive, but her nasty drug addiction, annoying coworkers, needy patients, and devious cousin are making it pretty tough, not to mention organ-stealing criminals and an injured convict. With Angela Bettis, Chloe Farnworth, Nikea Gamby-Turner, Kit Williamson, Tara Perry, David Arquette.
Cowboys, directed and written by Anna Kerrigan. Produced by Gigi Graff, Anna Kerrigan, Dylan Sellers, Chris Parker. (USA) – World Premiere. Troy and his young transgender son Joe are on the run from his conservative mother in the Montana wilderness, with a detective in hot pursuit in this emotionally powerful narrative. With Steve Zahn, Jillian Bell, Sasha Knight, Ann Dowd.
Fully Realized Humans, directed and written by Joshua Leonard. Produced by Sean Drummond, Chelsea Bo. (USA) – World Premiere. Parents-to-be Elliott and Jackie (an eight-months pregnant Jess Weixler) embark on a quest for self-actualization before the imminent birth of their first child in this strikingly honest and hilarious portrait of parents and children. With Joshua Leonard, Jess Weixler, Tom Bower, Beth Grant, Michael Chieffo, Janicza Bravo.
The Half of It, directed and written by Alice Wu. Produced by Anthony Bregman, M. Blair Breard, Alice Wu. (USA) – World Premiere. In a modern-day Cyrano-meets-Pygmalion, Ellie, a shy Chinese-American straight-A student finds herself helping the school jock woo the girl they both secretly love. With Leah Lewis, Daniel Diemer, Alexxis Lemire, Collin Chou. A Netflix Release.
Little Fish, directed by Chad Hartigan, written by Mattson Tomlin. Produced by Lia Buman, Rian Cahill, Chris Ferguson, Tim Headington, Brian Kavanaugh-Jones, Mattson Tomlin. (USA) – World Premiere. A pandemic attacking people’s memory is spreading around the world at an alarming rate. Two young newlyweds struggle to hang onto who they are, both as individuals and as a couple. With Olivia Cooke, Jack O’Connell, Raúl Castillo, Soko.
Lorelei, directed and written by Sabrina Doyle. Produced by Francesca Silvestri and Kevin Chinoy, Jennifer Radzikowski. (USA) – World Premiere. Reformed ex-con Wayland returns to his hometown and reconnects with his high school girlfriend Dolores, now a single mom with dreams of Hollywood in Doyle’s fable-like tale of second chances. With Pablo Schreiber, Jena Malone, Amelia Borgerding, Parker Pascoe-Sheppard, Chancellor Perry.
Materna, directed by David Gutnik, written by David Gutnik, Jade Eshete, Assol Abdullina. Produced by Liz Cardenas, Emily McEvoy. (USA, Kyrgyzstan) – World Premiere. Four women whose lives are separated by race, culture, and class but connected by the complexities of motherhood become inextricably bound together by an incident on the New York City subway. With Kate Lyn Sheil, Lindsay Burdge, Jade Eshete, Rory Culkin, Michael Chernus, Sturgill Simpson, Assol Abdullina. In English, Russian with English subtitles.
My Heart Can’t Beat Unless You Tell It To, directed and written by Jonathan Cuartas. Produced by Kenny Oiwa Riches, Anthony Pedone, Jesse Brown, Ian Peterson, Patrick Fugit. (USA) – World Premiere. Dwight and his sister Jessie reach a crossroads over what to do about their little brother Thomas, a sickly child with a mysterious affliction, in this moody American indie feature debut. With Patrick Fugit, Ingrid Sophie Schram, Owen Campbell.
No Future, directed by Andrew Irvine, Mark Smoot, written by Mark Smoot. Produced by Jonathan Duffy, Kelly Williams, Jeff Walker, Lisa Normand. (USA) – World Premiere. Following the overdose of an estranged friend, recovering addict Will, still struggling with his own sobriety, returns to his hometown where he begins a troubled affair with his friend’s grieving mother. With Catherine Keener, Charlie Heaton, Rosa Salazar, Jackie Earle Haley, Austin Amelio, Jefferson White.
The Violent Heart, directed and written by Kerem Sanga. Produced by Ed McDonnell, Shawn Levy, Dan Cohen, Tobey Maguire, Matthew Plouffe, P. Jennifer Dana, Mark Roberts, Ross Putman, Dave Hunter. (USA) – World Premiere. Fifteen years after the murder of his older sister, taciturn Daniel finds himself falling for Cassie, a vivacious high school senior in this southern gothic-inspired Romeo & Juliet story set in the American heartland. With Grace Van Patten, Jovan Adepo, Lukas Haas, Mary J. Blige, Kimberly Williams-Paisley, Jahi Di’Allo Winston.
DOCUMENTARY COMPETITION
Over Tribeca’s 19-year history, the non-fiction film selections have exhibited work from emerging and renowned filmmakers, including future Academy Award® winners. This year’s films will compete for Best Documentary Feature, Best Cinematography, and Best Editing.
Eduardo San Juan Breña in “499” (Photo by Alejandro Mejia/AMC)
499, directed by Rodrigo Reyes, written by Rodrigo Reyes, Lorena Padila. Produced by Inti Cordera, Andrew Houchens. (Mexico) – World Premiere. The powerful hybrid documentary 499 examines Cortez’s legacy almost five centuries later through the eyes of a stranded conquistador traveling through Mexico. The film is a cinematic meditation on the violence that still vibrates through society. With Eduardo San Juan Breña. In Nahuatl, Spanish with English subtitles. TFI supported.
Dear Mr. Brody, directed and written by Keith Maitland. Produced by Megan Gilbride, Melissa Robyn Glassman, Keith Maitland, Sarah Wilson. (USA) – World Premiere. In 1970, eccentric hippie millionaire Michael Brody, Jr. decided to give $25 million away to anyone who needed it, sparking a media frenzy and thousands of letters from strangers all requesting his help.
Enemies Of the State, directed by Sonia Kennebeck. Produced by Ines Hofmann Kanna. (USA) – World Premiere. When their hacker son is targeted by the US Government, the DeHarts will do anything to protect him. And so begins to unravel a web of secrets in this twisty, stranger-than-fiction cyber-thriller story. With Joel Widman.
Father Soldier Son, directed by Catrin Einhorn, Leslye Davis. Produced by Leslye Davis, Catrin Einhorn, Kathleen Lingo, Nancy Donaldson Gauss. (USA) – World Premiere. This intimate documentary from the New York Times follows one American family over the course of ten years, becoming an intergenerational exploration of the meaning of sacrifice, purpose, family and American manhood in the aftermath of war. A Netflix release.
Jacinta, directed by Jessica Earnshaw. Produced by Jessica Earnshaw, Holly Meehl, Nimisha Mukerji. (USA) – World Premiere. An astonishing and ultimately hopeful record of the hereditary nature of trauma, Jacinta follows the lives of three generations of women struggling to maintain stability. TFI supported.
Landfall, directed by Cecilia Aldarondo. Produced by Ines Hofmann Kanna, Cecilia Aldarondo. (USA) – World Premiere. Chronicling the aftermath of Hurricane Maria, Landfall is a sensitive and urgent portrait of the continued fraught relationship between the US and Puerto Rico, a land in mourning and resistance. In English, Spanish with English subtitles. TFI supported.
The Last Out, directed by Sami Khan, Michael Gassert, written by Sami Khan. Produced by Michael Gassert, Jonathan Miller, Sami Khan. (USA) – World Premiere. An affecting story of raw talent, passion and naivete, The Last Out follows three Cuban baseball players with Major League dreams who, facing difficult choices, embark on radically different paths when those dreams don’t pan out. With Happy Oliveros, Carlos O. González, and Victor Baró. In English, Spanish with English subtitles. Also playing as part of the Tribeca/ESPN Sports Film Festival.
Pray Away, directed by Kristine Stolakis. Produced by Jessica Devaney, Anya Rous. (USA) – World Premiere. Pray Away is a powerful exposé on gay conversion programs, revealing the damage inflicted by shame and repression through intimate testimonies from current members and former leaders of the pray the gay away movement. TFI supported.
Socks on Fire, directed and written by Bo McGuire. Produced by Tatiana Bears, Amy Dotson. (USA) – World Premiere. Bo McGuire returns home to rural Alabama to document the bitter property feud between his homophobic aunt and gay uncle. Blending home videos with cinematic reenactments, McGuire paints a riveting picture of a house divided. With Odessa Young, Carron Clark, Chuck Duck, Michael Patrick Nicholson, John Washington.
Simple as Water, directed by Megan Mylan. Produced by Robin Hessman, Megan Mylan. (USA, Syria, Turkey, Greece, Germany) – World Premiere. Megan Mylan’s closely observed fragments of lives cut between Turkey, Greece, Germany, and the U.S.. Each unfolding scene portrays the elemental bonds holding together Syrian families pulled apart by war, searching for a new life. In Arabic, English with English subtitles.
Wake Up on Mars (Réveil sur Mars), directed and written by Dea Gjinovci. Produced by Sophie Faudel, Dea Gjinovci, Britta Rindelaub, Jasmin Basic. (France, Switzerland) – World Premiere. Two teenage sisters lie in a vegetative state in the small Swedish home of their Kosovar family, the cause of their mysterious malady, known as “resignation syndrome,” entwined with their personal trauma experienced as refugees. With Furkan Demiri, Djeneta Demiri, Ibadeta Demiri, Nurje Demiri, Muharrem Demiri, Resul Demiri. In Albanian, Swedish with English subtitles.
Wonderboy, directed and written by Anissa Bonnefont. Produced by Stella Maris Pictures. (France) – International Premiere. French fashion house Balmain’s creative director Olivier Rousteing allows the camera to become his confidante as he embarks on a search for his birth mother, in this enchanting documentary about adoption and identity. In French with English subtitles.
INTERNATIONAL NARRATIVE COMPETITION
The New-York based Festival breaks its geographical boundaries with the International Narrative Competition, welcoming filmmakers from abroad to join a global platform for contemporary world cinema. These films will compete for Best Narrative Feature, Best Screenplay, Best Cinematography, Best Actor, and Best Actress.
Kantu Shimokura in “Ainu Mosir” (Photo by Sean Price Williams)
Ainu Mosir, directed and written by Takeshi Fukunaga. Produced by Eric Nyari, Harue Miyake. (China, Japan, USA) – World Premiere. In an indigenous village in Northern Japan, sensitive 14-year-old Kanto takes his first tentative steps towards manhood as a debate brews among the community about a controversial ceremony. With Kanto Shimokura, Debo Akibe, Emi Shimokura, Toko Miura, Lily Franky. In Japanese with English subtitles.
Asia, directed and written by Ruthy Pribar. Produced by Yoah Roeh, Aurit Zamir. (Israel) – World Premiere. Asia is not your average mom. She’s free-spirited, open-minded and non-judgmental; but all that is put to the test when her teenage daughter – who happens to be differently abled – announces that she’s ready to lose her virginity. With Alena Yiv, Shira Haas, Tamir Mulla, Gera Sandler. In Hebrew, Russian with English subtitles.
Contactado, directed by Marité Ugás, written by Marité Ugás, Mariana Rondón. Produced by Mariana Rondón. (Peru) – World Premiere. Tribeca alums Mariana Rondón and Marité Ugás return with a captivating drama about an aging self-proclaimed prophet who revisits his past as a spiritual guru after an eager young follower entices him to return to preaching. With Baldomero Cáceres, Miguel Dávalos, Lita Sousa, Samantha Castillo, Solange Tavares, Beto Benites. In Spanish with English subtitles.
The Hater (Hejter), directed by Jan Komasa, written by Mateusz Pacewicz. Produced by Jerzy Kapuściński, Wojciech Kabarowski. (Poland) – International Premiere. Disgraced Law student Tomek will do what it takes to impress Gabi and her liberal family. Taking a job at a sordid PR company, he finds he excels at spreading political misinformation. But at what cost? With Maciej Musiałowski, Vanessa Alexander, Maciej Stuhr, Agata Kulesza, Danuta Stenka, Jacek Koman. In Polish with English subtitles.
Kokoloko, directed and written by Gerardo Naranjo. Produced by Gabriel Garcia Nava, Gerardo Naranjo. (Mexico) – World Premiere. In a tropical seaside village, Marisol pursues personal freedom while navigating between the two men in her life – her lover and her violent cousin who is keeping her captive. With Alejandra Herrera, Noé Hernández, Eduardo Mendizábal. In Spanish with English subtitles.
My Wonderful Wanda (Wanda, mein Wunder), directed by Bettina Oberli, written by Cooky Ziesche, Bettina Oberli. Produced by Lukas Hobi, Reto Schaerli. (Switzerland) – World Premiere. Wanda nurses the patriarch of the wealthy Wegmeister-Gloor family. When an unexpected complication arises, family secrets come to light and arrangements are made to try and appease everyone in this biting family drama. With Agnieszka Grochowska, Marthe Keller, André Jung, Birgit Minichmayr, Jacob Matschenz, Anatole Taubman. In German, Polish with English subtitles.
Nobody Knows I’m Here (Nadie sabe que estoy aquí), directed by Gaspar Antillo, written by Enrique Videla, Josefina Fernández, Gaspar Antillo. Produced by Juan de Dios Larraín, Pablo Larraín. (Chile) – World Premiere. Memo lives on a remote Chilean sheep farm, hiding a beautiful singing voice from the outside world. A recluse with a glittery flair, he can’t stop dwelling on the past, but what will happen once someone finally listens? With Jorge García, Millaray Paz Lobos García, Luis Gnecco, Alejandro Goic, Gaston Pauls, Eduardo Paxeco. In English, Spanish with English subtitles. A Netflix release.
She Paradise, directed by Maya Cozier, written by Maya Cozier, Melina Brown. Produced by Mishka Brown, Jeniffer Konawal, Kara Baker, Jolene Mendes, Marie-Elena Joseph. (Trinidad and Tobago) – World Premiere. When naïve teenager Sparkle joins a dance crew of confident older girls, she encounters an alluring but unsettling new world of sex and money in this snapshot of sisterhood in Trinidad and Tobago. With Onessa Nestor, Kimberly Crichton, Chelsey Rampersad, Denisia Latchman, Kern Mollineau, Michael Cherrie.
Sublet, directed by Eytan Fox, written by Eytan Fox, Itay Segal. Produced by Gal Uchovsky, Micky Rabinovitz, Moshe Edery, Leon Edery. (Israel, USA) – World Premiere. In this heartwarming latest from Eytan Fox (Yossi), John Benjamin Hickey plays a gay travel writer who trades New York for Tel Aviv, where a charming young man helps him get perspective on his long-term relationship. With John Benjamin Hickey, Niv Nissim, Lihi Kornowski, Miki Kam, Omri Loukas, Tamir Ginsburg. In English, Hebrew with English subtitles.
Tryst with Destiny, directed and written by Prashant Nair. Produced by Manish Mundra. (India, France) – World Premiere. A billionaire learns there is something money can’t buy, a lower-caste couple attempts to build a new life, and a corrupt city cop finds himself far outside of the law in Nair’s slyly biting triptych on class in contemporary India. With Ashish Vidyarthi, Suhasini Mani Ratnam, Viineet Kumar, Kani Kusruti, Jaideep Ahlawat, Palomi Ghosh. In English, Hindi, Telugu with English subtitles.
SPOTLIGHT NARRATIVE
Anticipated premieres from acclaimed filmmakers and performers are the focus of the Spotlight Narrative section which continues to be a launching pad for compelling stories.
Hugh Jackman and Allison Janney in “Bad Education” (Photo by JoJo Whilden/HBO)
Bad Education, directed by Cory Finley, written by Mike Makowsky. Produced by Fred Berger, Eddie Vaisman, Julia Lebedev, Oren Moverman, Brian Kavanaugh-Jones, Mike Makowsky. (USA) – US Premiere. In the wake of an impending embezzlement scandal, a charismatic superintendent struggles to maintain order to keep his high school district prosperous in this energetic dark comedy based on an outrageous true story. With Hugh Jackman, Allison Janney, Geraldine Viswanathan and Ray Romano. An HBO Films release.
Clean, directed by Paul Solet, written by Paul Solet, Adrien Brody. Produced by Daniel Sollinger, Adrien Brody, Paul Solet, Elliot Brody. (USA) – World Premiere. Tormented by a past life, garbage man Clean attempts a life of quiet redemption. But when his good intentions mark him a target of a local crime boss, Clean is forced to reconcile with the violence of his past in this brutal and bloody thrill ride. With Adrien Brody, Glenn Fleshler, Richie Merritt, Ari Chandler-DuPont, Mykelti Williamson, Rza, Michelle Wilson, John Bianco.
Don’t Tell a Soul, directed and written by Alex McAuley. Produced by Merry-Kay Poe. (USA) – World Premiere. Joey’s older brother Matt convinces him to rob a house for their sick mother and security guard Hamby falls in a well chasing them. Now Hamby must match wits with the teenagers in order to get out. With Jack Dylan Grazer, Fionn Whitehead, Rainn Wilson, Mena Suvari.
The God Committee, directed and written by Austin Stark. Produced by Molly Connors, Amanda Bowers, Jonathan Rubenstein, Ari Pinchot, Jane Oster, Bingo Gubelmann, Benji Kohn. (USA) – World Premiere. When a donor heart arrives at a New York City hospital, a committee of doctors and bureaucrats must convene to decide which of three patients deserves the life-saving transplant in this ethically charged medical drama. With Kelsey Grammer, Julia Stiles, Colman Domingo, Janeane Garofalo, Dan Hedaya.
Happily, directed and written by BenDavid Grabinski. Produced by Jack Black, Nancy Leopardi, Ross Kohn, Spencer Berman, BenDavid Grabinski. (USA) – World Premiere. Joel McHale stars in this Jack Black-produced romantic-comedy-thriller about a happily married couple whose friends perform an intervention to put an end to their constant public displays of affection. With Joel McHale, Kerry Bishé, Stephen Root, Natalie Morales, Paul Scheer and Natalie Zea.
Inheritance, directed by Vaughn Stein, written by Matthew Kennedy. Produced by David M. Wulf, Richard Barton Lewis, Arianne Fraser. (USA) – World Premiere. When the patriarch of a wealthy and powerful New York family suddenly dies, his daughter is left with a shocking secret inheritance that challenges her beliefs in justice and threatens to destroy her family’s lives. With Lily Collins, Simon Pegg, Connie Nielsen, Chace Crawford, Patrick Warburton, Michael Beach. A DIRECTV release.
The King of Staten Island, directed by Judd Apatow, written by Judd Apatow, Pete Davidson, Dave Sirus. Produced by Judd Apatow, Barry Mendel. (USA) – New York Premiere. Judd Apatow directs Staten Island’s own Pete Davidson in this bracing, emotional comedy about a burnout who has to learn to let go of the past and finally grow up. With Pete Davidson, Marisa Tomei, Bill Burr, Bel Powley, Maude Apatow, Ricky Velez and Steve Buscemi. A Universal Pictures release.
Love is Love is Love, directed by Eleanor Coppola, written by Eleanor Coppola, Karen Leigh Hopkins. Produced by Anahid Nazarian, Adriana Rotaru. (USA) – World Premiere. Tribeca alum Eleanor Coppola delivers a heartwarming triptych that explores love, infidelity and romance. With Maya Kazan, Joanne Whalley, Chris Messina, Kathy Baker, Marshall Bell, Cybill Shepherd, Rita Wilson, Rosanna Arquette, Polly Draper.
Love Spreads, directed and written by Jamie Adams. Produced by Jamie Adams, Maggie Monteith. (Wales) – World Premiere. Rock band Glass Heart seclude themselves in a remote cottage to find inspiration and energy for their next album. It all hinges on star Kelly, but inspiration won’t come, and tensions start to build. With Alia Shawkat, Eiza Gonzalez, Chanel Cresswell, Nick Helm, Dolly Wells, Tara Lee.
Monday, directed and written by Argyris Papadimitropoulos. Produced by Christos V. Konstantakopoulos, Brian Kavanaugh-Jones, Damian Jones, Deanna Barillari. (Greece) – World Premiere. Mikey and Chloe are two Americans living in Athens. Both are romantically unattached when they meet one hot summer Friday. Their instantaneous chemistry leads to a whirlwind weekend and questions about their future when they wake up Monday. With Sebastian Stan, Denise Gough.
My Zoe, directed and written by Julie Delpy. Produced by Malte Grunert, Gabrielle Tana, Andrew Levitas, Julie Delpy, Hubert Caillard, Dominique Boutonnat. (Germany, France) – US Premiere. In this hybrid of drama and science fiction, audiences are treated to director and star Julie Delpy’s newest exploration of modern relationships—here the eternal tie of parent and child. With Julie Delpy, Daniel Brühl, Gemma Arterton, Richard Armitage, Sophia Ally. In English, French, German with English subtitles. A Blue Fox Entertainment release.
Silk Road, directed and written by Tiller Russell. Produced by Stephen Gans, David Hyman, Duncan Montgomery, Alex Orlovsky, Jack Selby. (USA) – World Premiere. Ripped from the headlines, Silk Road captures the birth of the titular darknet marketplace through an elaborate, thrilling cat-and-mouse game between its ambitious creator Ross Ulbricht and a disreputable DEA agent desperate to bring down the millennial kingpin. With Jason Clarke, Nick Robinson, Alexandra Shipp, Katie Aselton, Jimmi Simpson, Paul Walter Hauser.
The Sound of Philadelphia, directed and written by Jeremie Guez. Produced by Aimee Buidine, Julien Madon, David Hinojosa, Christine Vachon, Trevor Matthews, Nick Gordon. (France, Belgium, Netherlands, USA) – World Premiere. Raised as brothers, cousins Peter and Michael are the progeny of Irish hitmen. Thirty years later, both are caught in an endless familial cycle of revenge and destruction. With Matthias Schoenaerts, Joel Kinnaman, Maika Monroe, Paul Schneider, Nicholas Crovetti, Ryan Phillippe.
The Stand-In, directed by Jamie Babbitt, written by Sam Bain. Produced by Tom McNulty, Caddy Vanasirikul, Ember Truesdell, Chris Miller, Brian O’Shea (USA) – World Premiere. Drew Barrymore stars in this comedy about a Hollywood actress who trades places with her enthusiastic stand-in so that she can take a break from the public eye. With Drew Barrymore, Michael Zegen, TJ Miler, Holland Taylor, Charlie Barnett, Ellie Kemper, Andrew Rannells, Lena Dunham.
Stardust, directed by Gabriel Range, written by Christopher Bell, Gabriel Range. Produced by Paul Van Carter, Nick Taussig, Matt Code. (UK) – World Premiere. In 1971, David Bowie embarked on a transformative road trip through America with struggling publicist Rob Oberman. Stardust provides an intimate glimpse into the moments that inspired Bowie to reinvent himself in order to truly become himself: his iconic celestial alter-ego Ziggy Stardust. With Johnny Flynn, Jena Malone, Marc Maron.
The Trip to Greece, directed and written by Michael Winterbottom. Produced by Melissa Parmenter. (UK, Greece) – World Premiere. Back for their fourth cinematic travelogue, Rob Brydon and Steve Coogan head out together on a Greek excursion inspired by Homer’s The Odyssey—and, naturally, fueled by sharp-witted banter and the best Werner Herzog impressions imaginable. With Steve Coogan, Rob Brydon. An IFC Films release.
SPOTLIGHT DOCUMENTARY
Documentaries consistently make waves at Tribeca as notable filmmakers and major stories are represented in this section through high-profile premieres.
Bishop Juan Gerardi in “The Art of Political Murder” (Photo courtesy of Prensa Libre)
The Art of Political Murder, directed by Paul Taylor. Produced by Teddy Leifer, Regina K. Scully. (UK) – World Premiere. The shocking murder of human rights activist Bishop Juan Gerardi in the aftermath of the Guatemalan Civil War sets the ground for a powerful battle between justice and corruption in this political crime thriller Executive Produced by George Clooney. With Francisco Goldman, Ronalth Ochaeta, Claudia Méndez Arriaza, Leopoldo Zeissig, Rubén Chanax, Arturo Aguilar. In English, Spanish with English subtitles. An HBO Documentary Films release.
Athlete A, directed by Bonni Cohen, Jon Shenk. Produced by Serin Marshall, Jen Sey, Julie Parker Benello. (USA) – World Premiere. In the riveting Athlete A, filmmakers Bonni Cohen and Jon Shenk delve into the world of elite competitive gymnastics and the toxic culture within that allowed sexual abuse to go on for decades unchecked. A Netflix Release. Also playing as part of the ESPN/Tribeca Sports Film Festival.
Banksy Most Wanted, directed and written by Aurélia Rouvier, Laurent Richard, Seamus Haley. Produced by Laurent Richard. (France) – World Premiere. Banksy is a household name, but behind this name hides a multitude of stories, artworks, stunts, political statements and identities, leading to one of the art world’s biggest unanswered questions- who is Banksy? In English, French with English subtitles.
Brian Wilson: Long Promised Road, directed by Brent Wilson, written by Brent Wilson, Jason Fine. Produced by Tim Headington, Theresa Steele Page, Brent Wilson. (USA) – World Premiere. The Beach Boys’ lead songwriter takes a drive around Los Angeles with Rolling Stone editor and longtime friend Jason Fine in this nonlinear cinematic memoir, as vivid and multifaceted as his music. With Brian Wilson, Bruce Springsteen, Sir Elton John, Linda Perry, Jim James, Nick Jonas, Gustavo Dudamel.
Helmut Newton: The Bad and the Beautiful, directed and written by Gero von Boehm. Produced by Felix von Boehm. (Germany) – World Premiere. Catherine Deneuve, Grace Jones, Charlotte Rampling, Isabella Rossellini, Anna Wintour and others give their take on legendary photographer Helmut Newton’s life, art, and legacy, in this portrait of a man who was at once provocative, unconventional, subversive and genius in his depiction of women. With Grace Jones, Sylvia Gobbel, Isabella Rossellini, Anna Wintour, Nadja Auermann, Phyllis Posnick, Charlotte Rampling, Marianne Faithfull, Claudia Schiffer, Hanna Schygulla, Carla Sozzani, Arja Toyryla, June Newton. In English, French, German with English subtitles.
Hydration, directed by Mimi Valdés. Produced by Pharrell Williams, Mimi Valdés, Jerry Kolber, Adam “Tex” Davis. (USA) – World Premiere. Hydration takes audiences backstage and behind the scenes of Pharrell’s ground-breaking Something in the Water festival, using music to bring together his divided hometown of Virginia Beach. Featuring exhilarating live performances by legendary music artists Jay Z, Missy Elliot, Gwen Stefani and others. With Pharrell Williams, Gwen Stefani, Sean “Diddy” Combs, Pusha T, Dave Grohl, Snoop Dogg and more.
Ice Cold, directed by Karam Gill, written by Karam Gill, Nicholas Stafford Briggs. Produced by Peter Scalettar, Carmen Garcia Durazo, Andrew Primavera. (USA) – World Premiere. From Executive Producers Migos & Quality Control, explore one of rap music’s most elaborate forms of personal expression…jewelry. Fans love it; haters only see superficiality. Ice Cold cuts deep into the “bling bling” obsession to examine its often overlooked socioeconomic motivations. With Migos, Lil Yachty, J Balvin, Slick Rick, Ben Baller, ASAP Ferg.
Kubrick by Kubrick (Kubrick par Kubrick), directed and written by Gregory Monro. Produced by Jeremy Zelnik, Martin Laurent. (France) – World Premiere. A rare and transcendent journey into the life and films of the legendary Stanley Kubrick like we’ve never seen before, featuring a treasure trove of unearthed interview recordings from the master himself. In English, French with English subtitles.
Larry Flynt for President, directed by Nadia Szold, written by Nadia Szold, Tchavdar Georgiev. Produced by Ben Browning, Lauren Mekhael, Steven Prince, Ivan Orlic. (USA) – World Premiere. Assembled from never before seen footage shot in 1983, this fascinating film documents controversial Hustler magazine publisher Larry Flynt’s unlikely bid for the White House after a gunman’s bullet left him partially paralyzed. With Larry Flynt.
Not Going Quietly, directed by Nicholas Bruckman, written by Amanda Roddy, Nicholas Bruckman. Produced by Amanda Roddy. (USA) – World Premiere. An intimate, inspiring look at activist and loving father Ady Barkan, diagnosed with ALS at age 32 and who, in spite of declining physical abilities, embarks on a nationwide campaign for healthcare reform. With Ady Barkan, Rachael King, Elizabeth Jaff, Ana Maria Archila, Nate Smith, Tracey Corder.
Ottolenghi and the Cakes of Versailles, directed by Laura Gabbert. Produced by Steve Robillard, Mohamed Al Rafi, Jeff Frey, Lauren Deuterman. (USA) – World Premiere. Follow celebrity chef Yotam Ottolenghi as he assembles a star-studded team of the world’s most innovative pastry chefs to put on a Versailles-themed culinary gala at the Metropolitan Museum of Art. With Yotam Ottolenghi, Dominique Ansel, Ghaya Oliveira, Dinara Kasko, Sam Bompas, Janice Wong. In English, French, Hebrew, Russian, Ukrainian with English subtitles.
Rebuilding Paradise, directed by Ron Howard. Produced by Brian Grazer, Ron Howard, Sara Bernstein, Justin Wilkes, Xan Parker. (USA) – New York Premiere. Director Ron Howard profiles several survivors of California’s deadliest wildfire who must decide whether to leave or to remain and rebuild in a town that is now on the front lines of the climate crisis. With Woody Culleton, Michelle John, Carly Ingersoll, Matt Gates, Zach Boston. A National Geographic release.
Ricky Powell: The Individualist, directed by Josh Swade, written by Josh Swade, Christopher McGlynn. Produced by Josh Swade, Christopher McGlynn, Eamon O’Neil. (USA) – World Premiere. Ricky Powell boasts a quintessential New York story, rising to fame as a street photographer in the 80’s and 90’s and touring with the Beastie Boys, capturing some of the wildest moments in popular culture. With Ricky Powell, Natasha Lyonne, Debi Mazar, Mike D, Laurence Fishburne, Chuck D, LL Cool J, DMC.
Somebody Up There Likes Me, directed by Mike Figgis. Produced by Peter Worsley, Louis Figgis. (UK) – North American Premiere. A series of intimate conversations with Rolling Stone Ronnie Wood, whose extraordinary music career placed him at the forefront of the British R&B explosion to rock ‘n’ roll stardom. With Ronnie Wood, Sally Wood, Imelda May, Damien Hirst, Mick Jagger, Keith Richards, Sir Rod Stewart, Charlie Watts.
Stockton on My Mind, directed by Marc Levin, written by James Lester, Marc Levin. Produced by Marc Levin, Mike Marangu, Cassius Michael Kim, Daphne Pinkerson. (USA) – World Premiere. In 2016, Stanford graduate Michael Tubbs became the youngest and first African-American mayor of Stockton, California. Stockton On My Mind follows Mayor Tubbs through his first term in office as he tirelessly advances his innovative proposals for a city at a turning point. With Mayor Michael Tubbs. An HBO Documentary Films Release.
This Is Paris, directed and written by Alexandra Haggiag Dean. Produced by Aaron Saidman. (USA) – World Premiere. There’s Paris Hilton and there’s “Paris Hilton”, the latter a character created by a teenage girl desperate to escape into a fantasy. Alexandra Dean’s revealing documentary offers the real Paris’ untold story. With Paris Hilton, Kathy Hilton, Nicky Hilton Rothschild. A YouTube Originals release.
Tough Love: The Lennox Lewis Documentary, directed by Rick Lazes, Seth Koch, written by Josh Dubin, Seth Koch. Produced by Chad A. Verdi, Rick Lazes, Nick Koskoff, Tom DeNucci. (USA) – World Premiere. Lennox Lewis’ rise from humble beginnings in the East End of London to the top of the boxing world defied the odds. Using never before seen footage from Lewis’ personal archives, Tough Love: The Lennox Lewis Documentary shines a light on what makes a true champ. With Lennox Lewis, Mike Tyson, Dr. Dre, Nelson Mandela, Emmanuel Steward, Jim Lampley.
Wojnarowicz, directed by Chris McKim. Produced by Fenton Bailey, Randy Barbato, Chris McKim. (USA) – World Premiere. A collage-like, incisive look at the life of writer, painter and thinker David Wojnarowicz, whose powerful, unapologetic way of seeing the world gave voice to queer rights at a critical time in US history. With David Wojnarowicz, Fran Lebowitz, Peter Hujar, Kiki Smith, Richard Kern, Nan Goldin, Carlos McCormack.
Yung Lean: In My Head, directed and written by Henrik Burman. Produced by David Herdies & Michael Krotkiewski, Ludvig Andersson. (Sweden) – World Premiere. When a Swedish teen rapper finds a rabid fanbase via the internet, international superstar Yung Lean is born. But as his fame grows, darkness settles in, blurring the line between reality and his own vivid imagination. With Jonatan Leandoer Håstad, Axel Tufvesson, Carl-Mikael Berlander, Benjamin Reichwald, Emilio Fagone, Oskar Ekman. In English, Russian, Swedish with English subtitles.
Yusuf Hawkins: Storm Over Brooklyn, directed by Muta’Ali, produced by Jevon Frank, Victorious De Costa, Muta’Ali (USA) – World Premiere. In 1989, a black youth was murdered in Brooklyn when he was misidentified as the boyfriend of a local white girl. The aftermath of Yusuf Hawkins’ death exploded into a social movement, exposing racial prejudices that continue to plague us today. With Al Sharpton, Amir Hawkins, Diane Hawkins, Freddy Hawkins, Mayor David Dinkins. An HBO Documentary Film release.
VIEWPOINTS
Viewpoints, which includes narratives and documentaries, recognizes distinct voices in independent filmmaking by creating a home for bold directorial visions and embracing distinct characters or points of view.
Ben Irving in “Giants Being Lonely”
Giants Being Lonely, directed and written by Grear Patterson. Produced by Olmo Schnabel. (USA) – North American Premiere, Feature Narrative. From lauded mixed-media artist Grear Patterson, this engrossing coming-of-age drama centers around two troubled high-school baseball players — the gifted star-pitcher, Bobby, and the overlooked coach’s son, Adam — as they struggle with sex, love, difficult family dynamics, and teenage isolation. With Jack Irving, Ben Irving, Lily Gavin, Gabe Fazio, Amalia Culp.
A Glitch in the Matrix, directed by Rodney Ascher. Produced by Ross Dinerstein. (USA) – World Premiere, Feature Documentary. Are we living in a simulation? Acclaimed documentarian Rodney Ascher (Room 27, The Nightmare) tackles this question with compelling testimony, philosophical evidence and scientific explanation in this engaging journey for the truth.
Harley, directed by Jean-Cosme Delaloye, written by Jean-Cosme Delaloye, Lila Place. Produced by Jean-Cosme Delaloye. (USA) – World Premiere, Feature Documentary. With inklings of American Movie, Jean-Cosme Delaloye’s Harley stands out as an outrageously entertaining portrait of Harley Breite, a thriving criminal defense lawyer attempting to win over his Dulcinea.
Honeymood, directed and written by Talya Lavie. Produced by Eitan Mansuri, Jonathan Doweck. (Israel) – World Premiere, Feature Narrative. Following a fight in their honeymoon suite on the night of their wedding, a bride and groom embark on a surreal urban odyssey through the streets of Jerusalem in Tribeca award winner Talya Lavie’s dazzling romantic comedy. With Ran Danker, Avigail Harari. In Hebrew with English subtitles.
I’m No Longer Here (Ya No Estoy Aqui), directed and written by Fernando Frias de la Parra. Produced by Gerardo Gatica, Alberto Muffelmann, Gerry Kim. (Mexico) – US Premiere, Feature Narrative. 17 year old Ulises loves to dance. But when the local cartel mistakenly targets him, he’s forced to flee his home in Mexico, landing alone in the wilds of Queens. With Juan Daniel Garcia Treviño, Bianca Coral Puernte Valenzuela, Jonathan Fernando Espinoza Gamez, Luis Leonardo Zapata, Leonardo Ernesto Garza Ávila, Estefania Judith Tovar Ramirez, Rocio Monserrat Rios Hernandez, Brandon Yahir Alday Vazquez, Yesica Avigail. In Spanish with English subtitles. A Netflix release.
La Llorona, directed and written by Jayro Bustamante. Produced by Jayro Bustamante, Gustavo Matheu. (Guatemala, France) – New York Premiere, Feature Narrative. As the patriarch of a privileged family stands trial accused of genocide, a new housemaid comes to the house. Her presence unleashes something– is it the pent-up tensions of a family at the breaking point, or does she bring something more sinister with her from the depths of Guatemalan folklore? With María Mercedes Coroy, Sabrina De La Hoz, Margarita Kenéfic, Julio Díaz. In Spanish with English subtitles. A Shudder release.
La Madrina: The Savage Life of Lorine Padilla, directed, written, and produced by Raquel Cepeda. (USA) – World Premiere, Feature Documentary. While the Bronx burned, Lorine claimed her place as queen of the NYC street gang The Savage Skulls. 40 years later, she examines her impact in the intervening years: as mother, spiritual advisor, activist, and keeper of a controversial legacy. With Lorine Padilla, Elizabeth Maldonado, Senator Luis Sepulveda, Council Member Ritchie Torres.
Looking for a Lady With Fangs and a Moustache, directed and written by Khyentse Norbu. Produced by Max Dipesh Khatri. (Nepal) – US Premiere, Feature Narrative. Plagued by otherworldly visions, a young Nepali musician and entrepreneur is told that he only has one week to live. Norbu’s atmospheric, trancelike fourth feature sees him reckon with his spiritual skepticism. With Tsering Tashi Gyalthang, Tulku Kunzang, Orgen Tobgyal Rinpoche, Tenzin Kunsel, Tulku Ngawang Tenzin, Rabindra Singh Baniya. In Nepali, Tibetan with English subtitles.
Marvelous and the Black Hole, directed and written by Kate Tsang. Produced by Carolyn Mao. (USA) – World Premiere, Feature Narrative. A teenage delinquent befriends a surly magician who helps her navigate her inner demons and dysfunctional family with sleight of hand magic. With Miya Cech, Rhea Perlman, Leonardo Nam, Kannon Omachi, Paulina Bugembe, Keith Powell. TFI Supported.
Miracle Fishing, directed by Miles Hargrove, written by Miles Hargrove, Eric F. Martin. Produced by Eric F. Martin. (USA) – World Premiere, Feature Documentary. In 1994, Tom Hargrove was kidnapped in Colombia by the FARC. With a $6M ransom price and without support from the authorities, Tom’s wife and sons pick up the phone (and a Video8 camcorder) to negotiate directly with the largest terrorist group in the Western Hemisphere. In English, German, Spanish with English subtitles.
The Outside Story, directed and written by Casimir Nozkowski. Produced by Frank Hall-Green, Brian Newman, Joseph Stephans, Casimir Nozkowski. (USA) – World Premiere, Feature Narrative. Having just broken up with his girlfriend, introverted video editor Charles gets locked out of his apartment, accidentally embarking on a transformative odyssey through his neighborhood. With Brian Tyree Henry, Sunita Mani, Sonequa Martin-Green, Olivia Edward, Asia Kate Dillon, Rebecca Naomi Jones.
P.S. Burn This Letter Please, directed and written by Michael Seligman, Jennifer Tiexiera. Produced by Jennifer Tiexiera, Michael Seligman, Craig Olsen. (USA) – World Premiere, Feature Documentary. A box found in an abandoned storage unit unearths a time capsule of correspondences from a forgotten era: the underground drag scene in 1950’s New York City. Firsthand accounts and newly discovered footage help cast a long overdue spotlight on the unsung pioneers of drag. With Henry Arango, Michael Alogna, James Bidgood, Robert Bouvard, Terry Noel, Joseph Touchette, Claude Diaz, George Roth, Esther Newton, Joe E. Jeffreys, George Chauncey, Robert Corber, Thomasine Barlett, Michael Henry Adams.
Pacified (Pacificado), directed and written by Paxton Winters. Produced by Paula Linhares, Marcos Tellechea, Darren Aronofsky, Lisa Muskat, Paxton Winters. (Brazil) – New York Premiere, Feature Narrative. Following the violent clean-up and occupation of Brazilian favelas for the Rio Summer Olympics, timid teenager Tati is drawn to the father she’s never met in this layered, vivid portrayal of a world where loyalty to your neighbors comes above all else. With Bukasa Kabengele, Cassia Nascimento, Debora Nascimento, José Loreto, Raphael Logam, Lea Garcia. In Portuguese with English subtitles.
The State of Texas vs. Melissa, directed by Sabrina Van Tassel. Produced by Isaac Sharry, Sabrina Van Tassel, Philippe de Bourbon. (France) – World Premiere, Feature Documentary. Melissa Lucio was the first Hispanic woman sentenced to death in Texas. For ten years she has been awaiting her fate, and now faces her last appeal. Van Tassel’s urgent documentary is the portrait of a woman against the entire system.
Stateless (Apátrida), directed and written by Michèle Stephenson. Produced by Michèle Stephenson, Jennifer Holness, Lea Marin. (USA, Dominican Republic, Haiti) – World Premiere, Feature Documentary. In 2013, the Dominican Republic stripped the citizenship of anyone with Haitian parents, rendering over 200,000 people without nationality, identity or homeland. Stateless explores this complex history and politics through one young woman’s fight to protect the right to citizenship for all people. With Rosa Iris Diendomi-Álvarez, Teofilo Murat, Gladys Feliz. In Creole, Spanish with English subtitles. TFI supported.
Stray, directed and written by Elizabeth Lo. Produced by Elizabeth Lo, Shane Boris. (Turkey, Hong Kong) – World Premiere, Feature Documentary. Bringing us into the world of Zeytin, a stray dog living life on the streets of Istanbul, Stray delivers a deceptively simple and wonderfully touching journey of marginalization and resilience. In Turkish with English subtitles.
Through the Night, directed by Loira Limbal, written by Loira Limbal, Malika Zouhali-Worrall. Produced by Jameka Autry. (USA) – World Premiere, Feature Documentary. This poignant and intimate documentary examines the emotional toll on families in pursuit of the American dream, told through the lens of a 24-hour daycare center in Westchester, New York. With Delores “Nunu” Hogan, Patrick Hogan, Marisol Valencia, Shanona Tate. In English, Spanish with English subtitles.
MIDNIGHT
Tribeca’s Midnight section provides a space for fans to discover new projects in genre filmmaking.
“Becky”
Becky, directed by Cary Murnion, Jonathan Milott, written by Nick Morris, Ruckus Skye, Lane Skye. Produced by Raphael Margules, JD Lifshitz, Jordan Yale Levine, Jordan Beckerman, Russ Posternak. (USA) – World Premiere. Mourning her mother’s death, teenaged Becky doesn’t think she could possibly have a worse time during a lake house trip with her dad. The unexpected arrival of four escaped convicts is about to prove she can. With Kevin James, Joel McHale, Lulu Wilson, Amanda Brugel.
The Boys from County Hell, directed and written by Chris Baugh. Produced by Brendan Mullin, Yvonne Donohoe. (Ireland, UK) – World Premiere. For decades, the residents of Ireland’s Six Mile Hill have traded urban legends about an ancient blood-craving ghoul that sleeps beneath their land. Bad news for the locals: A father-and-son team of pipeline workers have woken it up. With Jack Rowan, Nigel O’Neill, Louisa Harland, Michael Hough, Fra Fee, John Lynch.
The Dark & The Wicked, directed and written by Bryan Bertino. Produced by Bryan Bertino, Adrienne Biddle, Sonny Mallhi, Kevin Matusow. (USA) – World Premiere. On a secluded farm in a nondescript rural town, a man is slowly dying. His family gathers to mourn, and soon a darkness grows, marked by waking nightmares and a growing sense that something evil is taking over the family. With Marin Ireland, Michael Abbott Jr., Xander Berkeley.
Honeydew, directed and written by Devereux Milburn. Produced by Dan Kennedy, Alan Pierson. (USA) – World Premiere. Unfortunately for a young couple on a camping trip, their car broke down in the middle of the night. Even more unfortunate: In hopes of using a phone for help, they’ve stepped foot inside a house of, to put it lightly, very strange horrors. With Sawyer Spielberg, Malin Barr, Barbara Kingsley.
Sputnik, directed by Egor Abramenko, written by Andrei Zolotarev, Oleg Malovichko. Produced by Mikhail Vrubel, Alexander Andryushenko, Fyodor Bondarchuk, Ilya Stewart. (Russia) – World Premiere. The lone survivor of an enigmatic spaceship incident hasn’t returned back home alone—hiding inside his body is a dangerous creature. His only hope: a doctor who’s ready to do whatever it takes to save her patient. With Oksana Akinshina, Peter Fyodorov, Fyodor Bondarchuk, Anton Vasiliev, Pavel Ustinov. In Russian with English subtitles.
MOVIES PLUS
A Tribeca tradition, Movies Plus offers audiences the unique opportunity to continue the experience of a film through buzzworthy conversations or performances after each special screening. Past Movies Plus experiences have included a Sheryl Crow tribute to Linda Ronstadt (2019), the San Francisco Gay Men’s Chorus performed after the world premiere of Gay Chorus Deep South (2019), and a Broadway-style performance following Bathtubs Over Broadway (2018).
Sean Penn in “Citizen Penn” (Photo courtesy of KTF Films)
Citizen Penn, directed and written by Don Hardy. Produced by Shawn Dailey, Don Hardy. (USA) – World Premiere, Feature Documentary. On January 12, 2010 a devastating 7.0 earthquake struck Haiti altering the landscape and lives of millions. Aid workers from around the globe descended on the island, along with one unlikely leader – actor and filmmaker Sean Penn. With Sean Penn, Ann Lee, Anderson Cooper, Cecile Accilien.
After the Movie: A conversation with director Don Hardy along with Sean Penn and CORE CEO Ann Lee.
Disclosure, directed and written by Sam Feder. Produced by Amy Scholder. (USA) – New York Premiere, Feature Documentary. Executive Producer Laverne Cox amplifies this study of transgender representation in the media, bringing together trans creatives and activists to deconstruct scenes from cinema through the ages in order to confront our evolving understanding of gender. With Laverne Cox, Lilly Wachowski, Yance Ford, Jen Richards, Mj Rodriguez, Chaz Bono.
After the Movie: A conversation led by Laverne Cox (Executive Producer), and Sam Feder (Director) with some very special guests, about the current rise and history of transgender representation in film and television.
Call Your Mother, directed by Heidi Ewing, Rachel Grady. Produced by Eleanor Galloway. (USA) – World Premiere, Feature Documentary. Comedians’ mothers take center stage in this documentary from the directors Rachel Grady & Heidi Ewing (TFF 2006 selection Jesus Camp), a hilarious ode to moms and the way they have shaped the work of some of comedy’s biggest stars. With Louie Anderson, Awkwafina, Jimmy Carr, Bridget Everett, Fortune Feimster, Rachel Feinstein, Jim Gaffigan, Judy Gold, Jen Kirkman, Jo Koy, Bobby Lee, The Lucas Brothers, Norm Macdonald, Jim Norton, Tig Notaro, Yvonne Orji, Kristen Schaal, Roy Wood Jr..
After the Movie: A conversation with comedians Bridget Everett, Rachel Feinstein, Judy Gold, Roy Wood Jr. and more.
Don’t Try to Understand: A Year in the Life of Earl “DMX” Simmons, directed by Christopher Frierson. Produced by Clark Slater. (USA) – World Premiere, Feature Documentary. Hip-hop icon DMX returns from a recent stint in prison determined to reignite his career, but his comeback proves ill-fated when faced with the mounting pressures of fatherhood, faith and addiction. This unfiltered documentary presents an intimate glimpse into the man behind the public persona.
After the Movie: A special performance by DMX.
Freedia Got a Gun, directed by Chris McKim. Produced by Fenton Bailey, Randy Barbato, Chris McKim. (USA) – World Premiere, Feature Documentary. After losing her brother to gun violence, New Orleans’ queen of bounce Big Freedia uses her national platform to shine a spotlight on gun reform in this achingly honest and human documentary plea for activism and reform. With Big Freedia.
After the Movie: A conversation with musician Big Freedia, journalist and executive producer Charles Blow, director and producer Chris McKim and producer Randy Barbato.
Fries! The Movie, directed and written by Michael Steed. Produced by Christopher Collins, Lydia Tenaglia. (USA) – World Premiere, Feature Documentary. To better understand the globe’s obsession with the fried potato, chefs, food scientists, historians and celebrities, including Malcom Gladwell and Chrissy Teigen, take the audience on a joyous and mouth watering journey around the world to delve into everyone’s favorite fried food. With Chrissy Teigen, Malcolm Gladwell, Eric Ripert, Dave Arnold, Harold McGee.
After the Movie: A conversation with cookbook author and model Chrissy Teigen, chef Eric Ripert, Museum of Food and Drink founder Dave Arnold, and director Michael Steed.
The Go-Go’s, directed by Alison Ellwood. Produced by Trevor Birney. (USA) – New York Premiere, Feature Documentary. Through a wealth of archival material and candid interviews, Director Alison Ellwood takes us on a nostalgic look back at the Go-Go’s rise to fame in the 80s all the way to today, as the band collaborates on new music for the first time in nineteen years. With Charlotte Caffey, Belinda Carlisle, Gina Schock, Kathy Valentine, Jane Wiedlin. A Showtime release.
After the Movie: A special performance by The Go-Go’s.
John Lewis: Good Trouble, directed by Dawn Porter. Produced by Laura Michalchyshyn, Dawn Porter, Erika Alexander, Ben Arnon. (USA) – World Premiere, Feature Documentary. Using a combination of vérité and archival along with the 80-year old Georgia Congressman’s own words, John Lewis: Good Trouble examines Lewis’ current work and activism, and takes a look back at a lifetime of campaigning for political and social change. A Magnolia Pictures and Participant release.
After the Movie: A conversation with director and producer Dawn Porter and subjects from the film.
Kiss the Ground, directed by Josh Tickell, Rebecca Tickell, written by Josh Tickell, Rebecca Tickell, Johnny O’Hara. Produced by Rebecca Tickell, Josh Tickell, Bill Benenson, Darius Fisher. (USA, France, China, Uganda, Zimbabwe) – World Premiere, Feature Documentary. A revolutionary group of activists, scientists, farmers, and politicians band together in a global movement of “Regenerative Agriculture” that could balance our climate, replenish our vast water supplies, and feed the world, narrated by Woody Harrelson. With Woody Harrelson, Ian Somerhalder, Gisele Bündchen, Patricia Arquette, David Arquette, Tom Brady, Jason Mraz. In English, French with English subtitles.
After the Movie: A conversation with model and activist and Executive Producer Gisele Bündchen, actor and activist Ian Somerhalder and directors Rebecca Tickell and Josh Tickell.
The Sit-In: Harry Belafonte Hosts The Tonight Show, directed by Yoruba Richen, written by Yoruba Richen, Valerie Thomas, Elia Gasull Balada. Produced by Valerie Thomas, Joan Walsh. (USA) – World Premiere, Feature Documentary. While the country was embroiled in a divisive election with racial tensions flaring, civil rights activist Harry Belafonte guest hosted The Tonight Show for one week in 1968 transforming it into a multicultural political experience. With Harry Belafonte, Whoopi Goldberg, Questlove, Tamron Hall.
After the Movie: A conversation with Artivist, Producer and Executive Director of Sankofa.org Gina Belafonte, director Yoruba Richen and Producer Joan Walsh. Moderated by Katrina vanden Heuvel, the editorial director and publisher of The Nation.
Truth to Power, directed, written and produced by Garin Hovannisian. (USA) – World Premiere, Feature Documentary. The Grammy-winning lead singer of System of a Down, Serj Tankian helps to awaken a political revolution on the other side of the world, inspiring Armenia’s struggle for democracy through his music and message. With Serj Tankian, Rick Rubin, Tom Morello, Shavo Odadjian, John Dolmayan, Carla Garapedian.
After the Movie: A special performance by System of a Down’s Serj Tankian, accompanied by the NYU Symphony Orchestra.
Underplayed, directed by Stacey Lee. Produced by William Crouse. (USA) – World Premiere, Feature Documentary. From Delia Derbyshire to Alison Wonderland this inspiring music documentary portrays radical female artists breaking the rhythm of inequality in the electronic music industry and opening doors for the next generation. With Alison Wonderland, Tygapaw, Tokimonsta & Suzanne Ciani.
After the Movie: A World Class performance by iconic Brooklyn artist, Tygapaw, presenting an inspiring interactive vision of electronic music today.
With Drawn Arms, directed by Glenn Kaino, Afshin Shahidi. Produced by Glen Zipper, Sean Stuart. (USA) – World Premiere, Feature Documentary. At the 1968 Olympics, gold medalist Tommie Smith iconically raised his fist in a symbol of black struggle and solidarity. With Drawn Arms follows Smith as he looks back 50 years to the moment that helped define a movement and changed the course of his life forever.
After the Movie: A conversation with directors Glenn Kaino and Afshin Shahidi, subject Tommie Smith and musician and executive producer John Legend.
TRIBECA CRITICS’ WEEK
In its second year, Tribeca Critics’ Week is a section of the Festival that presents a curated slate of six feature films from New York-based film critics including Eric Kohn (IndieWire), Joshua Rothkopf (film critic), Bilge Ebiri (film critic and editor, New York Magazine/Vulture), Alissa Wilkinson (Vox.com), and Leah Greenblatt (Entertainment Weekly).
Christian Bale in “American Psycho” (Photo courtesy of Lionsgate)
American Psycho, directed by Mary Harron, Produced by Christian Halsey Solomon, Chris Hanley, Edward R. Pressman. (USA) – Feature Narrative. Twenty years after its debut, Christian Bale’s turn as the murderous NYC yuppie Patrick Bateman has lost none of its simultaneously hilarious and chilling power. With Christian Bale, Justin Theroux, Josh Lucas. Join Tribeca and director Mary Harron for a special 20th anniversary screening and conversation.
I Carry You With Me, directed by Heidi Ewing. Written by Heidi Ewing, Alan Page Arriaga. Produced by Mynette Louie, Heidi Ewing. (USA, Mexico) – New York Premiere. Acclaimed documentarian Heidi Ewing’s narrative debut is a cross-border romantic drama about a gay New York chef reflecting back on his experiences coming of age in Mexico. With Armando Espitia, Christian Vázquez, Michelle Rodríguez, Ángeles Cruz, Raúl Briones, Arcelia Ramírez, Pascacio López, Michelle Gonzáles, Luis Alberti, Yael Tadeo, Nery Arredondo, Alexia Morales. A Sony Pictures Classic Release.
Lux Aeterna, directed and written by Gaspar Noé. Produced by Gary Farkas, Clément Lepoutre, Olivier Muller. (France) – North American Premiere, Feature Narrative. In the midst of a hectic shooting day, a women-led film set gradually descends into psychological disarray. Singular provocateur Gaspar Noé’s latest sensory experience takes a piercing look at the dark side of the collaborative filmmaking process. With Beatrice Dalle, Charlotte Gainsbourg, Félix Maritaud, Karl Glusman, Clara 3000, Paul Hameline, Luka Isaac. In English, French with English subtitles.
The Nowhere Inn, directed by Bill Benz, written by Carrie Brownstein, St. Vincent. Produced by Carrie Brownstein, Lana Kim, St. Vincent, Jett Steiger. (USA) – New York Premiere, Feature Narrative. What’s meant to be a documentary about St. Vincent’s music career devolves into a mind-bending distortion of reality once the singer hires her best friend as its director. Deliriously warping the mockumentary template, Portlandia veteran Bill Benz’s directorial debut defies genre categorization. With Annie Clark, Carrie Brownstein.
Shirley, directed by Josephine Decker, written by Sarah Gubbins. Produced by Christine Vachon, David Hinojosa, Sue Naegle, Sarah Gubbins, Jeffrey Soros, Simon Horsman, Elisabeth Moss. (USA) – New York Premiere, Feature Narrative. Shirley Jackson, the celebrated author of the iconic 1948 short story The Lottery, is brought to blisteringly sharp life in Josephine Decker’s immersive drama. With Elisabeth Moss, Michael Stuhlbarg, Odessa Young, Logan Lerman. A Neon release.
Sweet Thing, directed and written by Alexandre Rockwell. Produced by Louis Anania, Kenan Baysal, Haley Elizabeth Anderson. (USA) – North American Premiere, Feature Narrative. In this follow up to Rockwell’s acclaimed Little Feet, Billie and her younger brother Nico struggle through adolescence with an alcoholic father and negligent mother. Forced to run away, this band of outsiders find solace in a new friendship. With Will Patton, Karyn Parsons, Lana Rockwell, Nico Rockwell, Jabari Watkins, ML Josepher.
WOMEN AT WORK
What does it mean to be a working woman today? As the question becomes a more urgent part of the cultural conversation, Tribeca has curated a group of documentaries that seek to answer it across industries from sports, science, and law enforcement. These films consider how women in the workplace have struggled and thrived and always gotten the job done.
Frieda Zamba in “Girls Can’t Surf” (Photo courtesy of Frieda Zamba)
Girls Can’t Surf, directed by Christopher Neliusm and written by Christopher Nelius and Julie Anne DeRuvo. Produced by Michaela Perske and Christopher Nelius. (Australia, USA) – World Premiere, Feature Documentary. Under the radical glow of Australian sun, peroxide hair and fluorescent surf-shorts, a dark wave of male chauvinism crashed down on 1980’s surf culture. Girls Can’t Surf shares the untold story of pioneering women who surfed against this tide. With Pam Burridge, Lisa Anderson, Wendy Botha, Jodie Cooper, Rochelle Ballard, Pauline Menczer, Jolene Smith, Jorja Smith, Nic Carroll, Jamie Brissick, Ian Cairns, Alisa Schwarzstein, Frieda Zamba. Also playing as part of the Tribeca/ESPN Sports Film Festival.
Picture a Scientist, directed by Ian Cheney, Sharon Shattuck. Produced by Manette Pottle, Ian Cheney, Sharon Shattuck. (USA) – World Premiere, Feature Documentary. Despite the minimal news coverage, sexual harassment and gender inequality against women are no less prevalent in science than they are in pop culture and corporate America. Picture a Scientist illuminates this uncomfortable truth while also advocating for change.
After the Screening: A conversation with directors Sharon Shattuck, Ian Cheney and groundbreaking scientists and film subjects, Raychelle Burks Ph.D., Jane Willenbring, Ph.D., and Nancy Hopkins Ph.D.. Hosted by the Alfred P. Sloan Foundation.
Women in Blue, directed and written by Deirdre Fishel. Produced by Beth Levison. (USA) – World Premiere, Feature Documentary. After a high-profile police shooting rocks the Minneapolis Police department, its first female chief is forced to resign. Women in Blue takes a look at policing in America, as it follows the stories of the women officers who carry on the effort to reform the department and restore trust in the community. With Alice White, Melissa Chiodo, Janée Harteau, Erin Grabosky, Catherine Johnson, Nekima Levy-Pounds, Medaria Arradondo. TFI supported.
FAMILY EVENT
“The SpongeBob Movie: Sponge on the Run” (Photo courtesy of Paramount Pictures)
The SpongeBob Movie: Sponge on the Run, directed and written by Tim Hill; Story by Tim Hill and Jonathan Aibel & Glenn Berger; Based on the Series “SpongeBob SquarePants” Created by Stephen Hillenburg. Produced by Ryan Harris. (USA) – Sneak Preview. SpongeBob SquarePants, his best friend Patrick Star and the rest of the gang from Bikini Bottom hit the big screen in the first-ever all CGI SpongeBob motion picture event. After SpongeBob’s beloved pet snail Gary is snail-napped, he and Patrick embark on an epic adventure to The Lost City of Atlantic City to bring Gary home. As they navigate the delights and dangers on this perilous and hilarious rescue mission, SpongeBob and his pals prove there’s nothing stronger than the power of friendship. With Tom Kenny, Awkwafina, Matt Berry, Clancy Brown, Rodger Bumpass, Bill Fagerbakke, Carolyn Lawrence, Mr. Lawrence, Reggie Watts. A Paramount Pictures release.
2020 JURIED FEATURE FILM AWARDS:
Awards in the three main competition sections — U.S. Narrative, International Narrative, and Documentary Competition — will be determined by a jury and presented in the following categories: Founders Award for Best U.S. Narrative Feature; Best Screenplay in a U.S. Narrative Feature; Best Cinematography in a U.S. Narrative Feature; Best Actor in a U.S. Narrative Feature; Best Actress in a U.S. Narrative Feature; Best International Narrative Feature; Best Screenplay in an International Narrative Feature; Best Cinematography in an International Narrative Feature; Best Actor in an International Narrative Feature; Best Actress in an International Narrative Feature; Best Documentary Feature; Best Editing in a Documentary Feature, and Best Cinematography in a Documentary Feature.
In addition, the Festival juries will present awards for Best New Narrative Director and The Albert Maysles Award (Best New Documentary Director) for first time feature directors in any section.
Two feature films—one narrative and one documentary—will be selected to receive the Audience Award, the audience choice for best feature film. Films playing in the Competition, Viewpoints, Spotlight, Midnight, Movies Plus, and Tribeca Critics’ Week screenings sections are eligible.
Passes and Tickets for the 2020 Tribeca Film Festival:
All festival passes are on sale now. Ticket Packages are currently available for purchase and will remain on sale until March 8, 2020. Single tickets to attend the Festival go on sale on March 17, 2020. Visit: https://www.tribecafilm.com/festival/tickets
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About the Tribeca Film Festival:
The Tribeca Film Festival, presented by AT&T, brings visionaries and diverse audiences together to celebrate storytelling in all its forms, including film, TV, VR, gaming, music, and online work. With strong roots in independent film, Tribeca is a platform for creative expression and immersive entertainment. The Festival champions emerging and established voices; discovers award-winning filmmakers and creators; curates innovative experiences; and introduces new technology and ideas through premieres, exhibitions, talks, and live performances.
The Festival was founded by Robert De Niro, Jane Rosenthal, and Craig Hatkoff in 2001 to spur the economic and cultural revitalization of lower Manhattan following the attacks on the World Trade Center. Now in its 19th year, the Festival has evolved into a destination for creativity that reimagines the cinematic experience and explores how art can unite communities. The 19th annual edition will take place April 15 – 26, 2020. www.tribecafilm.com/festival.
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About Presenting Sponsor AT&T:
As Presenting Sponsor of the Tribeca Film Festival, AT&T is committed to supporting the Festival and the art of filmmaking through access and innovation, while expanding opportunities to diverse creators around the globe. AT&T helps millions connect to their passions – no matter where they are. This year, AT&T and Tribeca will once again collaborate to give the world access to stories from underrepresented filmmakers that deserve to be seen. AT&T Presents: Untold Stories -an Inclusive Film Program in Collaboration with Tribeca, is a multi-year, multi-tier alliance between AT&T and Tribeca along with the year-round nonprofit Tribeca Film Institute.
About the 2020 Tribeca Film Festival Partners:
The Tribeca Film Festival is pleased to announce its 2020 Partners: Alfred P. Sloan Foundation, Bloomberg Philanthropies, Borough of Manhattan Community College (BMCC), BVLGARI, CHANEL, City National Bank, CNN Films, Diageo, ESPN, HBO, Montefiore, National CineMedia (NCM), New York Magazine, NYC Mayor’s Office of Media and Entertainment, P&G, PwC, Spring Studios New York, and Squarespace.
Culture Representation: Taking place in the Niagra Falls area in Canada and the U.S., this crime thriller has a predominantly white cast of characters (with a few Indian and black people) representing the middle-class and upper-class.
Culture Clash: A woman with a history of being a pathological liar sets out to solve the mystery of a kidnapping that she says she witnessed as a child, even if it means that the city’s most powerful family could be involved in the crime.
Culture Audience: “Disappearance at Clifton Hill” will appeal primarily to people who like mystery stories that are structured like detective procedurals and will leave viewers guessing until the very end.
David Cronenberg and Tuppence Middleton in “Disappearance at Clifton Hill” (Photo courtesy of IFC Films)
What happens if you witness a serious crime as a child, you report the crime as an adult, but people don’t believe you because you’ve ruined your reputation by being an emotionally unstable pathological liar? The mystery thriller “Disappearance at Clifton Hill” takes this unconventional approach to crime-solving by having the protagonist not as a noble detective but as someone with serious credibility issues and a troubled past. This is not Nancy Drew.
The movie’s central character is Abby West (played by Tuppence Middleton), a woman in her early 30s who has returned to her hometown of Ajax, Ontario, whose economy is fueled primarily by tourism at nearby Niagra Falls. She’s back in town because her widowed mother has died, and the inheritance needs to be settled. Abby has a younger sister named Laure (played by Hannah Gross), and they’ve been estranged from each other for a number of years.
At the reading of the will in a lawyer’s office, Abby and Laure find out that they’ve inherited their mother’s run-down motel called the Rainbow Inn. It’s the family business and where they grew up as children. Abby wants to keep the motel and take over as the new owner/manager, but Laure wants to follow the lawyer’s advice and sell the business. “Disappearance at Clifton Hill” director Albert Shin (who co-wrote the screenplay with James Schultz) grew up in Niagra Falls and his family owned a motel. That background gives this engrossing story added realism.
Someone who’s interested in buying the Rainbow Inn is Charles Lake III, nicknamed Charlie (played by Eric Johnson), who’s a descendant of the most powerful and richest family in the area. He’s the heir of the family firm CLC, which is a diversified company that invests in property. Charlie, who has a charming exterior that masks a ruthless side to him, says that the company wants to turn the Rainbow Inn into an amusement funhouse for tourists, but Abby is dead-set against it.
Abby and Laure are very different from each other in almost every way. Abby, who’s single, has a reputation for being flaky and a pathological liar who moves around a lot. The movie goes into details about how bad Abby’s lies were before she came back to the Niagra Falls area. Her emotional problems reached a point where she spent time in a psychiatric institution.
By contrast, Laure (who’s stayed in her hometown for all of her life) has settled down in a happy marriage and stable life with her husband Marcus (played by Noah Reid). Laure and Marcus both work for the Niagra Police Department: She’s a surveillance supervisor, and he’s a police officer.
Abby’s reckless lies have considerably damaged her relationship with Laure, and it’s clear that there’s still a lot of lingering resentment. When Abby tells Laure that they can’t sell the motel because “We grew up there,” Laure’s withering response is, “One of us grew up.”
As the two sisters disagree over what will become of the Rainbow Inn, Abby settles into the motel and gets a reminder of a haunting experience from her past. In 1994, when she was 7 years old (a scene shown in the beginning of the movie), Abby, Laure and their parents were on a fishing trip near a wooded lake area. Abby wandered off into the woods and saw an older boy (about 12 or 13) with a bloodied bandage over his left eye, indicating a recent injury caused him to no longer have a left eye. When the boy saw Abby, he put his index finger to his mouth to signal that he wanted her to be quiet.
Suddenly, a man and a woman appeared in a car on a road above the embankment, kidnapped the boy, and put him in the trunk of the car. From the way it happened, it appeared that boy had escaped from his abductors into the woods and had the bad luck of been caught again.
Abby, who was nearly seen by the kidnappers, was in shock the entire time. When she went back to her parents and sister to take a family photo near the lake, she didn’t say a word about what she just witnessed. As the West family was taking the photo, Abby saw the car drive by again, and the man and the woman briefly exited and then re-entered the car. That family photo and other photos that her mother took on that trip would turn out to have crucial evidence about the identities of the kidnappers.
Fast forward 25 years later, and Abby comes across the photos from that family trip, which triggers her memories of the kidnapping. And perhaps because she has a guilty conscience about not reporting it to the police, she decides to do the right thing and finally report the crime that she says she witnessed.
From a conversation that Abby has with Laure at the police station, viewers find out that Abby did eventually tell Laure about the kidnapping when they were much younger. But by then, Abby had told so many lies that Laure didn’t believe her, and Abby didn’t go to the police until now. Abby’s brother-in-law Marcus accompanies Abby when she reports the kidnapping. Marcus is more likely than Laure to give Abby the benefit of the doubt.
There’s a big problem when Abby reports the kidnapping: She doesn’t have any evidence, except for a somewhat blurry photo of the two people she believes are the kidnappers. And her reputation for being a liar has already preceded her.
It also doesn’t help that a cop named Singh (played by Andy McQueen) who takes Abby’s report is someone who’s already had an unpleasant run-in with her. He was a guy whom Abby had picked up at a bar and took back to the motel shortly after she arrived back in town, not knowing that he was a cop. Abby and Singh had an awkward sexual encounter when, after kissing and starting to take off their clothes, Abby blurted out that she was a virgin and then denied it. Uncomfortable with what just happened and sensing that Abby might be unstable, Singh left the motel in a hurry.
After meeting Abby for the first time under these circumstances and later hearing about her habit of lying from her own family members, it’s no wonder that he’s skeptical of Abby’s story. Singh is so convinced that she’s lying that he doesn’t even take notes when she tells him about the kidnapping. Abby gets angry over Singh’s uninterested response, so he reluctantly checks to see if there are any open cases of kidnappings or missing persons in the area that fit what Abby has described. He returns after a few minutes and tells her that no such case exists.
This is where the amateur detective portion of the story kicks into gear, because Abby decides to investigate the kidnapping on her own. One of the first things she does is go to the local library, where she finds archived newspaper articles that report the suicide death of a 13-year-old named Alex Moulin (played by Colin McLeod), whose body was found in a gorge. He’s the same boy that Abby saw being kidnapped in 1994.
Alex’s parents are a French Canadian magician duo called the Magnificent Moulins, and part of their stage act includes a trained tiger that’s kept in a cage. The Magnificent Moulins—known as Mr. Moulin (played by Paulino Nunes) and Mrs. Moulin (played by Marie-Josée Croze)—are still active performers, but they moved out of the area years ago after the death of their son Alex, who was their only child.
Of course, Abby isn’t convinced that Alex really committed suicide. And soon, she finds someone who has the same opinion. While walking near the wooded lake where the kidnapping took place, Abby meets by chance a scuba diver named Walter Bell (played by David Cronenberg, the award-winning filmmaker), who tells her that he’s the unofficial town historian. Walter also hosts a podcast called “Over the Falls,” which discusses unusual items he’s found while scuba diving in Niagra Falls and how these items tie into the area’s mysteries and local folklore.
Walter and Abby meet up again later, and she tells him about the kidnapping that she witnessed, while he drops hints to her about what he really thinks happened to Alex Moulin. It’s a conspiracy theory that he says involves the wealth, power and corruption of the Lake family, and he suspects that Charles Lake III is definitely part of a cover-up. Walter encourages Abby to continue sleuthing. Her skill at being a liar comes in handy when she thinks of various schemes to get to the bottom of the mystery.
“Disappearance at Clifton Hill” will keep viewers riveted as Abby gets more and more wrapped up in the case. There are a few scenes that stretch credulity, but they can be explained away because Niagra Falls doesn’t have a large police force, thereby making it easier for Abby to act like a one-person detective agency and not get too much blowback about it from the local police. She’s also investigating something that the police don’t think is worth investigating, so she’s not competing with them to solve this mystery.
The movie was filmed entirely on location in the Niagra Falls area. That authenticity greatly benefits the look of “Disappearance at Clifton Hill,” which has a memorable Hitchcock-influenced chase sequence at night on the Clifton Hill promenade. It’s an area filled with funhouses, wax museums and carnival attractions that look much more sinister in the dark.
The movie’s cast also does a very good and credible job in portraying these realistic characters. Abby’s resourceful determination and her willingness to try to atone for her past mistakes will make viewers root for her. And her sleuthing skills will almost make people think that she’s should be a private investigator instead of a motel owner. If you like suspenseful mysteries with some unpredictable twists and intriguing characters, then “Disappearance at Clifton Hill” is definitely worth your time.
IFC Films/IFC Midnight released “Disappearance at Clifton Hill” in select U.S. cinemas on February 28, 2020.
The following is a combination of press releases from the Berlin International Film Festival:
The 70th annual Berlin International Film Festival took place in Germany from February 20 to March 1, 2020. The awards were announced on February 29. A complete list of awards for can be found here.
PRIZES OF THE INTERNATIONAL JURY
Members of the Jury: Jeremy Irons (Jury President), Bérénice Bejo, Bettina Brokemper, Annemarie Jacir, Kenneth Lonergan, Luca Marinelli, Kleber Mendonça Filho
Golden Bear for Best Film (awarded to the film’s producers) Sheytan vojud nadarad (There Is No Evil) (Es gibt kein Böses) by Mohammad Rasoulof; produced by Mohammad Rasoulof, Kaveh Farnam, Farzad Pak
Silver Bear Grand Jury Prize Never Rarely Sometimes Always by Eliza Hittman
Silver Bear for Best Director
Hong Sangsoo for Domangchin yeoja (The Woman Who Ran | Die Frau, die rannte)
Silver Bear for Best Actress
Paula Beer in Undine by Christian Petzold
Silver Bear for Best Actor
Elio Germano in Volevo nascondermi (Hidden Away) by Giorgio Diritti
Silver Bear for Best Screenplay D’Innocenzo Brothers for Favolacce (Bad Tales) by D’Innocenzo Brothers
Silver Bear for Outstanding Artistic Contribution
Jürgen Jürges for the cinematography in Dau. Natasha by Ilya Khrzhanovskiy, Jekaterina Oertel
Silver Bear — 70th Berlinale Effacer l’historique and Delete History by Benoît Delépine, Gustave Kervern
PRIZES OF THE ENCOUNTERS JURY
Members of the Jury: Shôzô Ichiyama, Dominga Sotomayor, Eva Trobisch
Best Film The Works and Days (of Tayoko Shiojiri in the Shiotani Basin) by C.W. Winter, Anders Edstrom
Special Jury Award The Trouble With Being Born by Sandra Wollner
Best Director Malmkrog by Cristi Puiu
Special Mention Isabella by Matías Piñeiro
GWFF BEST FIRST FEATURE AWARD
Members of the Jury: Ognjen Glavonić, Hala Lotfy, Gonzalo de Pedro Amatria
GWFF Best First Feature Award endowed with €50,000, funded by GWFF Los conductos by Camilo Restrepo produced by Helen Olive, Martin Bertier, Felipe Guerrero
Special Mention Nackte Tiere (Naked Animals) by Melanie Waelde produced by Anja Wedell
BERLINALE DOCUMENTARY AWARD
Members of the Jury: Gerd Kroske, Marie Losier, Alanis Obomsawin
Berlinale Documentary Award endowed with €40,000, funded by Rundfunk Berlin-Brandenburg (rbb) Irradiés (Irradiated) by Rithy Panh produced by Catherine Dussart
Special Mention Aufzeichnungen aus der Unterwelt (Notes from the Underworld) by Tizza Covi, Rainer Frimmel produced by Tizza Covi, Rainer Frimmel
PANORAMA AWARDS
The audience has voted: The 22nd Panorama Audience Award for the best feature film goes to Otac (Father) by Srdan Golubović. Welcome to Chechnya by David France wins in the category Panorama Dokumente. The prizes are awarded by the Berlinale section Panorama together with radioeins and rbb television (Rundfunk Berlin-Brandenburg).
Otac (Father) shows Nikola fighting for his children. After they have been taken away from him by social services, he sets off on foot to lodge a complaint in Belgrade. Srdan Golubović delivers a moving tale about inequality. Welcome to Chechnya is the first documentary about the activists who join forces to save other people’s and their own lives in the face of the systematic persecution of the LGBTQI* community carried out by the Chechen authorities. David France’s film is a tour de force charged with resilience and courage.
The official awards ceremony will take place on Berlinale Publikumstag, Sunday, March 1, at 5 pm in CinemaxX 7 at Potsdamer Platz. Martina Zöllner, rbb programme manager for documentation and fiction, and Robert Skuppin, radioeins programme director, will present the prizes. Knut Elstermann, radioeins film expert, will moderate the event together with Panorama head Michael Stütz. The award-winning feature film will be shown immediately after the award ceremony, the winner of the Panorama Dokumente will be shown at 8 pm, also in CinemaxX 7.
The Panorama Audience Award has been bestowed since 1999. As of 2011, both the best feature film and the best documentary have been honored. During the Berlinale, all cinema-goers are invited to rate the films in the Panorama section on a voting card. In total around 20,000 votes were cast and evaluated.
This year, Panorama presented a total of 36 feature films from 30 production countries, 13 of them were in Panorama Dokumente.
Panorama Audience Award Winner – Feature Film 2020: Otac (Father)
Serbia / France / Germany / Croatia / Slovenia / Bosnia and Herzegovina
by Srdan Golubović
2nd Place Panorama Audience Award Winner – Feature Film 2020: Futur Drei (No Hard Feelings)
Germany
by Faraz Shariat
3rd Place Panorama Audience Award Winner – Feature Film 2020: Håp (Hope)
Norway / Sweden
by Maria Sødahl
Panorama Audience Award Winner – Panorama Dokumente 2020: Welcome to Chechnya
USA
by David France
2nd Place Panorama Audience Award Winner – Panorama Dokumente 2020: Saudi Runaway
Switzerland
by Susanne Regina Meures
3rd Place Panorama Audience Award Winner – Panorama Dokumente 2020: Petite fille (Little Girl)
France
by Sébastien Lifshitz
Culture Representation: Taking place in England, Sri Lanka and the Greek island of Mykonos, the dark satirical comedy “Greed” has a predominantly white cast of characters (with some Southeast Asians and Syrians) representing the rich, middle-class and poor.
Culture Clash: “Greed” takes a scathing look at a ruthless billionaire retail mogul and the exploitation of poor laborers who helped build his empire.
Culture Audience: This movie will appeal mostly to people who like comedies that address issues about social classes and poke fun at rich people, but the film overstuffs the story with too many flashbacks and distracting subplots.
Steve Coogan in “Greed” (Photo by Amelia Troubridge/Sony Pictures Classics)
On the surface, “Greed” (written and directed by Michael Winterbottom) might give the most screen time to the pompous billionaire who’s the central character, but the movie’s heart really lies with the anonymous laborers who are exploited to make this arrogant mogul (and others just like him) wealthy and mostly able to dodge accountability. The story, which is a dark satire, centers on British billionaire Sir Richard McCreadie (played by Steve Coogan), who has made his fortune with an empire of discount clothing stores whose chief rivals are H&M and Zara. He is so proud of being a ruthless businessman that he’s created a nickname for himself: “Greedy McCreadie.”
About half of the movie shows Richard on the Greek island of Mykonos, where he’s planning a lavish, star-studded 60th birthday party that will have a Roman toga theme. Things aren’t going so well, since the small amphitheater being constructed for the party probably won’t be finished in time. Many of the invited celebrity guests are canceling or declining their invitations. And the party is really a distraction from the Parliamentary inquiry that McCreadie has had to answer to about allegations of his company’s corruption and improper use of funds.
If you think all of this sounds like Sir Philip Green, the British billionaire founder of Arcadia Group (the parent company of Topshop, Miss Selfridge, Outfit and many more clothing stores), you would be right. Green went through a scandalous Parliamentary hearing in 2018 over mishandling of pension funds. That same year, a member of Parliament also named Green as someone with numerous employee accusations of racism and sexual harassment, with the complaints settled out of court. Winterbottom says that although Green inspired many aspects of “Greed,” the movie isn’t about him, and the Richard McCreadie character is a composite of billionaire moguls.
Greedy McCreadie has an orange-tinted fake tan, super-white dental veneers and a cocaine-snorting, supermodel trophy girlfriend named Naomi (played by Shanina Shaik), who’s young enough to be his daughter. He’s narcissistic, he judges people’s worth by how much money they have, and he treats people like disposable pawns in a game of chess. In other words, he’s the epitome of what people despise about the type of super-rich people who think they’re cool but they’re actually superficial jerks.
Richad’s 60th birthday party will be an ostentatious display of wealth. The event planner Melanie (played by Sarah Solemani) tells Richard that the party will be like “The Great Gatsby” meets “Gladiator” meets “The Godfather”—and Richard loves the idea. And just like many billionaires, Richard wants to surround himself with celebrities.
Melanie’s main job is to wrangle in as many famous people as possible to attend the party. She and Richard go down a list of possible performers in a somewhat hilarious takedown of what real-life celebrities charge for personal appearance fees. (Richard is appalled that Shakira charges as much as Elton John, and he’s thrilled that Tom Jones’ fee is a bargain in comparison.) There’s enough name dropping in this movie to fill the half-finished amphitheater for the party, which has a caged lion on display.
Several real-life celebs (mostly British) make cameos in the film, including Stephen Fry and Fatboy Slim, who are actually at the party. Most of the other stars—including Keira Knightley, Colin Firth and Coldplay’s Chris Martin—appear via video messages where they wish Richard a happy birthday. And when Richard thinks that not enough celebrities will be at the party, Richard gives Melanie the go-ahead to hire celebrity impersonators. One of the movie’s funniest scenes is when the fake celebs are gathered in a dressing room at the party and get various levels of approval by Richard.
The movie begins on a somewhat jarring note, with a celebrity cameo whose life came to a tragic end in real life. The opening scene is of Richard at a company event where he’s giving out awards to employees. The host of the award ceremony is British TV presenter Caroline Flack, who in real life tragically died by committing suicide at the age of 40 on February 15, 2020. At the ceremony, Richard announces that he’s giving a huge chunk of his company dividends to his ex-wife Samantha (played by Isla Fisher), making it the largest dividend payout from a privately held company.
Samantha (who is the mother of the youngest child of Richard’s three kids) is among the family members who will be at Richard’s 60th birthday bash. They include his domineering widowed mother Margaret (played by Shirley Henderson); his insecure teenage son named Finn (played by Asa Butterfield); and his spoiled 20-something daughter Lily (played by Sophie Cookson). Richard has another child, a pouty son in his 20s named Adrian (played by Matt Bentley), who shows up later in the story. Samantha has also brought her much-younger lover named François (played by Christophe de Choisy) to the party.
Richard’s entourage includes his vapid girlfriend Naomi and his kind-hearted and hard-working personal assistant Amanda (played by Dinita Gohil), who’s risen to this position after starting off as a factory employee for his company. Amanda is part of a subplot involving extremely underpaid workers (most of them women) in Sri Lanka who make the clothes that Richard’s company sells. Richard doesn’t care if these workers are underpaid and mistreated if it means it will make him wealthier.
Richard’s official biographer Nick (played by David Mitchell), who’s an opportunistic journalist, is also tagging along at the party. Half of the time, Nick wonders what he’s gotten himself into with this assignment, because he’s witnessing some very unflattering things about Richard that would be tricky to put in the biography. Richard is essentially the Boss From Hell, who does a lot of yelling and hurling of insults when things don’t go his way. He’s also the type of toxic head honcho who will demand that things be done a certain way, forget that it was his decision, and then blame it on someone else if things go wrong.
Although “Greed” might sound like a clever concept to expose the corrupt side of the fashion industry, the execution of the idea is unfortunately a little too haphazard and overstuffed. There are so many flashbacks in the movie, that even the flashbacks have flashbacks. They include seeing how a young Richard (played by Jamie Blackley) went from being expelled from school at age 16 to becoming a hotshot and unscrupulous wheeler dealer in the discount fashion business.
Richard is a tough negotiator and he has no qualms about exploiting workers so he can get cheap labor and increase profits. There are also scenes of Richard facing the Parliament investigation into his shady business practices. Richard is almost proud of the fact that he gets people to invest millions in his companies, he keeps the profits, but then when the investors want their share of the profits, he shuts down the business by declaring bankruptcy.
There’s one scene where a female protestor crashes into the hearings and throws a pie in Richard’s face. It’s the movie’s obvious spoof of what happened in real life to billionaire media mogul Rupert Murdoch in 2011, during his own Parliamentary hearing. Greedy McCreadie, ever the name dropper, tells Parliament that at least he’s more honest than Richard Branson and Bono when it comes to investors’ money.
And then the movie has subplots about other people during the party preparations in Mykonos. Several refugees from Syria have camped out at the public beach near the party site. Richard wants the refugees to move because he thinks they’ll ruin the party atmosphere. But since it’s a public beach, the refugees refuse to leave. But then, a plan is put in motion that will get them off the beach, by hiring the refugees as kitchen workers for the party.
Lily is a star of a reality show, so the TV cameras have followed her to Mykonos. The show’s annoying producers and director frequently bark orders at Lily, her TV boyfriend and her friends to redo their pre-fabricated scenes when the director needs another take. (This usually happens when someone who’s not part of the show’s cast “ruins” a shot by accidentally walking into a scene while filming.) One of the staged scenes includes Lily handing out food to the refugees to make her look charitable. But when the producers want her to film the scene again, she has to take back the food, which angers the refugees, who don’t know that they’re being used as part of the staged scene.
The movie also shows Richard’s difficult and complicated relationship with his youngest child Finn, who’s constantly seeking his father’s approval and attention and not getting much of either. Finn, who both admires and fears his father, gets a little bit of Oedipal revenge when he makes moves on Richard’s trophy girlfriend Naomi while Finn is high on some of her cocaine. Naomi does a little flirting with Finn, who seems to know deep down that Naomi is only interested in the man in the McCreadie family who has the most money.
Meanwhile, Richard and his ex-wife Samantha clearly have unfinished personal business. When they’re alone together, they flirt and give each other loving kisses. Samantha also tries to be the “cool ex-wife” by being very friendly to Naomi, probably because she knows that Naomi is just a fling, while Samantha still has a hold on Richard because she’s a big part of his business and she’s the mother of one of his children.
And if all these shenanigans weren’t enough, during the party preparations, there are plenty of meltdowns from logistics coordinator Sam (played by Tim Key), who’s frantic about the amphitheater being finished on time. There are also issues with laborers who are unhappy with their wages and unrealistic time constraints. Predictable conflicts about this work then play out in the story.
In the production notes of “Greed,” Winterbottom says that when he was seeking financing for the movie, he told potential investors that the tone of “Greed” would be similar to “The Big Short,” writer/director Adam McKay’s 2015 Oscar-winning satire of Wall Street’s manipulation of the U.S. housing market. The biggest differences between “The Big Short” and “Greed” (besides “The Big Short” being a much-better movie) are that in “Greed,” there’s no breaking down of a fourth wall with characters talking directly to the viewers, and “Greed” tries to do too much with the characters in the story instead of keeping it more focused. This is supposed to be a movie, not a TV series.
Although there are some snappy and witty lines in “Greed,” the movie’s overall tone has the same smugness that it lampoons in Greedy McCreadie. The movie spends so much time inflating and skewering the super-rich and their flunkies that it feels almost like a pandering afterthought when the film tries to counterbalance the satire at the end, with sobering statistics about laborer exploitation in the fashion industry. The materialistic and selfish characters in “Greed” are like people who’ve overstayed their welcome at their own party. And viewers of this movie will find most of these characters so unappealing that they’ll be glad when this party is over.
Sony Pictures Classics released “Greed” in select U.S. cinemas on February 28, 2020.
