The Academy of Country Music (ACM) Awards have announced the initial list of performers for the 2017 show, which will take place April 2 at T-Mobile Arena in Las Vegas. The performers will include Jason Aldean, Dierks Bentley, Luke Bryan, Florida Georgia Line, Lady Antebellum, Miranda Lambert, Little Big Town, and Maren Morris. The Backstreet Boys will make their debut appearance at the ACM Awards, performing with Florida Georgia Line; the two acts are touring together in 2017.
As previously announced, Keith Urban is the leading award contender for the show: He received the most nominations (seven) for the 52nd Annual ACM Awards. Bryan and Bentley will return for the second year in a row to host the ACM Awards, which is produced for television by Dick Clark Productions. CBS will have the live U.S. telecast.
March 14, 2017 UPDATE: These winners have been announced, and they will be performing at the 2017 ACM Awards:
Brothers Osborne – New Vocal Duo or Group of the Year presented by T-Mobile
Maren Morris (previously announced performer) – New Female Vocalist of the Year presented by T-Mobile
Jon Pardi – New Male Vocalist of the Year presented by T-Mobile
DJ Khaled is set to host the first Summerfest Cruise. a hip-hop music festival that will take place on a Norwegian Sky cruise ship in the Caribbean from June 30 to July 3, 2017. Future, A$AP Rocky, Lil Wayne, Migos and other artists to be announced will perform at the festival. The cruise debarks on June 30, from Miami, and then makes stops in Nassau, Bahamas, and the exclusive private island of Great Stirrup Cay before returning to Miami on Monday, July 3. Cabin prices range from $721 to $1279 per person and can be purchased online at Summerfestcruise.com.
According to a press release, the Norwegian Sky spans 848 feet and features 1,002 state-of-the-art cabins. It is equipped with 11 dining options, 11 bars and lounges, two swimming pools, five hot tubs, a spa and salon, a fitness center, a jogging track, golf driving nets, a basketball and volleyball court, galleria shops, a video arcade and a casino.
In addition to musical performances, Summerfest Cruise 2017 will partner with multiple brands (to be announced) to feature exclusive experiences spanning fashion, sports, gourmet dining and interactive tech and gaming.
in a statement, DJ Khaled commented, “They don’t want us to be on a cruise—so we are going on the most major cruise the world has ever seen—hosted by me and my roster of superstar friends. But don’t get it twisted—Summerfest Cruise 2017 is more than just a cruise, it’s a movement. A movement of good vibes and creative energy. A movement that connects the worlds of music, fashion, culture, technology and design. We’re going to give you everything—the dopest live concerts, spectacular fashion pop-ups, enlightening panels and presentations—this will be one for the books. Don’t play yourself. Reward yourself.”
Hip-hop star Drake won the most prizes (six) at the fourth annual iHeartRadio Music Awards, which took place March 5, 2017, at the Forum in Los Angeles. The event was televised live in the U.S. on TBS, TNT and truTV and simulcast on iHeartMedia stations nationwide, as well as on the digital music/live streaming radio service iHeartRadio.
Hosted by Ryan Seacrest, the show included musical performances by Bruno Mars, Katy Perry, Ed Sheeran, the Chainsmokers featuring Chris Martin, Shawn Mendes, Thomas Rhett, Noah Cyrus and Big Sean. iHeartRadio and Den of Thieves produced the show.
Drake went into the ceremony with 12 nominations, and won prizes such Hip-Hop Artist of the Year and Hip-Hop Album of the Year (for “Views”). The Chainsmokers had 11 nominations and ended up winning five awards: Best New Artist, Best New Pop Artist, Best Dance Artist, Best Dance Album (for “Collage”) and Dance Song of the Year (for “Closer”). Other multiple winners included Twenty One Pilots, Justin Bieber, Fifth Harmony and Adele.
The award show had several new categories in 2017. This year’s Best New Artist awards are grouped by music format, with the winners of each genre announced in February. Those winners then became finalists for the top title of Best New Artist presented by the all-new 2017 Subaru Impreza. All nominees and winners are listed below. For a full list of categories visit iHeartRadio.com/awards.
Category finalists (by alphabetical order) are:
Song of the Year “Can’t Stop the Feeling” – Justin Timberlake***
“Cheap Thrills” – Sia featuring Sean Paul
“Closer” – The Chainsmokers featuring Halsey
“One Dance” – Drake featuring Wizkid and Kyla
“Stressed Out” – Twenty One Pilots
Female Artist of the Year Adele***
Male Artist of the Year
Drake Justin Bieber***
Best New Artist
Kelsea Ballerini The Chainsmokers***
Chance the Rapper
Best Duo/Group of the Year
Florida Georgia Line
The Chainsmokers Twenty One Pilots***
Best New Pop Artist
Alessia Cara The Chainsmokers***
Pop Album of the Year “25” – Adele***
Producer of the Year Benny Blanco***
Alternative Rock Song of the Year
“Bored to Death” – Blink-182
“Dark Necessities” – Red Hot Chili Peppers “Heathens” – Twenty One Pilots***
“Ride” – Twenty One Pilots***
“Trouble” – Cage the Elephant
Alternative Rock Artist of the Year
Cage the Elephant
The Strumbellas Twenty One Pilots***
Best New Rock/Alternative Rock Artist (New Category)
Nathaniel Rateliff & The Night Sweats
Red Sun Rising The Strumbellas***
Alternative Rock Album of the Year “Blurryface” – Twenty One Pilots***
Rock Song of the Year “Bang Bang” – Green Day***
“Dark Necessities” – Red Hot Chili Peppers
“Take Me Down” – The Pretty Reckless
“The Devil’s Bleeding Crown” – Volbeat
“The Sound Of Silence” – Disturbed
Rock Artist of the Year Disturbed***
Five Finger Death Punch
Red Hot Chili Peppers
Rock Album of the Year “Hardwired … To Self-Destruct” – Metallica***
Country Song of the Year
“Church Bells” – Carrie Underwood
“Snapback” – Old Dominion “Somewhere on a Beach” – Dierks Bentley***
“T-Shirt” – Thomas Rhett
“You Should Be Here” – Cole Swindell
Country Artist of the Year
Luke Bryan Thomas Rhett***
Best New Country Artist (New Category)
Granger Smith Kelsea Ballerini***
Country Album of the Year “Traveller” – Chris Stapleton***
Dance Song of the Year “Closer” – The Chainsmokers featuring Halsey***
“Cold Water” – Major Lazer featuring Justin Bieber and MØ
“Don’t Let Me Down” – The Chainsmokers featuring Daya
“I Took a Pill in Ibiza” – Mike Posner
“Let Me Love You” – DJ Snake featuring Justin Bieber
Dance Artist of the Year
Major Lazer The Chainsmokers***
Dance Album of the Year “Collage” – The Chainsmokers***
Hip-Hop Song of the Year
“All The Way Up” – Fat Joe and Remy Ma featuring French Montana and Infared
“Controlla” – Drake
“For Free” – DJ Khaled featuring Drake “One Dance” – Drake featuring Wizkid and Kyla***
“Panda” – Desiigner
Hip-Hop Artist of the Year
DJ Khaled Drake***
Best New Hip-Hop Artist Chance The Rapper***
Hip-Hop Album of the Year “Views” – Drake***
R&B Song of the Year
“Exchange” – Bryson Tiller
“Needed Me” – Rihanna
“No Limit” – Usher featuring Young Thug
“Sorry” – Beyoncé “Work” – Rihanna featuring Drake***
R&B Artist of the Year
Rihanna The Weeknd***
Best New R&B Artist (New Category)
Belly Bryson Tiller***
R&B Album of the Year “Anti” – Rihanna***
Latin Song of the Year
“Ay Mi Dios” – IAmChino featuring Pitbull, Yandel and El Chacal
“De Pies A Cabeza” – Mana featuring Nicky Jam “Duele El Corazon” – Enrique Iglesias featuring Wisin***
“La Carretera” – Prince Royce
“Ya Me Enteré” – Reik featuring Nicky Jam
Latin Artist of the Year
J Balvin Nicky Jam***
Best New Latin Artist
Christian Daniel CNCO***
Latin Album of the Year “Energia” – J Balvin***
Regional Mexican Song of the Year
“Amor Del Bueno” – Calibre 50
“Cicatrices” – Regulo Caro “Me Está Gustando” – Banda Los Recoditos***
“¿Por Qué Terminamos?” – Gerardo Ortiz
“Solo Con Verte” – Banda Sinaloense MS de Sergio Lizárraga
Regional Mexican Artist of the Year
Banda El Recodo de Cruz Lizárraga
Banda Los Recoditos Calibre 50***
Best New Regional Mexican Artist Adriel Favela
Banda Los Sebastianes
Cheyo Carrillo Joss Favela***
La Séptima Banda
Regional Mexican Album of the Year “Recuerden Mi Estilo” – Los Plebes Del Rancho De Ariel Camacho***
Best Lyrics (Socially Voted Category)
“7 Years” – Lukas Graham
“Came Here to Forget” – Blake Shelton
“Cheap Thrills” – Sia featuring Sean Paul
“Closer” – The Chainsmokers featuring Halsey
“Heathens” – Twenty One Pilots “Love Yourself” – Justin Bieber***
“Scars to Your Beautiful” – Alessia Cara
“Send My Love (To Your New Lover)” – Adele
“Too Good” – Drake featuring Rihanna
“You Should Be Here” – Cole Swindell
Best Collaboration (Socially Voted Category)
“Cheap Thrills” – Sia featuring Sean Paul
“Closer” – The Chainsmokers featuring Halsey
“Don’t Let Me Down” – The Chainsmokers featuring Daya
“This Is What You Came For” – Calvin Harris featuring Rihanna “Work” – Rihanna featuring Drake***
Best Cover Song (Socially Voted Category)
“All I Ask” – Bruno Mars “Ex’s and Oh’s” – Fifth Harmony***
“Fast Car” – Justin Bieber
“Hands to Myself” – DNCE
“Here” – Shawn Mendes
“How Will I Know” – Ariana Grande
“Love on the Brain” – Kelly Clarkson
“Purple Rain” – Jennifer Hudson and the cast of “The Color Purple”
“Sound of Silence” – Disturbed
“Too Good” – Zara Larsson
Best Song from a Movie (Socially Voted Category)
“Can’t Stop the Feeling” – Justin Timberlake (from “Trolls”)
“Falling for You” – Ellie Goulding (from “Bridget Jones’s Baby”) “Girls Talk Boys” – 5 Seconds of Summer (from “Ghostbusters”)***
“Heathens” – Twenty One Pilots (from “Suicide Squad”)
“Just Like Fire” – Pink (from “Alice Through the Looking Glass”)
Best Music Video (Socially Voted Category)
“Can’t Stop the Feeling” – Justin Timberlake
“Don’t Let Me Down” – The Chainsmokers featuring Daya
“Formation” – Beyoncé
“Hasta El Amanecer” – Nicky Jam
“Heathens” – Twenty One Pilots
“Hymn for the Weekend” – Coldplay
“I Took A Pill In Ibiza” – Mike Posner
“Pillowtalk” – Zayn
“Side to Side” – Ariana Grande featuring Nicki Minaj
“This Is What You Came For” – Calvin Harris featuring Rihanna
“Work” – Rihanna featuring Drake “Work From Home” – Fifth Harmony featuring Ty Dolla Sign***
Best Underground Alternative Band: (Socially Voted Category)
Hey Violet Pierce the Veil***
Sleeping With Sirens
Social Star Award (Socially Voted Category)
Alex Aiono from YouTube
Baby Ariel from Musical.ly
Emma McGann from YouNow
Hailey Knox from YouNow Jack and Jack from Snapchat***
Jacob Sartorius from Musical.ly
Marcus Perez from Facebook
Steph Clavin from Instagram
Todrick Hall from YouTube
xYego from Smule
Best Fan Army presented by Taco Bell (Socially Voted Category)
5 Seconds of Summer – 5SOSFam
Ariana Grande – Arianators
Beyoncé – Beyhive
Britney Spears – Britney Army
Demi Lovato – Lovatics Fifth Harmony – Harmonizers***
Justin Bieber – Beliebers
Katy Perry – KatyCats
Lady Gaga – Little Monsters
Rihanna – Rihanna Navy
Selena Gomez – Selenators
Shawn Mendes – Mendes Army
twenty one pilots – #twentyonepilots
Best Solo Breakout
Olivia O’Brien Zayn***
Best Tour “A Headful of Dreams Tour” – Coldplay***
Most Thumbed Up Artist of the Year Drake***
Most Thumbed Up Song of the Year Drake featuring Wizkid & Kyla***
Usher, Mary J. Blige, Faith Evans, the Roots and Cedric the Entertainer will perform the 17th annual Soul Beach Music Festival, which will take place in Aruba from May 24 to 29, 2017. The Roots have teamed up with Usher as his accompanying band, and performed several shows with him in 2016. Blige’s 14th studio album, “Strength of a Woman,” is due out sometime in 2017. In 2016, she co-headlined a tour with Maxwell. Evans was part of the Bad Boy Family reunion tour in 2016. The Roots also serve as the in-house band for NBC’s “The Tonight Show Starring Jimmy Fallon.” Usher’s eighth studio album, “Hard II Love,” was released in September 2016.
Cate Blanchett, Zachary Quinto, Liev Schreiber, Richard Gere, Ed Helms, Chloë Sevigny and Rami Malek are among the stars of feature films that will premiere at the 16th Annual Tribeca Film Festival, which will take place April 19 to 30, 2017, at various locations in New York City. The first Tribeca Film Festival (which was co-founded by Robert De Niro, Jane Rosenthal and Craig Hatkoff) launched in 2002, in order to revitalize business in downtown Manhattan after the 9/11 terrorist attacks.
According to the Tribeca Film Festival, the curators of the 2017 festival “chose to reduce the size of the overall program by 20 percent, making this the most selective and focused festival slate yet.” The Competition section features 32 films. The Spotlight Narrative section features 15 fiction films, Spotlight Documentary section has 16 films. The Midnight section consists of five feature films and one documentary.
In February, it was announced that the opening-night film for the 2017 Tribeca Film Festival is the world premiere of the documentary “Clive Davis: The Soundtrack of Our Lives,” at Radio City Music Hall on April 19. The premiere will be followed by a concert with performances by Aretha Franklin, Jennifer Hudson, Earth, Wind & Fire and more artists to be announced. Directed by Chris Perkel, the film (which is about Davis, a legendary music mogul/producer) is produced by Michael Bernstein of Scott Free Productions, with Ridley Scott and Mary Lisio executive producing alongside IM Global’s Stuart Ford, David Schulhof, and Deborah Zipser. IM Global provided financing for the film. IM Global is handling all international distribution rights and WME is handling domestic sales.
The 2017 Tribeca Film Festival’s sponsors includes AT&T the presenting sponsor; Lincoln Motor Company, sponsor of the Spotlight screening; and EFFEN Vodka, sponsor of the Midnight screenings.
The following information is an excerpt from a Tribeca Film Festival press release:
To honor Earth Day, which falls during the Festival, the programmers chose to highlight documentaries that focus on critical and timely issues that have an impact on our planet, including climate change, food waste, and animal extinction. Each of these films will screen on Earth Day, April 22, as well as throughout the Festival. This will be reflected in other sections of the festival programming as well, including VR and Tribeca N.O.W
The remaining feature-length films including Galas, the Closing Night Film, and Special Sections will be announced on March 7.
The films selections are as follows:
U.S. Narrative Competition
Tribeca’s U.S. Narrative Competition recognizes the extraordinary work emerging from thriving American independent film communities today, affirming Tribeca’s commitment to discovering and elevating truly fresh, independent voices. These ten films will compete for the Founders Award for Best Narrative Feature, Best Screenplay, Best Cinematography, Best Actor, and Best Actress.
Aardvark, directed and written by Brian Shoaf. (USA) – World Premiere. While battling her own anxieties, therapist Emily Milburton (Jenny Slate) spends her time listening to other people’s problems. Her professional and personal worlds collide when Emily’s newest patient, Josh Norman (Zachary Quinto), walks through her door. Mentally ill and experiencing hallucinations, Josh harbors complex feelings for his estranged brother, Craig (Jon Hamm). Things begin to get interesting when Emily falls for Craig. With Sheila Vand, Tonya Pinkins, Marin Ireland.
Abundant Acreage Available, directed and written by Angus MacLachlan. (USA) – World Premiere. Still reeling over the recent death of their father, siblings Jesse (Terry Kinney) and Tracy (Amy Ryan) are attempting to settle into their new lives in his absence. Their simple existence is unexpectedly disrupted by the sudden arrival of three mysterious brothers, camping on their land and possessing a surprising connection to their family farm. With Max Gail, Francis Guinan, Steve Coulter.
Blame, directed and written by Quinn Shephard. (USA) – World Premiere. Abigail (Quinn Shephard) is an outcast who seeks solace in fantasy worlds. When high school drama teacher Jeremy (Chris Messina) casts her in Arthur Miller’s ‘The Crucible,’ Abigail’s confidence blooms. But soon her relationship with Jeremy begins to move beyond innocent flirtation, and it in turn fuels a vengeful jealousy that quickly spirals out of control and brings about a chain of events that draws parallels to Salem. With Nadia Alexander, Tate Donovan, Trieste Kelly Dunn, Tessa Albertson.
The Endless, directed by Justin Benson and Aaron Moorhead, written by Justin Benson. (USA) – World Premiere. Years after escaping a cult as teenagers, brothers Aaron and Justin return to their former home after receiving a mysterious message. While Aaron is quickly drawn back into the fold, Justin remains uneasy. However, neither can deny it when strange events begin happening that seem to mirror the cult’s unusual axioms. Following their Tribeca breakout, “Resolution,” Justin Benson and Aaron Moorhead direct and star in another intensely original genre hybrid. With Tate Ellington, Callie Hernandez, James Jordan, Lew Temple.
Flower, directed by Max Winkler, written by Alex McAulay, Max Winkler, Matt Spicer. (USA) – World Premiere. Rebellious and quick-witted, 17-year-old firecracker Erica Vandross (Zoey Deutch) kills time with her friends gawking at older men in bowling alleys and sexually scheming guys out of their money. However, her biggest scheme is still to come when her mother asks her boyfriend and his troubled, fresh-out-of-rehab son to move in with them in this biting dark comedy. With Kathryn Hahn, Adam Scott, Tim Heidecker, Joey Morgan, Dylan Gelula.
Keep the Change, directed and written by Rachel Israel. (USA) – World Premiere. In a support group for adults living with autism, David—a smooth talker struggling to hide his disability—meets a woman with similar learning challenges, and they quickly forge an intimate bond. Starring a cast of nonprofessional actors on the autism spectrum, Keep the Change details an underrepresented community with authenticity, optimism and humor. With Brandon Polansky, Samantha Elisofon, Nicky Gottlieb, Will Deaver, Jessica Walter, Tibor Feldman.
Love After Love, directed by Russell Harbaugh, written by Russell Harbaugh, Eric Mendelsohn. (USA) – World Premiere. The world of a mother and her two adult sons feels emotionally untethered following the death of their family’s patriarch. Andie MacDowell, Chris O’Dowd, and James Adomian deliver searing performances in this absorbing story of a family losing and regaining their equilibrium in the wake of loss. With Juliet Rylance, Dree Hemingway, Gareth Williams.
One Percent More Humid, directed and written by Liz W. Garcia. (USA) – World Premiere. Catherine (Julia Garner) and Iris (Juno Temple) are childhood friends home from college for a hot New England summer. As they attempt to enjoy parties and skinny-dipping and the usual vacation hijinks, a shared trauma in their past becomes increasingly difficult to suppress. As the wedge between the friends grows, they each pursue forbidden affairs to cope. With Alessandro Nivola, Maggie Siff, Philip Ettinger, Mamoudou Athie.
Saturday Church, directed and written by Damon Cardasis. (USA) – World Premiere. 14-year-old Ulysses is a shy and effeminate teen being raised in the Bronx by his strict Aunt Rose. He finds escape in a rich fantasy life of music and dance, and soon with a vibrant transgender youth community called Saturday Church. Damon Cardasis’ directorial debut is a rousing celebration of one boy’s search for his identity. With Luka Kain, Margot Bingham, Regina Taylor, Marquis Rodriguez, MJ Rodriguez, Indya Moore, Alexia Garcia.
Thirst Street, directed by Nathan Silver, written by Nathan Silver, C. Mason Wells. (USA, France) – World Premiere. There’s a fine line between lust and obsession—and for flight attendant Gina (Lindsay Burdge), that line is often difficult to see. Grieving over a lover’s suicide, Gina loses her grip on reality after falling for a suave Parisian bartender. Tribeca alum Nathan Silver (“Actor Martinez”) takes cues from ‘70s Euro erotic psychodramas in this gorgeously retro and piercingly intimate look at one-sided love. With Damien Bonnard, Esther Garrel, Lola Bessis, Jacques Nolot, Françoise Lebrun. In English, French with subtitles.
International Narrative Competition
Representing 20 countries and four continents, Tribeca’s International Narrative Competition is a true global showcase of the best in world cinema today. These 10 international gems will compete for Best Narrative Feature, Best Screenplay, Best Cinematography, Best Actor, and Best Actress.
The Divine Order (Die göttliche Ordnung), directed and written by Petra Volpe. (Switzerland) – International Premiere. Political leaders in Switzerland cited ‘Divine Order’ as the reason why women still did not have the right to vote as late as 1970. Director Petra Volpe explores this surprising history through the story of Nora, a quiet housewife from a quaint village searching for the fierce suffragette leader inside her. With Marie Leuenberger, Max Simonischek, Rachel Braunschweig, Sibylle Brunner, Marta Zoffoli, Bettina Sucky. In Swiss-German with subtitles.
Holy Air (Hawa Moqaddas), directed and written by Shady Srour. (Israel) – World Premiere. Desperate to care for his pregnant wife and ailing father, Adam (writer/director Shady Srour) embarks on his latest, riskiest business venture: selling bottled holy air. A sharp comedy set in modern-day Nazareth, Holy Air examines the complicated emotions that go into living as a modern, progressive, Christian family on the world’s most spiritual ground. With Laëtitia Eïdo, Shmulik Calderon, Tareq Copti, Dalia Okal, Bian Anteer. In Arabic, English, French, Hebrew, Italian with subtitles.
Ice Mother (Bába z ledu), directed and written by Bohdan Sláma. (Czech Republic, Slovakia, France) – International Premiere. Hana lives alone in a big villa with only weekly visits from her two belligerent sons and their families to look forward to. While on a stroll with her grandson one day, she rescues Brona, an elderly ice swimmer with a hen for a best friend, from drowning. This encounter invigorates Hana, introducing her to a new hobby and unexpected romance. With Zuzana Kronerová, Pavel Nový, Daniel Vízek, Václav Neužil. In Czech with subtitles.
King of Peking, directed and written by Sam Voutas. (China, USA, Australia) – World Premiere. Big Wong and his son Little Wong are traveling film projectionists, screening Hollywood movies for local villagers. Faced with losing custody of his son, Big Wong starts making and selling illegal bootleg DVDs out of the old movie theater where he works, despite Little Wong’s objections. More than a father-son story, King of Peking is a love letter to cinema. With Zhao Jun, Wang Naixun, Han Qing, Si Chao, Geng Bowen, Yi Long. In Mandarin with subtitles.
Newton, directed by Amit V Masurkar, written by Mayank Tewari, Amit V Masurka. (India) – North American Premiere. India, the world’s largest democracy, is preparing for an election—and with more than 800 million voters, this is a logistical puzzle of epic proportions. With disarming charm, this film probes the nature of democracy as Newton, a young, idealistic office worker, becomes the torch bearer for political fairness when he volunteers to head up a polling station in the deepest jungle for 76 remote voters. With Rajkummar Rao, Anjali Patil, Pankaj Tripathi, Raghubir Yadav. In Hindi with subtitles.
Nobody’s Watching (Nadie Nos Mira), directed by Julia Solomonoff, written by Julia Solomonoff, Christina Lazaridi. (Colombia, Argentina, Brazil, USA, Spain) – World Premiere. After giving up a successful soap opera career in his native Argentina for a chance to make it in New York, Nico finds himself staying afloat with odd jobs bartending and babysitting. In a moving depiction of the vibrant city, Nobody’s Watching questions who is watching and how we adjust ourselves accordingly. With Guillermo Pfening, Rafael Ferro, Paola Baldion, Elena Roger, Cristina Morrison, Kerri Sohn, Marco Antonio Caponi. In English, Spanish with subtitles.
November, directed and written by Rainer Sarnet. (Estonia, The Netherlands, Poland) – International Premiere. Dive into the cold, snowy landscape of 19th-century Estonia, where werewolves and spirits roam free, and Jesus co-exists with kratts, the farmers’ mythological helpers made of tools and bones. Farmer girl Liina’s doomed romance with local boy Hans is at the center of director Rainer Sarnet’s pagan, black and white world, where the characters search for meaning in their surroundings and ponder the existence of the soul. With Rea Lest, Jörgen Liik, Arvo Kukumägi, Katariina Unt, Taavi Eelmaa, Dieter Laser. In Estonian with subtitles.
Sambá, directed by Laura Amelia Guzmán and Israel Cárdenas, written by Ettore D’Alessandro, Carolina Encarnacion. (Dominican Republic) – World Premiere. Cisco has his back against the ropes. After spending 15 years in an American jail, he’s returned to the Dominican Republic yet is unable to get a job, a problem compounded by his mother’s ailing health and his younger brother’s delinquent habits. To make money, he’s resorted to illegal street fighting. But Cisco finds a possible salvation in Nichi, an Italian ex-boxer who sees dollar signs in Cisco’s gritty fighting skills. With Algenis Pérez Soto, Ettore D’Alessandro, Laura Gómez, Ricardo A. Toribio. In Spanish with subtitles.
Son of Sofia (O Gios tis Sofias), directed and written by Elina Psykou. (Bulgaria, France, Greece) – World Premiere. Set during the 2004 Summer Olympic Games, 11-year-old Misha is travelling from Russia to live with his mother in Athens in the home of an elderly Greek man she works for. When he learns this man is actually his new father, Misha runs away but doesn’t have the stomach for life on the streets. Returning to his new home, he clings to the stories he grew up with, melding them with reality to create a dark urban fairytale. With Viktor Khomut, Valery Tcheplanowa, Thanasis Papageorgiou, Artemis Havalits, Christos Stergioglou, Iro Maltezou. In Greek, Russian with subtitles.
Tom of Finland, directed by Dome Karukoski, written by Aleksi Bardy. (Finland, Sweden, Denmark, Germany) – International Premiere. This is the true story of cult artist Touko Laaksonen, better known as Tom of Finland, and the events that influenced his iconic homoerotic drawings. From Finnish army uniforms to motorcycle leathers, Tom finds inspiration in his European post-war surroundings, even as conservative Finland is not quite ready for his transgressive work. Eventually Tom and his art make their way to dazzling Los Angeles in time for the sexual revolution and its aftermath. With Pekka Strang, Lauri Tilkanen, Werner Daehn, Jessica Grabowsky. In Finnish with subtitles.
World Documentary Competition
In its 16 year history, Tribeca’s esteemed documentary competition has showcased discovery directors, future Oscar nominees, and legendary filmmakers. This year’s selection continues the tradition of spotlighting the best in nonfiction film with 12 stories of artists and activists, social justice and personal conflict, politics and romance, and so much more. These films will compete for Best Documentary Feature, Best Cinematography, and Best Editing.
Bobbi Jene, directed by Elvira Lind, written by Elvira Lind, Adam Nielsen. (Denmark, Israel, USA) – World Premiere. In her moving and cinematic documentary, Elvira Lind follows American dancer Bobbi Jene Smith as she makes the decision of a lifetime. Bobbi returns to the U.S., leaving behind a loving boyfriend and a successful 10-year run as a star dancer of the famous Israeli dance company Batsheva. Lind intimately portrays Bobbi’s rigorous creative process as she starts fresh in San Francisco, while still working to maintain a long-distance relationship.
Copwatch, directed by Camilla Hall. (USA) – World Premiere. “Copwatch” is the true story of We Copwatch, an organization that films police activity as a non-violent form of protest and deterrent to police brutality. In her feature film debut, director Camilla Hall crafts an intriguing and timely profile of citizen-journalist-activists- including Ramsey Orta who filmed Eric Garner’s fatal arrest- who seek to disrupt the ever-present challenge of police violence.
The Death and Life of Marsha P. Johnson, directed by David France, written by David France, Mark Blane. (USA) – World Premiere. Featuring never-before-seen footage and rediscovered interviews, Academy Award nominee David France (“How to Survive a Plague“) follows a new investigation into the mysterious death of self-described “street queen” Marsha P. Johnson. Credited as one of the courageous black transgender activists who instigated the Stonewall Riots of 1969, thereby spearheading the modern gay civil rights movement.
The Departure, directed by Lana Wilson. (USA) – World Premiere. Lana Wilson follows up her award-winning film, After Tiller, with this profile of Ittetsu Nemoto, a Buddhist priest renowned for saving the lives of countless suicidal people. But Nemoto, suffering from heart disease and supporting his wife and young son, risks his life carrying the heavy emotional load to support those who no longer want to live. When saving others takes such a toll, can he find the resiliency to save himself? In Japanese with subtitles.
No Man’s Land, directed by David Byars. (USA) – World Premiere. “We are patriots,” utters one of the characters in David Byars’ detailed, on-the-ground account of the standoff between ranchers occupying Oregon’s Malheur National Wildlife Refuge and federal authorities. That statement—believed to be true by the armed occupiers—underlines the film, which unspools in measured pace and slowly unpacks its loaded meaning.
The Reagan Show, directed by Pacho Velez and Sierra Pettengill, written by Josh Alexander, Pacho Velez, and Fransisco Bello. (USA) – World Premiere. Constructed entirely through 1980s network news and videotapes created by the Reagan administration itself, Velez and Pettengill’s prescient documentary presents Ronald Reagan as the first made-for-TV president—a man whose experience as a performer and public relations expert made him a unique match for an emerging modern political landscape, and for his chief rival: charismatic Soviet leader Mikhail Gorbachev.
A River Below, directed by Mark Grieco. (Colombia, USA) – World Premiere. Deep in the Amazon, a renowned marine biologist and a reality TV star are each working to save the indigenous pink river dolphin from being hunted to extinction. When a scandal erupts, ethical questions are raised as murky as the waters of the Amazon River. Mark Grieco’s (Marmato) surprising documentary digs into the ethics of activism in the modern media age. In English, Portuguese, Spanish with subtitles. Earth Day Screening
The Sensitives, directed by Drew Xanthopoulos. (USA) – World Premiere. Meet the Sensitives, people who are debilitatingly sensitive to modern life—electricity, chemicals, you name it. Their symptoms and coping mechanisms might vary, but they all face the unusual and heartbreaking choice of either living in dangerous and uncertain conditions with their loved ones, or in physical and technological isolation. Director Drew Xanthopoulos captures their lives in cinematic verite style.
Shadowman, directed and written by Oren Jacoby. (USA) – World Premiere. In the early 1980s, Richard Hambleton was New York City’s precursor to Banksy, a rogue street artist whose silhouette paintings haunted the sides of Manhattan buildings. Like so many other geniuses of his time, he fell victim to drug addiction, even as his work continued to rise in both demand and value. Shadowman doubles as both a time capsule of a forgotten New York City era, and a redemption story.
A Suitable Girl, directed by Sarita Khurana and Smriti Mundhra, written by Jennifer Tiexiera, Smriti Mundhra and Sarita Khurana. (USA, India) – World Premiere. Dipti, Amrita and Ritu are all young, modern women in India looking to get married—some desperately, some reluctantly. “A Suitable Girl” follows them over the course of four years as they juggle family, career and friends, intimately capturing their thoughts on arranged marriage, giving them a voice, and offering a unique perspective into the nuances of this institution. In English, Hindi, Kannada, Marathi with subtitles.
True Conviction, directed by Jamie Meltzer, written by Jamie Meltzer, Jeff Gilbert. (USA) – World Premiere. There’s a new detective agency in Dallas, Texas, started by three exonerated men, with decades in prison served between them, who look to free innocent people from behind bars. True Conviction follows these change-makers with no small task in front of them as they rebuild their lives and families, learn to investigate cases, work to support one another, and try and fix the criminal justice system.
When God Sleeps, directed and written by Till Schauder. (USA, Germany) – World Premiere. “My songs didn’t make me famous. The fatwa did.” And so we embark on the journey of rapper Shahin Najafi, whose bold style and transgressive lyrics put him in the crosshairs of religious clerics in his native Iran. When God Sleeps tells the story of this tireless artist-activist against the backdrop of the 2015 Paris terrorist attacks and the European right-wing backlash against Middle Eastern refugees. In English, Farsi, German with subtitles.
SPOTLIGHT NARRATIVE Supported by The Lincoln Motor Company
With a focus on marquee filmmakers and star performers, The Spotlight Narrative section is a launching pad for some of 2017’s most exciting new independent premieres for a wide audience of film lovers.
The Boy Downstairs, directed and written by Sophie Brooks. (USA) – World Premiere. Zosia Mamet exhibits winsome charm as Diana, navigating the rite of passage of every single New Yorker: the search for an apartment. She seemingly finds a jewel of a home until realizing her downstairs neighbor is her ex whose heart she broke. Like a true New Yorker, she keeps the apartment. With Matthew Shear, Deirdre O’Connell, Sarah Ramos, Diana Irvine.
Buster’s Mal Heart, directed and written by Sarah Adina Smith. (USA) – New York Premiere. A fugitive hotly pursued by rangers reviews the pathway to his present circumstances and finds conflicting stories. A spellbinding Rami Malek (Mr. Robot) brings impressive range to Sarah Adina Smith’s sophomore feature: a twisting, mind-bending thriller in which the typical rules don’t apply, least of all to a man who cannot be certain of anything he’s done. With DJ Qualls, Kate Lyn Sheil, Sukha Belle Potter, Lin Shaye. A Well Go USA release.
Chuck, directed by Philippe Falardeau, written by Jeff Feuerzeig, Jerry Stahl. (USA) – US Premiere. Chuck is the true story of Chuck Wepner (Liev Schreiber), the man who inspired the billion-dollar film series Rocky—a liquor salesman from New Jersey who went 15 rounds with Muhammad Ali. Wepner suffered numerous losses, knockouts, and broken noses in his ten years in the ring, and lived an epic life of drugs, booze, and wild women outside of it. With Elisabeth Moss, Ron Perlman, Naomi Watts, Jim Gaffigan, Michael Rapaport. An IFC Films release.
The Clapper, directed and written by Dito Montiel. (USA) – World Premiere. Ed Helms stars as Eddie Krumble, a professional audience member who gains unwanted notoriety when a late-night talk show turns his life into a national obsession, threatening his budding relationship with gas station attendant Judy (Amanda Seyfried). Directed by Dito Montiel (Boulevard, Tribeca ‘14), The Clapper is a heartfelt comedy featuring Tracy Morgan, Adam Levine, Russell Peters, PJ Byrne, and appearances from Rob Gronkowski, Mark Cuban and the late Alan Thicke.
Dabka, directed and written by Bryan Buckley. (USA) – World Premiere. When rookie journalist Jay Bahadur (Evan Peters) has an inspiring chance encounter with his idol (Al Pacino), he uproots his life and moves to Somalia looking for the story of a lifetime. Hooking up with a local fixer (Barkhad Abdi), he attempts to embed himself with the local Somali pirates, only to find himself quickly in over his head. Based on the true story of one reporter’s risk-taking adventure that ultimately brought the world an unprecedented first-person account of the pirates of Somalia. With Melanie Griffith. In English, Somali.
The Dinner, directed and written by Oren Moverman. (USA) – North American Premiere. Two brothers, congressman Stan and caustic former teacher Paul, are locked in sibling rivalry and are forced to come head to head over a dinner with their wives. As the two couples (Richard Gere, Laura Linney, Steve Coogan and Rebecca Hall) sit down to dine, their dark family secrets are drudged on to the table along with the main course, in this adaptation of the Herman Koch bestseller. With Chloe Sevigny. An Orchard release.
Literally, Right Before Aaron, directed and written by Ryan Eggold. (USA) – World Premiere. Still reeling from his breakup with college sweetheart Allison (Cobie Smulders), Adam’s (Justin Long) world is thrown into further chaos when he’s surprisingly invited to attend her wedding. Over a surreal weekend, he stumbles through a nightmarish rehearsal dinner and drinks his way through the reception as he thinks back on where it all went wrong with the one that got away. Ryan Eggold directs this refreshingly unconventional romantic comedy. With Ryan Hansen, John Cho, Luis Guzmán, Dana Delany, Lea Thompson, Peter Gallagher, and Kristen Schaal.
The Lovers, directed and written by Azazel Jacobs. (USA) – World Premiere. Years into a dispassionate marriage, a long-married couple, both seriously involved with other people, resolve to call it quits. To their surprise, their decision reignites a dormant spark that leads to an impulsive affair. Broadway legend Tracy Letts and the always-luminous Debra Winger shine in writer/director Azazel Jacob’s (“Terri”) latest. With Debra Winger, Tracy Letts, Melora Walters, Aiden Gillen, Tyler Ross, Jessica Sula. An A24 release.
Manifesto, directed and written by Julian Rosefeldt. (Germany) – New York Premiere. All current art is fake. Nothing is original. These are some of the statements exposed in artist Julian Rosefeldt’s stunning piece. Starring Cate Blanchett, we witness a series of vignettes which draw upon artist manifestos that question the true nature of art. A chameleonic Blanchett gives a tour-de-force performance as she transforms in each segment like never before. A FilmRise Release.
Permission, directed and written by Brian Crano. (USA) – World Premiere. Anna (Rebecca Hall) and Will (Dan Stevens) are the definition of long-term monogamy, and with great careers, an impending marriage, and a potential new home, things couldn’t be better. But after a close friend’s joke about her non-existent sexual experience hits too close to home, Anna proposes to Will an experiment to broaden their horizons without sabotaging their relationship: to try an open relationship—together. With Gina Gershon, Francois Arnaud, Morgan Spector, David Joseph Craig, Jason Sudeikis.
Rock’n Roll, directed by Guillaume Canet, written by Guillaume Canet, Rodolphe Lauga, Philippe Lefebvre. (France) – International Premiere. Real-life couple Guillaume Canet and Marion Cotillard play themselves in this satirical comedy about a couple dealing with aging in the limelight. After Guillaume gets told by a co-star that he’s just not that cool anymore, he goes to increasingly extreme lengths to prove her wrong, putting his happy domestic life to the test. With Gilles Lellouche, Philippe Lefebvre, Camille Rowe, Yvan Attal. In French with subtitles.
Sweet Virginia, directed by Jamie Dagg, written by The China Brothers. (USA) – World Premiere. Jon Bernthal, Rosemarie DeWitt, Imogen Poots, Odessa Young, and a spectacular Christopher Abbott star in this gritty neo-Western with echoes of the early Coen Brothers: a burglary-homicide rattles the residents of a small Alaska town. Jamie Dagg’s sophomore feature is a haunting drama about the predator in each of us, and the prices we pay to start over.
Take Me, directed by Pat Healy, written by Mike Makowsky. (USA) – World Premiere. Ray is in the boutique simulated abduction business. It’s an understandably threadbare market, so he jumps at the chance when a mysterious call contracts him for a weekend kidnapping with a handsome payday at the end. But the job isn’t all that it seems. A black comedy that threads the needle between crime thriller and slapstick farce, Take Me is as twisty as it is funny. With Taylor Schilling, Pat Healy, Alycia Delmore, Jim O’Heir.
Thumper, directed and written by Jordan Ross. (USA) – World Premiere. This suspenseful crime drama follows Kat Carter (Eliza Taylor), the troubled new girl in a school harboring a deep secret. When she attracts the attention of the volatile gang leader Wyatt (a menacing Pablo Schreiber), Kat’s own hidden secrets threaten to put her life in danger. Executive Produced by Cary Fukunaga, the film features raw supporting turns from Lena Headey, Daniel Webber, Ben Feldman, and Grant Harvey.
The Trip to Spain, directed by Michael Winterbottom. (U.K.) – World Premiere. Steve Coogan and Rob Brydon reunite with director Michael Winterbottom for another chapter in their hilarious road trip series. This time taking their wit and appetites on a tour through picturesque Spain’s finest fine dining, Coogan and Brydon trade celebrity impressions and witty banter over paella and gazpacho, their comic observations on fame and friendship as dry as the finest Spanish wine. With Marta Barrio, Claire Keelan, Margo Stilley. An IFC Films release.
SPOTLIGHT DOCUMENTARY Supported by The Lincoln Motor Company
Over the past 15 years, Tribeca has solidified itself as one of the preeminent documentary film destinations in the country. The Spotlight Documentary section‘s 16 high-profile world premieres represent the major stories and acclaimed filmmakers that will be making waves in 2017.
ACORN and the Firestorm, directed and written by Reuben Atlas and Sam Pollard. (USA) – World Premiere. For 40 years, the community-organizing group ACORN advocated for America’s poorest communities, while its detractors accused it of promoting government waste and the worst of liberal policies. Riding high on the momentum of Barack Obama’s presidential victory in 2008, ACORN was at its social zenith when a hidden-camera video sparked a national scandal and brought it all crashing down.
AlphaGo, directed by Greg Kohs. (USA) – World Premiere. With simple rules but a near-infinite number of possible outcomes, the ancient Chinese board game Go has long been considered the holy grail of artificial intelligence. Director Greg Kohs’ absorbing documentary chronicles Google’s DeepMind team as it takes on one of the world’s top Go players in a weeklong tournament, pitting man against machine in a competition that reveals as much about the workings of the human mind as it does the future of AI. In English, Korean with subtitles.
Blurred Lines: Inside the Art World, directed and written by Barry Avrich. (Canada) – World Premiere. Barry Avrich’s in-depth and eye-opening documentary pulls back the curtain on the behind-the-scenes dealings revolving around the contemporary art world. Reputable artists, critics, auctioneers and collectors demystify the often illusive and complex relationship between art and commerce in this film, which features extraordinary access to industry players.
ELIÁN, directed by Tim Golden, Ross McDonnell. (Northern Ireland, Ireland, USA) – World Premiere. Thanksgiving, 1999: Two fishermen on the Florida Straits find a young Cuban boy, Elián González, floating alone in an inner tube. Their discovery evolves into a custody battle between Elián’s Cuban father and his Miami-located relatives that brings the conflict between Cuba and the U.S. to the forefront. Eighteen years later, “ELIÁN,” executive produced by Alex Gibney, gives the now grown-up Elián the chance to tell his own side of the story. In English, Spanish with subtitles.
Frank Serpico, directed and written by Antonino D’Ambrosio. (USA) – World Premiere. With unprecedented access to a notoriously reclusive subject, Antonino D’Ambrosio creates a powerful portrait of Frank Serpico, the former NYPD officer who in the 1970s blew the whistle on the corruption and payoffs running rampant in the department. The true story that inspired Sidney Lumet’s American crime classic that bears his name.
Get Me Roger Stone, directed and written by Dylan Bank, Daniel DiMauro, Morgan Pehme. (USA) – World Premiere. With his bespoke suits and collection of Nixon memorabilia, political firebrand and noted eccentric Roger Stone has been a fixture of Republican politics since the 1970s, yet at the same time has always been an outsider. Despite its success, his brand of confrontational (some would say “dirty”) politics was always publicly rejected by the conservative mainstream, though with the shocking ascendancy of his longtime pet project Donald Trump (interviewed in the film), Stone—the ultimate political trickster—would likely say he was just ahead of his time. A Netflix release.
Gilbert, directed by Neil Berkeley, written by Neil Berkeley, James Leche. (USA) – World Premiere. Legendary comedian Gilbert Gottfried has had quite a career. Rocketing to fame in the 1980s, he was thrust into the public consciousness almost immediately thanks to his brash personality, unique worldview, and off-kilter comic timing. Now, foul-mouthed and unapologetic after decades of flying solo in both his work and in his personal life, Gilbert has shockingly reinvented himself…as a family man. With Jay Leno, Bill Burr, Jeff Ross, Whoopi Goldberg, Howie Mandel.
A Gray State, directed by Erik Nelson. (USA) – World Premiere. Christmas, 2014: filmmaker, veteran and charismatic up-and-coming voice of alt-right politics David Crowley and his family are killed in their suburban Minnesota home. Their shocking deaths quickly become a cause célèbre for conspiracy theorists. Executive produced by Werner Herzog, A Gray State combs through Crowley’s photographs, videos and recordings to investigate what happens when an ideology becomes an all-consuming obsession.
Hell on Earth: The Fall of Syria and the Rise of ISIS, directed by Sebastian Junger and Nick Quested, written by Mark Monroe. (USA) – World Premiere. Chronicling Syria’s descent into unbridled chaos, this gripping and insightful work captures the Syrian war’s harrowing carnage, political and social consequences, and, most importantly, its human toll. From personal stories of family survival and tragedy to keen insight from top experts from around the world, acclaimed filmmaker and author Sebastian Junger and Nick Quested create an informative and comprehensive documentary, as the story continues to unfold. In English, French, Arabic, Kurdish with subtitles.A National Geographic release.
Hondros, directed by Greg Campbell, written by Greg Campbell, Jenny Golden. (USA) – World Premiere. Beginning with the war in Kosovo in 1999, award-winning photographer Chris Hondros served as a witness to conflict for over a decade before being killed in Libya in 2011. In Hondros, director and childhood friend Greg Campbell creates a portrait of a man with not only great depth and sensitivity, but a passion for his craft, and an unending talent for creating breathtaking imagery. Executive produced by Jake Gyllenhaal. In Arabic, English with subtitles.
I Am Evidence, directed by Trish Adlesic and Geeta Gandbhir. (USA) – World Premiere. Every year in cities around the United States, it is estimated that hundreds of thousands of rape kits are left untested in police storage facilities. Produced by Mariska Hargitay, I Am Evidence exposes this shocking reality, bringing attention to the way in which police have historically processed sexual assault cases. Through an exploration of survivors’ accounts, the film sheds light on these disturbing statistics, and shows what can be achieved when evidence—and the individuals it represents—are treated with the respect we all deserve. An HBO Documentary Film release.
LA 92, directed by Daniel Lindsay, TJ Martin. (USA) – World Premiere. Few images are seared into the American consciousness with the anger and clarity of the beating of Rodney King and the riots following his abusers’ acquittal. Twenty-five years later, Academy Award-winning directors Daniel Lindsay and TJ Martin draw on archival news images and unseen footage to paint an in-depth portrait of those riots and the tempestuous relationship between Los Angeles’ African-American community and those charged with protecting it. A National Geographic release.
No Stone Unturned, directed by Alex Gibney. (USA, Northern Ireland) – World Premiere. In 1994, six men were gunned down and five wounded in a pub while watching a World Cup soccer match in Loughinisland, Northern Ireland. With a police investigation that was perfunctory at best, the case remained unsolved. In this non-fiction murder mystery, Academy Award-winning documentarian Alex Gibney reopens the original case to investigate why no culprit was ever brought to justice.
WASTED! The Story of Food Waste, directed by Anna Chai and Nari Kye. (USA) – World Premiere. Each year, $218 billion—or 1.3 billion tons—of food is thrown out. With nearly a billion people worldwide facing starvation, food conservation is a more urgent issue than ever before. Executive produced by Anthony Bourdain, Chai and Kye’s fast-paced and forward-thinking food doc takes viewers on a tour of inventive new ideas for recycling waste and maximizing sustainability from innovative chefs like Massimo Bottura, Dan Barber and Danny Bowien, who turn scraps into feasts before our eyes. Earth Day Screening
Whitney. “can I be me,” directed by Nick Broomfield and Rudi Dolezal, written by Nick Broomfield. (U.K.) – World Premiere. Whitney Houston was the most awarded female recording artist of all time, with more consecutive number one hits than The Beatles, and on top of that she was America’s Sweetheart. Yet despite her fame, talent, and success, she died tragically at the age of 48. Featuring largely never-before-seen footage and Broomfield and Dolezal’s moving documentary tells the story of the girl behind the voice. A Showtime release.
Year of the Scab, directed by John Dorsey. (USA) – World Premiere. During the 1987 NFL strike, teams scrambled to assemble temporary replacements to fill in for their boycotting players. The Washington Redskins were notable for their “scabs,” a collection of cast-offs who nonetheless rode a surprising wave of momentum against all odds. “Year of the Scab” revisits this ultimate underdog story and the men whose ordinary lives were interrupted. Those so-called “scabs” helped break the strike and bring their team to victory, only to struggle for their place in the sports history books. An ESPN Films release.
Encompassing documentaries, narratives, and hybrid work, American and international films, first time filmmakers and Oscar nominees, Viewpoints is Tribeca’s home for bold directorial visions, underrepresented perspectives, and innovative style.
City of Ghosts, directed by Matthew Heineman. (USA) – New York Premiere, Documentary. The fearless citizen-journalists of “Raqqa is Being Slaughtered Silently” (RBSS) risk their lives on a daily basis to document and expose the atrocities of the Islamic State in their home city of Raqqa, Syria. Academy Award-nominee Matthew Heineman (“Cartel Land”) returns to Tribeca with an immersive and deeply personal documentary chronicling the lives of these activists. In Arabic with subtitles.An Amazon Studios release.
Dog Years, directed and written by Adam Rifkin. (USA) – World Premiere, Narrative. Vic Edwards (Burt Reynolds) was one of the biggest movie stars in the world, known for his mustachioed good looks and cocky swagger. With his Hollywood glory a distant memory, the now-octogenarian Vic is prompted to reassess his life with the passing of his beloved dog and the arrival of an invitation to receive a lifetime achievement award from the (fictional) International Nashville Film Festival. With Ariel Winter, Chevy Chase, Clark Duke, Ellar Coltrane, Juston Street.
The Family I Had, directed by Katie Green and Carlye Rubin, written by Tina Grapenthin, Katie Green, Carlye Rubin. (USA) – World Premiere, Documentary. In “The Family I Had,” a mother recalls how her seemingly brilliant teenage son came to shatter their idyllic family through one horribly violent and shocking act. Now, left to pick up the pieces, the survivors test the boundaries of their newly defined reality in this moving true crime exploration of the nature and limits of familial love.
The Farthest, directed and written by Emer Reynolds. (Ireland) – International Premiere, Documentary. On the 40th anniversary of Voyager’s eleven-billion-mile flight (and counting), experience a comprehensive behind-the-scenes account from those who built and nurtured this unprecedented deep space achievement. Emer Reynolds creates a vivid celebration of curiosity and exploration for the most audacious project in human history, and one of humankind’s greatest successes.
Flames, directed and written by Zefrey Throwell and Josephine Decker. (USA) – World Premiere. Filmed over five years, “Flames” follows real-life couple Josephine Decker and Zefrey Throwell from the white-hot passion of first love to the heartbreak of breaking up. But for these two filmmakers, the end of the relationship wasn’t the end of the story. As they continue filming, reconstructing what happened and where it went wrong, lines begin to blur between what was real and what was “the film”—if there’s even a difference anymore. With Hollis Witherspoon, Michael Melamedoff, Joe Swanberg, Matthew Levy.
For Ahkeem, directed by Jeremy S. Levine and Landon Van Soest. (USA) – North American Premiere, Documentary. Beginning one year before the events in Ferguson, Missouri, Levine and Van Soest’s intimate and cinematic “For Ahkeem” is the coming of age story of 17-year-old Daje Shelton in neighboring North St. Louis. Falling in love and fighting with mom, Daje struggles with typical teen growing pains, but also must increasingly combat the institutional and social roadblocks that keep black teens like her from succeeding in America.
The Last Animals, directed by Kate Brooks, written by Kate Brooks and Mark Monroe. (USA) – World Premiere, Documentary. Photojournalist Kate Brooks turns her lens from war zones to a new kind of genocide in this sweeping and sobering film. As the single-digit population of the Northern White Rhino ticks closer to extinction, Brooks exposes the epidemic of highly effective poachers and trafficking syndicates, and the heroic efforts of conservationists, park rangers, and scientists to protect these majestic creatures. In Czech, English, French, Lingala with subtitles. Earth Day Screening
Mr Long, directed and written by SABU. (Japan, Hong Kong, China, Taiwan R.O.C., Germany) – North American Premiere, Narrative. Following an assignment gone wrong in Tokyo, professional Taiwanese hitman Mr. Long (Chang Chen) finds himself stranded without a passport in a run-down Japanese village. So naturally Long does what any cold-hearted killer would do in his situation: befriend the locals and open a wildly popular noodle cart. Moving artfully between scenes of slickly choreographed violence and charming, whimsical drama, Japanese director SABU’s latest is a refreshing twist on the gangster genre, offering a surprisingly tender and heartwarming fable of redemption. In Japanese, Mandarin, Taiwanese with subtitles.
My Art, directed and written by Laurie Simmons. (USA) – North American Premiere, Narrative. For artist Ellie Shine (Laurie Simmons), age really isn’t anything but a number. Unhappy with where her career has gone, the single New Yorker flees upstate to recharge her creative spark away from the big city’s various distractions. There, she attracts the romantic interests of three men who accompany Ellie on an odd and unexpected journey toward finding her late-blooming artistic momentum. With Lena Dunham, Robert Clohessy, John Rothman, Josh Safdie, Parker Posey, Blair Brown, Barbara Sukowa.
My Friend Dahmer, directed and written by Marc Meyers. (USA) – World Premiere, Narrative. Before Jeffrey Dahmer became one of the most notorious serial killers of all time, he was a teenage loner. Conducting grisly experiments in a makeshift backyard lab, Jeff was invisible to most, until his increasingly bizarre behavior unexpectedly attracted friends. Based on the cult graphic novel, My Friend Dahmer chronicles the origins of the man, the monster…the high school senior. With Ross Lynch, Anne Heche, Dallas Roberts, Alex Wolff, Tommy Nelson, and Vincent Kartheiser.
Pilgrimage, directed by Brendan Muldowney, written by Jamie Hannigan. (USA, Ireland) – World Premiere, Narrative. In 13th-century Ireland, a cadre of monks travel through the war-torn countryside on a mission to bring their land’s most sacred relic to Rome. But other forces are gaining on them, as the true significance of the relic becomes dangerously apparent. A period drama crossed with an action/adventure road movie, “Pilgrimage” delivers a profound lesson on religious fervor and the savagery of soldiers with a cause. With Tom Holland, Richard Armitage, Jon Bernthal, John Lynch, Stanley Weber.
A Thousand Junkies, directed by Tommy Swerdlow, written by Tommy Swerdlow and TJ Bowen. (USA) – World Premiere, Narrative. Three heroin addicts crisscross Los Angeles in search of relief in this comedy balanced on the fine line between reliance and dependence. With a sensitive eye and gift for the absurd, writer/director/co-star Tommy Swerdlow crafts both the inevitable and the wholly unexpected: a drug movie that struggles to find any drugs, and a road movie that drives in circles. With TJ Bowen, Blake Heron, Bill Pullman, Steven Weber, Dinarte de Freitas.
The Wedding Plan (Laavor et HaKir), directed and written by Rama Burshtein. (Israel) – New York Premiere, Narrative. Spirited bride-to-be Michal is dumped by her fiancé a month before their wedding. Undeterred, she keeps her wedding date, leaving it to fate to provide a suitable groom. With invitations sent, venue booked, and the clock counting down to the big day, Michal goes to increasingly elaborate lengths in her search for Mr. Right, in writer-director Rama Burshtein’s (“Fill the Void”) funny and poignant romantic comedy. With Noa Kooler, Amos Tamam, Oz Zehavi. In Hebrew with subtitles.A Roadside Attractions release.
MIDNIGHT Supported by EFFEN® Vodka
Tribeca’s Midnight section is the destination for late night audiences to discover the best in psychological thriller, horror, sci-fi, and cult cinema. This year’s six selections offer new genre experiences for even the most extreme viewer.
Devil’s Gate, directed by Clay Staub, written by Peter Aperlo, Clay Staub. (Canada, USA) – World Premiere, Narrative. Struggling to overcome a recent professional tragedy, a tough-as-nails FBI agent (Amanda Schull) relocates to a small North Dakota town to investigate the disappearance of a local woman and her young son. The search leads to the missing woman’s husband’s (Milo Ventimiglia) secluded farm, on which answers, new mysteries, and God-fearing terrors await. Not to mention, something locked and caged down in the basement. With Shawn Ashmore, Bridget Regan, Jonathan Frakes.
Dumb: The Story of Big Brother Magazine, directed by Patrick O’Dell. (USA) – World Premiere, Documentary. “Dumb: The Story of Big Brother Magazine” charts the rise and fall of the irreverent, boundary-pushing Big Brother Magazine, whose taboo-breaking stunts and unapologetically crass humor spawned MTV’s “Jackass” and a generation of skaters. Featuring a trove of original footage and interviews with the magazine’s major players, “Dumb” celebrates the lowbrow legacy of this touchstone of ’90s counterculture. With Johnny Knoxville, Spike Jonze, Steve Rocco, Bam Margera, Steve-O, Tony Hawk, Chad Muska. A Hulu release.
Hounds of Love, directed and written by Ben Young. (Australia) – New York Premiere, Narrative. Dark forces lurk behind the sunny façade of an unassuming Australian suburb in Ben Young’s stylish directorial debut. This ‘80s-set true crime thriller follows 17-year-old Vicki on the night she’s abducted by a disturbed couple. While bound to a bed inside of the kidnappers’ home and subjected to psychological and physical torture, Vicki must find a way to drive a wedge between her unhinged captors and escape by any means necessary. With Emma Booth, Ashleigh Cummings, Stephen Curry, Susie Porter, Damian de Montemas, Harrison Gilbertson. A Gunpowder & Sky release. Presented in partnership with Venice Days.
Psychopaths, directed and written by Mickey Keating. (USA) – World Premiere, Narrative. Over the course of one excessively blood-soaked night, multiple serial killers’ paths cross, leaving a trail of bodies and begging the question: Which psychopath will live to see morning? One of the most exciting and unclassifiable new voices in indie horror, Mickey Keating delivers his wildest ride yet with this ultra-stylish and uber-violent descent into madness. With Ashley Bell, James Landry Hébert, Mark Kassen, Angela Trimbur, Larry Fessenden, Jeremy Gardner, Sam Zimmerman.
Super Dark Times, directed by Kevin Phillips, written by Ben Collins, Luke Piotrowski. (USA) – North American Premiere, Narrative. Teenagers Zach and Josh have been best friends their whole lives, but when a gruesome accident leads to a cover-up, the secret drives a wedge between them and propels them down a rabbit hole of escalating paranoia and violence in Kevin Phillips’ atmospheric ‘90s-set mystery-thriller. With Owen Campbell, Charlie Tahan, Elizabeth Cappuccino, Max Talisman, Sawyer Barth, Amy Hargreaves.
Tilt, directed by Kasra Farahani, written by Jason O’Leary, Kasra Farahani. (USA) – World Premiere, Narrative. There’s something off about Joe. Although his pregnant girlfriend, Joanne, supports him as he devotes more and more time to his passion project, a sprawling documentary about America’s “golden age,” both the film and Joe are becoming increasingly unhinged. Joanne is growing worried about Joseph’s odd behavior…but not as worried as she should be. With Joseph Cross, Alexia Rasmussen, Kelvin Yu, Jessy Hodges, CS Lee.
2017 Juried Feature Film Awards
Awards in the three main competition sections 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 to the awards for U.S. Narrative, International Narrative, and World Documentary Competition the Festival juries will present awards for the Best New Narrative Director and The Albert Maysles Award (Best New Documentary Director) for first-time feature directors in any section.
One narrative film directed by or written by a woman with a film making its North American, International, or World Premiere will receive the Nora Ephron Award, which recognizes a woman who embodies the spirit and vision of the legendary filmmaker and writer Nora Ephron.
March 3, 2017 UPDATE:
The 2017 Storyscapes selections include six projects from four countries, three of the projects are world premieres. One project will be selected by a jury to receive the Storyscapes Award, presented by AT&T, which recognizes groundbreaking approaches in storytelling and technology.
Blackout (World Premiere) Project Creators: Scatter: Alexander Porter, Yasmin Elayat, James George, Mei-Ling Wong Key Collaborators: Hannah Jayanti Antfood
“Blackout” is an ongoing participatory, volumetric VR project gathering the reflections of real people living in today’s tense political climate through the lens of the New York subway. By creating a rotating, ‘crowd-sourced’ cast, Blackout addresses the impossible task of representing the extraordinary breadth of human experience in New York City. Each viewing of Blackout is different, surrounding you with a unique group of straphangers taking you to the places their minds go between destinations.
Draw Me Close (World Premiere) Project Creator: Jordan Tannahill
Canadian playwright-director Jordan Tannahill partners with the National Theatre and the National Film Board of Canada to create “Draw Me Close,” a vivid memoir about his relationship with his mother in the wake of her terminal cancer diagnosis. Collapsing the worlds of live performance and animation to create an unforgettable encounter between a mother and her son,
“Draw Me Close” tells the story of their past and what is to be their future. This special presentation is a world premiere of the first chapter of “Draw Me Close.”
The Island of the Colorblind (International Premiere) Project Creator: Sanne de Wilde Key Collaborators: IDFA DocLab, de Brakke Grond
What does color mean to those who can’t see it? In the late eighteenth century a catastrophic typhoon swept over Pingelap, a tiny atoll in the Pacific Ocean. One of the few survivors carried a rare gene that causes achromatopsia, a condition that includes the inability to distinguish colors. Over generations, the islanders ended up perceiving their world in black and white. “The Island of the Colorblind” invites the audience to explore this shift in perception through de Wilde’s photography and an interactive installation
The Last Goodbye (World Premiere) Project Creators: Gabo Arora, Ari Palitz Key Collaborator: Stephen Smith, Here Be Dragons, MPC, Otoy, LightShed and USC Shoah Foundation
In July of 2016, Holocaust survivor Pinchas Gutter toured the Majdanek Concentration Camp in what he vowed would be his final visit. By marrying a stereo video capture of Pinchas within a photoreal roomscale experience, The Last Goodbye reaches profound levels of immersion in service of the first ever VR testimony that will be archived and preserved. The importance of listening to Pinchas’ story is more important now than ever and this is also a beautiful testament to love, compassion and the human spirit.
NeuroSpeculative AfroFeminism (New York Premiere) Project Creators: Hyphen-Labs – Ashley Baccus-Clark, Carmen Aguilar y Wedge, Ece Tankal, Nitzan Bartov
Imagined futures and contemporary realities come together in “NeuroSpeculative AfroFeminism,” a multidisciplinary exploration of women of color’s experience through the lens of technology, society and culture. The project includes speculative products, immersive experiences and neuroscientific research. In the VR experience, discover the neurocosmetology lab, a kind of beauty salon, where instead of ordinary braids, customers are fitted with transcranial electrodes that allow access to a surreal alternate world.
TREEHUGGER : WAWONA (North American Premiere) Project Creator: Marshmallow Laser Feast Key Collaborators: Natan Sinigaglia, Mileece I’Anson, Cinekid Foundation, STRP, Southbank Centre and Migrations.
“TREEHUGGER : WAWONA” is an interactive installation that combines today’s cultural hunger for beautiful immersive experiences with art, science, data, environmentalism and technology. Centered on a vast sculpture of a giant redwood tree, the viewer dons a VR headset, places their head into the tree’s knot and is transported into its secret inner world. The longer someone hugs the tree, the deeper they drift into treetime: a hidden dimension that lies just beyond the limit of our senses.
The Virtual Arcade selections include 23 projects from six countries, 17 of which are world premieres:
Alteration (World Premiere) – France Project Creator: Jérôme Blanquet Key Collaborators: James Sénade, Yann Apéry, Antoine Cayrol, Baptiste Chesnais, Pierre Zandrowicz, Jean-françois Blanquet
This is a poetic trip into the future: Alexandro volunteers for an experiment carried out to study dreams. He can’t imagine that he will be subjected to the intrusion of Elsa, a form of Artificial Intelligence who aims to digitize his subconscious in order to feed off it. She’s a vampire…bit by megabit.
Apex (World Premiere)- The Netherlands/USA Project Creator: Arjan van Meerten Key Collaborator: Wevr
The stunning new experience from the brilliant imagination of 3D artist and musician Arjan van Meerten, “Apex” is the highly anticipated follow up to the creator’s acclaimed and award-winning experience, “Surge.” Step into a surrealistic and darkly beautiful vision of a fiery urban apocalypse; one populated by skeletal ghost animals, abstract shapes, maniacal smiling giants and, of course, you.
Arden’s Wake (World Premiere) – USA Project Creator: Eugene Chung Key Collaborators: Jimmy Maidens
The sea levels have risen, and a young woman and her father live in a lighthouse perched atop the ocean’s surface. When he goes missing, she descends deep into the post-apocalyptic waters previously forbidden to her, embarking on a thrilling journey of family history and self-discovery. From the creators of the magnificent “Allumette” (Tribeca 2016), “Arden’s Wake” continues the elegant evolution of storytelling from Penrose Studios.
Auto (World Premiere) – USA Project Creator: Steven Schardt
In the near future, self-driving taxi services employ “safety drivers,” a transitional measure of comfort for passengers. On his first day, Musay, an Ethiopian immigrant with 40 years of driving experience, picks up a couple habituated to the service. Not content — not comfortable — with merely sitting, Musay insists on driving, instigating a series of events with substantial consequences.
Bebylon – Battle Royale (World Premiere) – USA Project Creator: Cory Strassburger, Ikrima Elhassan Key Collaborators: Alex Underhill, Giray Ozil, Jennifer Chavarria
From the minds at Kite + Lightning, this comedic arena battle experience blends a satirical narrative with revolutionary head-to-head VR gaming. Set in a futuristic status conscious society, players compete as crude, narcissistic, immortal babies for fame and fortune. Wielding weaponized status symbols such as gold-plated selfie sticks and big-fisted battle buggies, you can be the “beby” of your most shameless rock star fantasy.
Becoming Homeless: A Human Experience (World Premiere) – USA Project Creator: Virtual Human Interaction Lab, Stanford University Key Collaborators: Elise Ogle, Tobin Asher, Jeremy Bailenson
Everyone’s story is unique, but the human experience is collective. In this interactive first-person VR experience, you will face the adversity of living without a home. From Stanford University’s Virtual Human Interaction Lab, “Becoming Homeless” aims to change the way some may think and act about the epidemic of homelessness that exists globally.
Broken Night (World Premiere) – USA Project Creator: Alon Benari, Tal Zubalsky, Alex Vlack Key Collaborators: Eko, Hidden Content, Real Motion VFX
“Broken Night” explores a woman’s (Emily Mortimer) unreliable narrative of an intense trauma. Speaking to a detective, her confused memories unfold: returning home in the midst of a fight with her husband (Alessandro Nivola),they encounter an intruder. The viewer is placed in a position of choosing which memories to follow, sharing her confusion before coming to the startling truth.
Extravaganza (World Premiere) – USA Project Creator: Ethan Shaftel
“Extravaganza” mixes 3D animation and live-action footage in a bitingly funny satire. You are a puppet trapped in a stunningly offensive puppet show, performing for a clueless executive (Paul Scheer). Confronted with his glaringly obvious blind spots and prejudices, Extravaganza asks: can technology change society for the better, or does it just magnify our worst traits in new ways?
Hallelujah (World Premiere) – USA Project Creator: Zach Richter, Bobby Halvorson, Eames Kolar Key Collaborators: Chrissy Szczupak, Orin Green, Jess Engel, ECCO VR, International Orange Chorale of SF, Chris Milk, Aaron Koblin
“Hallelujah” is a revolutionary virtual reality music performance that reimagines Leonard Cohen’s most well-known song. It is the world’s first VR music experience to provide an uncompromised sense of presence with six degrees of freedom using Lytro Immerge technology. A Within Original.
Life of Us (New York Premiere) – USA Project Creators: Chris Milk, Aaron Koblin Key Collaborators: Megan Ellison and Annapurna Pictures, Pharrell Williams, Made with Unity, McKenzie Stubbert, Jona Dinges
Life of Us is a shared VR journey from Within that tells the complete story of the evolution of life on earth.
The Other Dakar (World Premiere) – Senegal Project Creator: Selly Raby Kane Key Collaborators: Electric South, Goethe Institut
A little girl receives a message and discovers the hidden face of Dakar. An homage to Senegalese mythology and a stunningly visual debut from Dakar-based artist and designer Selly Raby Kane, this magical 360 film transports viewers to a place where past and future meet and where artists are the beating heart of the city.
The People’s House(World Premiere) – Canada Project Creators: Félix Lajeunesse, Paul Raphaël (Felix & Paul Studios)
“The People’s House” takes you on a historic visit of President Barack Obama and First Lady Michelle Obama’s White House. Through the transportive power of VR, The Obamas take you on an intimate journey inside the West Wing, Executive and Private Residences, reflecting on their time there, and recounting the building’s profound history since its creation over two centuries ago.
The Possible: Hoverboard (World Premiere) – USA Project Creator: David Gelb Key Collaborators: Chris Milk, June Cohen, Patrick Milling-Smith, Samantha Storr, Ari Palitz
If you could have just one superpower, what would it be? For Alexandru Duru, the answer is obvious: the ability to fly. That’s why he founded Omni Hoverboards, which has transformed hoverboard technology from dream to reality. In “Hoverboard”–the season finale of Within’s first original series, The Possible–you’ll follow Alexandru and his team as they build and test a prototype—then experience the freedom of flight for yourself.
The Protectors: Walk in The Ranger’s Shoes (World Premiere) – USA Project Creator: Kathryn Bigelow, Imraan Ismail
From Academy Award-winning director Katheryn Bigelow and acclaimed VR creator Imraan Ismail,
“The Protectors” chronicles a day in the life of the rangers in Garamba National Park. These rangers are often the last line of defense in a race against the poachers intent on slaughtering elephants for their ivory tusks. The rangers face constant danger and even death, at the service of these sentient, noble creatures.
Rainbow Crow (World Premiere) – USA Project Creator: Eric Darnell, Maureen Fan, Larry Cutler, Claudia Southmartin, Kane Lee Key Collaborators: Michael Hutchinson, Nathaniel Dawson
From the director of “Madagascar,” “Invasion!” (Tribeca 2016), and “Asteroids!” comes Baobab Studio’s latest visionary VR animation. The carefree forest animals imagine spring will last forever. However, winter comes and the animals soon realize that their lives are in danger. What they need is a hero; what they need is Rainbow Crow. Step inside a moving, soon-to-be classic, musical experience for all ages.
Remember: Remember (World Premiere) – USA Project Creator: Kevin Cornish
If our minds are a map of every memory we’ve had, what do we become if those memories are stripped away? In this cinematic, room-scale VR experience set against the backdrop of an alien invasion, you are a prisoner being brainwashed by a lost love. As you cycle through your memories, the two of you begin to question what is real and what is imagined.
Sergeant James (North American Premiere) – France Project Creator: Alexandre Perez Key Collaborators: Avi Amar
It’s Leo’s bedtime, but he thinks there is something under his bed. Is it just the harmless imagination of a young boy, or something more sinister? Is it…you? From director Alexandre Perez, “Sergeant James” recaptures the innocence of youth, the wonder of the unknown, and the folly of fear, while hinting at a far creepier possibility.
Step to the Line (New York Premiere) – USA Project Creator: Ricardo Laganaro Key Collaborators: Defy Ventures/ Oculus VR for Good
Shot entirely on location in a California maximum security prison, “Step to the Line” is a documentary that aims to provoke a transformation in the spectator’s eyes about prisoners, the prison system, and even themselves. In this project, we see how release from incarceration can be just as jarring as intake and how parallel lives diverge when someone serves time.
Sword of Baahubali (New York Premiere) – India Project Creator: SS Rajamouli, Arka Mediaworks Key Collaborators: Radeon Technologies Group & CNCPT LA
Two friends find themselves on a battlefield, as the armies of Bhalladeva and Shivudu are set to charge into battle. As they watch the action unfold, they are unexpectedly asked to participate. Their mission – to find a legendary warrior’s sword and deliver it to him, ensuring victory. Based on S.S. Rajamouli’s “World of Baahubali,” India’s biggest movie franchise.
Talking With Ghosts (World Premiere) – USA Project Creator: Ric Carrasquillo, Roman Muradov, Sophia Foster-Dimino, Maria Yi Key Collaborators:Wesley Allsbrook, Matthew Chadwick, Sebastien Chevrel, Tauni Oxborrow, Saschka Unseld, Oculus Story Studio.
“Talking With Ghosts” is the next wave of emerging art in the field of Illustrative VR. Following the success of “Dear Angelica,” Oculus Story Studio decided to enhance its painting app Quill with comic-like storytelling functionality, enabling anyone to tell their own illustrative stories in VR. The resulting works are called Quill Stories and “Talking With Ghosts” is a compilation of the very first of their kind, entirely painted and told in VR by four remarkable artists. Made in collaboration with Oculus Story Studios.
Testimony (World Premiere) – USA Project Creator: Zohar Kfir Key Collaborators: Selena Pinnell
Recent events have dramatically shifted the conversation around sexual abuse in the United States. Despite persistent victim-shaming and the discounting of their experiences, abuse survivors are increasingly coming forward, empowering one another to become agents of change. “Testimony” is an interactive documentary presenting the narrative accounts of sexual abuse survivors, using virtual reality to engage viewers with an intimate, motion-driven interface.
Tree (New York Premiere) – USA Project Creator: Milica Zec, Winslow Porter Key Collaborators: Aleksandar Protic, Jakob Kudsk Steensen
See and feel what it is like to become a tree in this haptically enhanced VR experience. With your arms as the branches and your body as the trunk, you experience the growth from a seedling to its fullest form, taking on its role in the majestic rain forest and witnessing its fate firsthand. Unrest (World Premiere) – France/USA Project Creator: Arnaud Colinart, Jennifer Brea, Amaury La Burthe Key Collaborators:Diana Barrett (Fledgling Fund), Lindsey Dryden (Little By Little Films)
From the award-winning team behind “Notes pn Blindness,” “Unrest” allows audiences to access the world of chronic illness and disability in an exploratory, user-led experience. Based on the documentary film of the same name, the project draws upon sensory meditations on pain, fatigue, and neurosensory symptoms, and allows the public a visceral personal experience of a hard-to-understand condition.
Passes and tickets for the 2017 Festival
Advance selection ticket packages are now on sale. All advance selection packages can be purchased online at tribecafilm.com/festival/tickets, or by telephone at (646) 502-5296 or toll free at (866) 941-FEST (3378).
Also available for purchase now is The Hudson Pass, an all access pass to screenings and talks taking place at BMCC, Regal, Cinepolis Chelsea, and SVA as well as full access to all events at the Festival Hub at Spring Studios, which includes VR and immersive projects, special screenings with music performances, and access to the lounges.
Single tickets cost $21.00 for evening and weekend screenings, $12.00 for weekday matinee screenings, $40.00 for Tribeca Talks panels and special screenings, $30.00 for Tribeca TV, and $40.00 for Tribeca Immersive. Single ticket sales begin Tuesday, March 28 and can be purchased online, by telephone, or at the ticket outlet located at Cinepolis Chelsea (260 W. 23rd Street). The 2017 Festival will offer ticket discounts on general screenings and Tribeca Talks panels for students, seniors and select downtown Manhattan residents. Discounted tickets are available at Ticket Outlet locations only.
Packages and passes are now available for purchase on the 2017 Tribeca Film Festival App on iTunes and Google Play.
Lady Gaga has replaced Beyoncé as a headliner at the 2017 Coachella Valley Music and Arts Festival, which will take place April 14 to April 16 and April 21 to April 23 at the Empire Polo Club in Indio, California. Lady Gaga will headline the Saturday shows on April 15 and April 22. Beyoncé dropped out of the festival on February 23, because of her pregnancy (she’s due to give birth to twins sometime in mid-2017), but it has been announced that Beyoncé plans to make up for the cancellation by being a headliner at the 2018 Coachella Festival. Radiohead will headline the 2017 Coachella Festival on April 14 and April 21, while Kendrick Lamar will headline on April 16 and April 23. Other performers at Coachella in 2017 include Bon Iver, Future, the XX, Lorde, Travis Scott and Justice. The event is produced by Goldenvoice, a division of AEG Presents.
It didn’t take long for the conspiracy theories to start after the biggest mistake in Oscar history was broadcast live for millions of people around the world to see at the 89th Annual Academy Awards, which took place the Dolby Theatre in Los Angeles on February 26, 2017.
To recap, in case you’re one of the few people who haven’t heard about it yet: The wrong winner was announced for Best Picture. The producers of the contemporary musical “La La Land” were on stage for an entire two minutes while giving their acceptance speeches when it was announced that “La La Land” was not the winner for Best Picture. The coming-of-age drama “Moonlight” was, in fact, the real winner. The “La La Land” team had to literally hand over the Oscars they thought they had won to the “Moonlight” team. How embarrassing.
It was determined that the wrong envelope had been given to presenters Warren Beatty and Faye Dunaway, who therefore announced the wrong winner. The video of this incident quickly went viral, but many people on the Internet started spreading stories that the whole thing was a rigged publicity stunt to boost the Oscar ceremony’s ratings. This conspiracy theory couldn’t be farther from the truth, and here’s why:
PricewaterhouseCoopers, the longtime accounting firm for the Academy Awards, has a legally binding contract to not reveal the voting results to anyone other than to a select few people at the firm. Not even the Oscar telecast’s producers, host or the network executives (the people who would have the most to gain from publicity stunts for the show) know who won until the winner is announced on stage. The Oscar statuettes handed out on stage do not have the winners’ names on the statuettes—the winners’ names are engraved on these awards after the ceremony.
PricewaterhouseCoopers, which issued a formal apology for the envelope error, makes such a big deal out of showing the locked briefcases where the Oscar envelopes are held, that the two PricewaterhouseCoopers employees entrusted with this responsibility of handing out the sealed envelopes actually walk the red carpet and pose for pictures with the briefcases. Each employee carries the same envelopes in case something happens that would prevent one of the employees from handing over the envelopes in time.
Because of the millions of dollars at stake, PricewaterhouseCoopers would not put their business and reputation on the line for such an elaborate publicity stunt that would only harm the company. The Academy of Motion Pictures Arts and Sciences, whose members do the Oscar voting, also issued a separate apology, even though PricewaterhouseCoopers is taking full responsibility for the fiasco.
And if it were a publicity stunt, it was a poorly timed stunt that didn’t work. Why wait until the very end of the show (which dragged on way past its scheduled end time) to do it? It would have made more sense to pull a publicity stunt at the beginning of the show or before the show in order to get people to tune in for higher ratings. According to the Nielsen Company and The Hollywood Reporter, ratings for this year’s Oscars dropped to 32.9 million U.S. viewers, which is a 4 percent decrease from the previous year.
The fact that the mistake wasn’t corrected for two whole minutes (which is a long time on live TV) indicates that the show’s producers didn’t know what a humiliating, colossal mistake had been made on their live TV broadcast. Beatty, Dunaway and the “La La Land” team certainly didn’t know who the winner was in advance, because it would be insane and financially non-beneficial to them to embarrass themselves on TV in this manner for the sake of boosting TV ratings.
PricewaterhouseCoopers’ U.S. chairman Brian Cullinan and Martha Ruiz, two of the company’s employees who had the responsibility of handing out the correct envelopes during the Oscar ceremony, were among the few people who knew in advance who the real winner was. Why did it take them so long to correct the mistake on stage? That is currently being “investigated,” according to PriceWaterhouseCoopers. Sometimes a mistake this big really does happen because of an unintentional error. It’s time to let the conspiracy theories go.
March 1, 2017 UPDATE: PricewaterhouseCoopers and the Academy have announced that Cullinan and Ruiz have now been prohibited from any PricewaterhouseCoopers activities related to the Oscars.
Here are five other “alternative facts” (in other words, things that aren’t true) about recent Academy Awards that have spread over the Internet and by some media outlets, along with the real truth to debunk the false reports:
Are Ben Affleck and Casey Affleck the first brothers to win Oscars?
No. In a backstage interview at the 2017 Academy Awards, Casey Affleck (winner of Best Actor, for “Manchester by the Sea”) said that he and his older brother Ben Affleck are the only brothers to win Oscars. In fact, brothers Joel and Ethan Coen each won three Oscars on the same night for directing, writing and producing the 2007 movie “No Country for Old Men.” The Coen brothers won the awards for Best Picture, Best Director and Best Adapted Screenplay. Ben Affleck has two Oscars: Best Picture (for producing the 2012 drama “Argo”) and Best Original Screenplay (for co-writing the 1997 drama “Good Will Hunting.”) Ben Affleck has not received Oscar nominations as an actor or director; he was famously snubbed by not getting an Oscar nomination for directing or starring in “Argo.”
Is “Moonlight star” Mahershala Ali the first Muslim to win an Oscar?
No. Because religion is such a sensitive and private issue for many, it’s difficult to know who really was the first Muslim to actually win an Oscar. It may be obvious to look to the Best Foreign Film category to make assumptions about which Oscar winners were Muslim (for example, the 2011 Iranian film “A Separation” won in that category), but the Academy Awards have many lower-profile categories such as technical awards and short-film awards that a Muslim could have won in those categories long before “Moonlight” star Ali won an Oscar for Best Supporting Actor. As for the Oscar categories for actors and actresses, Iranian-American actress Shohreh Aghdashloo, who has openly discussed being Muslim, won an Oscar for Best Supporting Actress for the 2003 drama “House of Sand and Fog.”
Is Sam Smith the first openly gay person to win an Oscar?
No. In 2016, Oscar winner Sam Smith mistakenly declared in his acceptance speech that he was the first openly gay person to win an Oscar. Smith—whose “Writing’s on the Wall” tune (from the James Bond film “Spectre”) won the Oscar for Best Original Song—was soon corrected on social media that he wasn’t the first openly gay person to win an Oscar. Elton John won the same Oscar for co-writing the 1994 “The Lion King” hit song “Can You Feel the Love Tonight.” Smith later made a public apology for his mistake.
Did “Moonlight” writer/director Barry Jenkins become the first African-American to win an Oscar for Best Picture?
No. An African-American has not yet won this prize. However, “12 Years a Slave” director/producer Steve McQueen (who is British) became the first black person to win an Oscar for Best Picture. The Oscar for Best Picture goes to the eligible producer(s) of the film, not the director or the stars of the movie, unless a director or star of the movie is also one of the eligible producers of the film.
In the case of “Moonlight,” the Oscar for Best Picture was awarded to producers Jeremy Kleiner, Dede Gardner and Adele Romanski, who are all Caucasian. Jenkins was not one of the producers of “Moonlight.” Kleiner and Gardner also previously won a Best Picture Oscar for the 2013 film “12 Years a Slave,” whose Oscar-winning producers also included McQueen, Brad Pitt and Anthony Katagas.
Did “Moonlight” writer/director Barry Jenkins become the first African-American to win an Oscar in a screenplay category?
No. Geoffrey S. Fletcher became the first African-American to win a screenplay Oscar for the 2009 movie “Precious: Based on the Novel ‘Push’ by Sapphire.” Fletcher received the prize for Best Adapted Screenplay. John Ridley, who is also African-American, won the same award for “12 Years a Slave.”
Best Picture (for producers Adele Romanski, Dede Gardner and Jeremy Kleiner)
Best Adapted Screenplay (for Barry Jenkins and Tarell Alvin McCraney)
Best Supporting Actor (for Mahershala Ali)
Here is what these Oscar winners said backstage in the Academy Awards press room.
What went through your head when “La La Land” was announced the winner of Best Picture, and then just a couple of minutes later it was “Moonlight”?
Barry Jenkins (writer/director): I think all the movies that were nominated were worthy, so I accepted the results. I applauded like everyone else. I noticed the commotion that was happening, and I thought something strange had occurred. And then I’m sure everybody saw my face. But I was speechless when the result … that was awkward, because I’ve watched the Academy Awards, and I’ve never seen that happen before. And so it made a very special feeling even more special, but not in the way I expected.
“Moonlight” feels a bit life‑changing because it’s such an experience of filmmaking for us as audience members. For you guys, being so involved in the project, what will you remember the most about this life‑changing experience for you?
Jenkins: The last 20 minutes of my life have been insane. I don’t think my life could be changed any more dramatically than what happened in the last 20 or 30 minutes. But I also think, too, working on this film with everyone here, all the cast that is somewhere drinking champagne, I’m sure, it’s just been otherworldly, I will say.
And I never expected so many people to see the film, but even a step further, so many people see themselves in the film. I was in Germany, and this guy stood up and said, “I’m from rural Germany, you know, and 20 minutes into this film, I didn’t see Alex Hibbert. I saw myself.” And that was how I felt in working on it. I had one idea of what I was doing, and then I realized that everyone else was bringing this other thing that was much more beautiful than my idea could ever be. So, yeah, beyond life‑changing.
Given the impact that “Moonlight” has had, do you think that this will help break down barriers for more stories about LGBT people of color?
Tarell Alvin McCraney (writer): The hope that we have today about telling stories is that those people, the ones who we are leaning on to make those stories, were watching and found the platform that they saw they could stand on. I remember sitting back somewhere watching Dustin Lance Black accept for “Milk,” and thinking, “Maybe one day … me.” And here I am. So if that’s any indication, I hope we are moving in that vein. I hope the storytellers up here and their proud journey here can imprint on someone out there watching, that they too can stand here too, and also tell their stories as daringly, as intimately as possible.
Jeremy Kleiner (producer): I might just add … because I didn’t get a chance to thank ‑‑ we didn’t get a chance to thank our courageous distributor, A24. This project didn’t really have a lot of comps. It was kind of outside of, like, the modeling of what, you know, a movie should be in terms of return on investment and that. And I think that this outcome for “Moonlight,” independently of tonight, but just the effect it’s had domestically around the world hopefully creates some incentives to make stories like this in all different forms. So that ‑‑ and that was not far from our minds as well.
This question is for Barry Jenkins. What explanation were you given for the mixup tonight?
Jenkins: No explanation. Things just happen, you know? But I will say I saw two cards. And so things just happen, you know? I wanted to see the card to see the card. And Warren [Beatty] refused to show the card to anybody before he showed it to me. And so he did. He came upstairs, and he walked over to me, and he showed the card.
Everybody was asking, Can I see the card? And he’s like, “No, Barry Jenkins has to see the card. I need him to know.” And he showed it to me, and I felt better about what had happened. I will say to all you people, please write this down: The folks from “La La Land” were so gracious. We spent a lot of time together over the last six months, and I can’t imagine being in their position and having to do that. I wasn’t speechless because we won. I was speechless because it was so gracious of them to do that.
What did the card say?
Jenkins: The card said, “Best Picture: ‘Moonlight.’ Dede Gardner, Jeremy Kleiner, Adele Romanski.” But there were two cards.
Did you all have speeches prepared for Best Picture? And if so, what were you going to say?
Adele Romanski (producer): Yeah, we might have had a couple ideas. But I think the way that what went down, we kind of had to roll with it. I feel good about what was said. But I have to admit it was a bit of a fugue state, and I don’t know that I remember it. We didn’t thank people that we probably should have thanked.
Jenkins: Yeah, I absolutely wanted to thank A24 a thousand times because when I first set out to make this film with Adele, there was a budget that we had, and you guys know what the budget is now. It’s 1.5 [million dollars]. The budget we were offered before that was much, much smaller. And without us asking, they increased that budget because they believed in the project. They never told us to alter anything in that process.
So my whole acceptance speech was going to be in thanks to them, because it’s amazing to be Barry Jenkins right now, but it was not a year and a half ago for a guy who made a movie for $13,000 and hadn’t made a movie in seven years at that point. So I was going to give as much love to them as I possibly could with my time on the mic. And it’s unfortunate that things happened the way they did. But hot damn, we won Best Picture.
Barry, for you this has been a long time coming, and it’s been a long journey for you. Ironically, the stories or the themes told in “La La Land” could apply to you as well. What are your feelings toward Los Angeles and this city and the people in it?
Jenkins: I love L.A.! How could I not right now? You know, I’ll speak about “La La Land.” When I saw Justin [Horowitz, one of the producers of “La La Land”] at Telluride, I told him that I hadn’t been home in about two months. And I can see my apartment in the background of the opening shot of that film, and I was nostalgic for L.A., which is a crazy feeling for a guy from Miami who’s always had a hard time in L.A.
But you’re right. This is a fulfillment of a lot of things. And I also would have thanked Darnell Martin who gave me my first job in this city. Yeah, she took Chiron and said, Hey, come be my assistant and learn everything I have to teach you. So a lot of things have come full circle right now. This circle was much bigger than I ever could have imagined for myself or for this film.
But it feels good, man, you know. And I guess anything’s possible because most of the voters who voted us Best Picture, they reside here in Los Angeles, and yet they voted a film about a marginalized character from a marginalized community told in a very unorthodox way into Best Picture. And so, God bless L.A.
First off, why do you think that “Moonlight” resonated so deeply with audiences? And secondly, how do you think that winning this Oscar is going to change your life or your career?
Jenkins: I mean, my career, that part’s pretty clear. You know, I write an e‑mail, somebody’s going to reply at this point. Or I make a phone call, somebody is going to call back. So that part is cool.
But why this film? You know, I can’t say. I kind of took it off the table when we came to making this. I mean, Tarell put so much truth in what he wrote in the piece “In Moonlight Black Boys Look Blue.” I try to take truth and manifest it on screen. And the only thing I can speak to is that whatever authenticity, whatever fire this guy had in his belly, people saw it, and they reflected the same fire in their belly.
McCraney: Barry does this often where he deflects the fact that, you know, sure, I may have brought my truth to the table in the original script. However, what Barry continued to do when he rewrote the script and when he started shooting, when he started casting, when he was working with those actors, was continue to see himself in those moments, those intimate moments. And everybody can relate to that, because we all know that moment that we felt awkward, because Barry found the moment he was awkward, and he put it on screen.
And so for me, that’s the lightning rod that keeps bringing people back. We’re putting our true feelings, our true selves there. And this man did it, you know, in 25 days with a cast and crew who was in and out in Miami in the dreaded heat, but we did that with love and compassion and fullness. I think that’s what keeps bringing people back to the cinema.
Here is what these Oscar winners said backstage in the Academy Awards press room.
What did you like about making this movie in Boston?
Casey Affleck (actor): Well, I like to work there because I know it so well and it still feels like home, so that’s sort of a bonus of getting to work on a movie that is in Boston. There’s also a certain familiarity that helps the work, I think. But, you know, Kenny [Lonergan] writes with such incredible authenticity and specificity that it really was on the page, the whole feel of the place and the characters and everything. So I could have been from anywhere else and I think I would have got it.
What do you think of the looming Writers Guild America talks? What are your thoughts? What are your wants? Do you think they should strike?
Kenneth Lonergan (writer/director): Do I think they should strike? Well, I don’t think they should strike now because that would be premature. You know, obviously, I want to get as much as we can for ourselves without screwing anybody else. That’s a strange attitude to take in Hollywood, but that is the attitude I think that the union should take.
I would like to see someday in these negotiations some negotiations for more creative control for screenwriters working in the studio system. There’s a lot of complicated ancillary rights issues, especially nowadays, but the creative control issue is still pretty much the bottom rank could be for a working screenwriter in a studio system, and it would be nice if someday that was able to change.
Casey, you said something along the lines of you wished you had something meaningful to say. You said something fairly meaningful yesterday at the Independent Spirit Awards, but we were led to believe that this was going to be a very political Oscars, but it didn’t quite turn out that way. So why do you think that was?
Affleck: Why was it that there weren’t that many people who made remarks that were political? I think there were quite a few people who said some things that were sort of about their current global political situation and they’re also about … but were from a point of view of artists and they spoke about the importance of arts and so forth. I don’t know why more people didn’t.
It doesn’t entirely seem like an inappropriate place given the state of things. It seems like this is just as fine a platform as any to make some remarks so long they are respectful and positive. Personally, I didn’t say anything because my head was completely blank, the shock of winning the award, and the terror of having a microphone in front of you, and all of those faces staring at you.
So if I said I wish I had something meaningful to say, that was my inside voice coming out. I wasn’t even aware that I actually said that out loud. I didn’t thank my children, which is something that I’ll probably never ever live down. About three seconds after I made it backstage, my phone rang and my son said, “You didn’t even mention us!” And my heart just sank. So, you know, that probably would have been the most meaningful thing I could have said and I failed.
Lonergan: My daughter who is 15 was extremely irritated that I mentioned her at all, so you can’t really win.
Casey, during your speech they took a shot of your brother, Ben, in the front and it looked like he was having tears. What was it was like accepting the award in front of him and a group of your loved ones?
Affleck: It was very moving, and I include Kenny in that group of loved ones. And, obviously, my brother, to have him there, yeah, it was a nice moment. I saw those tears and I thought maybe I’m just not making a good speech, and he was really disappointed. But I think he was probably touched, and I think that we are—not to brag or anything, but I think we’re the only two brothers to win Academy Awards, ever. [NOTE: Filmmaking brothers Joel and Ethan Coen actually won Oscars for directing, producing and writing the adapted screenplay for the 2007 dram “No Country for Old Men.”]
Casey, from almost the first major showing of “Manchester by the Sea,” you were predicted to win this award, and I’m sure that that whole ride has been kind of crazy. But how has it changed your expectation for what you can do as an artist? How has it fed your future thoughts for where you’re going?
Affleck: It’s only just reinforced the idea that I had going into it which was if you want to have a good performance or do good work, really, then you’d better work with good directors and good material because, let’s face it, that’s really what a good performance is, 90 percent of it. And this man is the best.
We really enjoyed that brotherly moment between you and Ben, the great hug. What did he say to you before you took the stage or did he give you any advice before coming into this evening?
Affleck: No, he didn’t. He didn’t actually say anything. He just hugged me. A lot of people have been giving me some grief for not thanking him in the past, but in a friendly way. He may have said, “Have fun” or something. It was really insightful, it was. “Be yourself.”
You know, what is there really to say? I’ve learned a lot from him because he’s been through a lot in this business and ups and downs and been under‑appreciated. I don’t know, and then it’s been proven how great he is. It’s been an advantage to be able to watch someone you love and you know so well go try to navigate the very tricky, rocky, sometimes hateful waters of being famous. And so I have learned a lot from him. But in that moment, I don’t think he said anything at all.
Here is what this Oscar winner said backstage in the Academy Awards press room.
You are one of the few Muslim actors to win an Oscar. This says a lot at this particular time in our history. Could you speak to that, please?
Well, regardless of one’s theology or however you see life or relate to worshipping God, as an artist my job is the same, and it’s to tell the truth, and try to connect with these characters and these people as honestly and as deeply as possible. And so one’s spiritual practice, I don’t necessarily feel like it’s as relevant unless it gives you a way into having more empathy for these people that you have to advocate for. I’m proud to own that. I embrace that. But, again, I’m just an artist who feels blessed to have had the opportunities that I have had and try to do the most with every opportunity that’s come my way.
The material in “Moonlight” is so personal to Tarell Alvin McCraney and Barry Jenkins, who both wrote the script. How much pressure did you feel to get it right?
I think I always want to walk away from any project feeling like the writer, director was pleased with what I had to offer. And considering the personal nature of this project, I think that … there was a need that felt a little heightened to me to get it truthful where they could walk away and feel like I really contributed to their film and didn’t screw it up considering that, you know, I was playing someone who had an extraordinary impact on Tarell’s life, and I’m actually glad I didn’t know ‘til later more the details of that, of Blue or Juan’s contribution to Tarell’s life, but it did. It added a layer of pressure.
First off, what went through your head when you read the script to begin with because it was such a beautiful film? And what can you say about the Best Picture announcement mistake and kind of what went through your head hearing “La La Land” and then hearing “Moonlight” won after all?
Well, I sincerely say that when I read the script … Look, I don’t get to read everything, because there’s things that I’m just not remotely right for. Ryan Gosling and I read different scripts. It’s just what it is, right? As far as the scripts that I’ve read in my 17 years of doing it professionally, “Moonlight” was the best thing that has ever come across my desk.
And that character for the time that he was on the page really spoke to my heart, and I felt like I could hear him, I could sort of envision his presence. I had a real sense of who that person was, enough to start the journey. And I really wanted to be a part of that project, and I’m just so fortunate that Idris [Elba] and David Oyelowo left me a job. You know, very, very kind of them.
So yeah, and then the second part of your question, “La La Land” has done so well and it’s resonated with so many people, especially in this time when people need a sense of buoyancy in their life and need some hope and light. So that film has really impacted people … in a very different way than “Moonlight.” And so when their name was read, I wasn’t surprised. And I am really happy for them. It’s a group of some extraordinary people in front of the camera and behind the camera. So I was really happy for them.
And then when I did see security or people coming out on stage and their moment was being disrupted in some way, I got really worried. And then when they said Jordan Horowitz said, “”Moonlight,’ you guys have won,” it just threw me a bit because it threw me more than a bit, but, I didn’t want to go up there and take anything from somebody, and it’s very hard to feel joy in a moment like that. So, but I feel very fortunate … for all of us to have walked away with the Best Picture award. It’s pretty remarkable.
You used to be on “House of Cards.” What you think your fictional former “House f Cards” boss, Frank Underwood, would have to say about your win tonight and about the way the whole thing ended this evening?
“Bah humbug.” No. Kevin [Spacey], he’s been really supportive. I think it’s a film that he really loved, and he’s told me. “House of Cards” is the reason I’m here. I’ve been working to that point 12 years, very steady employment for the most part, and then was finally able to be on something that really resonated with people in a way that honestly was a real shift in the culture. “House of Cards” was the first binge‑watched show that was ever binge watched, and so to be a part of that and that being something that feels really authentic for our culture and a real option in how we view and absorb and embrace content, that was that show. And so that’s the reason I’ve been able to put certain things together and even have this moment because of the four years I spent on “House of Cards.”
You seem to have very eclectic taste when it comes to picking your roles. Are you working on a project that you could share with us?
Well, there’s a project called “Alita: Battle Angel: that Robert Rodriguez is directing and James Cameron did in Austin. And I’m really excited about that. I actually play two parts in that film. That was a blast, and I literally wrapped that maybe two weeks ago. But then after that, I’m going to start something in a couple of months, and just honestly excited to read scripts and to have meetings and hopefully work with some more extraordinarily talented people like Barry Jenkins and Tarell Alvin McCraney, and this wonderful cast and crew of “Moonlight” and “Hidden Figures.” So I just feel very, very blessed to have had this award season and this experience.
What would you like to tell your newborn daughter right now in this world, that fatherly advice?
Just pray to be guided to your excellence. That’s it.
And winning an Oscar, that’s a journey that many actors want to be on, and it is a dream, and when they reach that dream, what’s next? So what is next for you? And also, who are some of your role models that you have idolized?
So as far as what’s next, I think I’m going to try this way. I’m going to just look for material that I am inspired by and that I respond to and just try to do my best work, you know, and keep it about the work, working with great directors and writers and other extraordinary talented actors, because you want to be around people who are better than you and who can lift you up where you have raise your game. And I want to be inspired and just improve and do work that makes me uncomfortable, that scares me because anytime you get into the unknown, you get into that fearful space, that’s when you’re in new territory and you have the greatest opportunity to grow and improve as a talent or as an actor, an artist, and as a human being.
It’s very difficult to separate them for me, you know? So that’s how I would like to approach moving forward. And I think you asked me about who inspired me? Well, look, you know, we could talk about it till I’m some version of blue in the face, but the diversity topic, it’s very real in that when I was growing up—I’m 43 years old; I was born in 1974—and there weren’t a lot of [African-American] people on TV and films. When Billy Dee Williams was in “Star Wars,” like that was a big deal in my house and in my family, and it was somebody who was in the story that I could kind of attach to and say, Oh, wow, we’re present as well.
But for me, that person has always been Denzel Washington because, one, he’s just so damn talented. But, then, two, to see someone who comes from your tribe, so to speak, play at the level of all the other great ones and do it so well and be able to articulate his voice and his talent in a way that was on par with the very best, and he looks like you, too. You know what I mean, in that like, “Wow, there’s somebody who could be an uncle of mine.” Like, those are things that play in your mind as you move forward.
And also what I love about Denzel is not that he’s a great black actor, he’s a great actor. I’ve never looked at myself as a black actor. I’m an actor who happens to be African American, but I just want an opportunity to respond to material and bring whatever I bring to it in some unique fashion, and that’s it. But basically short story long, Denzel.